The Curriculum ......................................... 3Africana Studies................................... 3Anthropology ....................................... 4Art History ........................................... 8Asian Studies ..................................... 12Biology............................................... 15Chemistry........................................... 17Classics .............................................. 19Computer Science .............................. 20Dance ................................................. 23Design Studies ................................... 27Economics.......................................... 28Environmental Studies ....................... 31Ethnic and Diasporic Studies ............. 34Film History ....................................... 35Filmmaking (See Visual Arts) ......... 140Filmmaking, Screenwriting and Media

Arts............................................. 37French ................................................ 38Games, Interactivity, and Playable

Media ......................................... 41Geography.......................................... 41German............................................... 44Global Studies.................................... 45Greek (Ancient) ................................. 46Health, Science, and Society.............. 46History................................................ 47International Studies .......................... 57Italian ................................................. 58Japanese ............................................. 60Modern and Classical Languages and

Literatures .................................. 61Latin ................................................... 62

Latin American and Latino/a Studies 63Lesbian, Gay, Bisexual, and

Transgender Studies................... 63Literature............................................ 66Mathematics....................................... 78Music.................................................. 81Philosophy ......................................... 91Physics ............................................... 94Politics ............................................... 96Pre-Health Program (see Science and

Mathematics)............................ 118Psychology....................................... 101Public Policy .................................... 112Religion............................................ 113Russian............................................. 117Science and Mathematics................. 118Social Science .................................. 118Sociology ......................................... 119Spanish............................................. 122Theatre ............................................. 125Visual Arts ....................................... 140

Architectural DesignDrawingFilmmakingNew MediaPaintingPhotographyPrintmakingSculptureVisual Fundamentals

Women’s Studies ............................. 155Writing ............................................. 155

Faculty..................................................... 169

The Curriculum

The Curriculum of the College as plannedfor 2013-2014 is described in thefollowing pages. All courses are planned

as full-year courses, except as otherwiseindicated. Where possible, seminar descriptionsinclude examples of areas of study in which astudent could concentrate for the conferenceportion of the course. In a seminar course, eachstudent not only pursues the main course materialbut also selects a related topic for concentratedstudy, often resulting in a major paper. In thisway, each seminar becomes both a shared and anindividual experience.

Africana Studies

Africana Studies embraces a number of scholarlydisciplines and subjects at Sarah LawrenceCollege, including anthropology, architecture, arthistory, dance, economics, film, filmmaking,history, Islamic studies, law, literature,philosophy, politics, psychology, religion,sociology, theatre, and writing. Students examinethe experience of Africans and people of Africandescent in the diaspora, including Latin America,the Caribbean, North America, and beyond. Studyincludes the important cultural, economic,technological, political, and social intellectualinterplay and exchanges of those peoples as theyhelp make our world. Students will explore theliterature of Africans and peoples of Africandescent in various languages, including Spanish,Portuguese, French, and English. The dynamicsof immigration and community formation arevital in this field. Students will examine the artand architecture of Africa and the diaspora; theirhistory, societies, and cultures; their economy andpolitics; the impact of Islam and the Middle East;the processes of slavery; the slave trade andcolonialism; as well as postcolonial literature inAfrica, Latin America, and the Caribbean. Theprogram also includes creative work infilmmaking, theatre, and writing.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

First-Year Studies: Making Connections:Gender, Sexuality, and Kinship From anAnthropological Perspective (p. 4),Mary A. Porter Anthropology

Telling Lives: Life History ThroughAnthropology (p. 7), Mary A. PorterAnthropology

First-Year Studies: Introduction toInternational Development Studies: ThePolitical Ecology of Development (p. 42),Joshua Muldavin Geography

Global Africa: Theories and Cultures ofDiaspora (p. 52), Mary Dillard History

Sickness and Health in Africa (p. 55), MaryDillard History

Ideas of Africa: Africa Writes Back (p. 54),Mary Dillard History

Gender, Education, and Opportunity inAfrica (p. 56), Mary Dillard History

Imagining Race and Nation (p. 51), KomoziWoodard History

Rethinking Malcolm X and the Black ArtsMovement: Imagination andPower (p. 55), Komozi Woodard History

Women/Gender, Race, and Sexuality in Film:History and Theory (p. 57), Kathryn HearstHistory

African American Literature: ConstructingRacial Selves and Others (p. 69),Alwin A. D. Jones Literature

“New” World Studies: Maroons, Rebels, andPirates of the Caribbean (p. 76),Alwin A. D. Jones Literature

“New” World Literatures: Fictions of theYard (p. 77), Alwin A. D. Jones Literature

Music and/as Social Identity: Ethnomusicologyof the Atlantic Coasts (p. 82), JonathanKing Music

First-Year Studies: Africa in the InternationalSystem (p. 96), Elke Zuern Politics

Democratization and Inequality (p. 99), ElkeZuern Politics

Poverty in America: Integrating Theory,Research, Policy, and Practice (p. 103),Kim Ferguson Psychology

Global Child Development (p. 109), KimFerguson Psychology

First-Year Studies: Health, Illness, andMedicine in a Multicultural Context: AService Learning Course (p. 101),Linwood J. Lewis Psychology

Intersections of Multiple Identities (p. 111),Linwood J. Lewis Psychology

Sex Is Not a Natural Act: Social ScienceExplorations of Human Sexuality (p. 102),Linwood J. Lewis Psychology

THE CURRICULUM 3

Anthropology

The study of anthropology traditionally coversfour “fields”: sociocultural anthropology,linguistic anthropology, biological anthropologyand archaeology. At Sarah Lawrence College, weconcentrate on sociocultural and linguisticanthropology.

Behind almost every aspect of our lives is acultural realm: a shared construction that shapesassumptions and determines much of how weperceive and relate to the world. Socioculturalanthropology is the study of that realm—itsextent and its effects. As students learn toapproach, with an anthropological eye, what theyformerly might have taken for granted, they gaininsight into how social forces govern the ways inwhich we relate to ourselves and each other: howwe use words, how we define ourselves andothers, how we make sense of our bodies, evenhow we feel emotions. Through examining thewritings of anthropologists, viewing ethnographicfilms, and discussing these and other materials inseminar and conference sessions, studentsdevelop a comprehensive and multipatternedsense of the cultural dimensions of human lives.By studying the underpinnings of language,symbolic practices, race, gender, sexuality, policyand advocacy, medical systems, cities, modernity,or social organization across a range of Westernand non-Western settings, students come tounderstand better how meaning is made. Withseminar dynamics and content characteristic ofgraduate-level work, Sarah Lawrence’santhropology courses take students in oftenunexpected and challenging directions.

First-Year Studies: MakingConnections: Gender,Sexuality, and Kinship Froman Anthropological PerspectiveMary A. PorterFYSLike Goldilocks in her selections of porridge andresting places, human beings are supposed tochoose marriage partners who are “just right.” Tomarry a close relative or someone of the samegender may be deemed unnaturally close; butmarriages across great differences such as age,race, culture, or class can also be perceived asproblematic due to social distance. This questionof closeness or distance in marriage prescriptionsis particularly timely in light of the currentdebates about gay marriage and will be one topicof exploration in this yearlong seminar on gender,

sexuality, and kinship from an anthropologicalperspective. Anthropology is a discipline thatexplores the ways in which people make sense ofthe world and the social relations in which weengage. In this class, we will explore two parallelthemes: the extraordinary diversity in the waysthat people understand and enact kinship,sexuality, and gender cross-culturally andchanges in the ways that anthropologists haveunderstood and documented (or failed todocument) these themes. We will readethnography, oral history, and anthropologicaltheory, as well as literature beyond the discipline;we will also view some films. Topics under ourconsideration will include female husbands insouthern Africa, hermaphrodism in 19th-centuryFrance, institutionalized homosexuality in NewGuinea, transnational and interracial adoption,childhood, and sexual rights. Along the way, wewill learn to be better writers, readers, speakers,and listeners.

Anthropology andPhotographyRobert R. DesjarlaisLecture, Open—FallWalker Evans once referred to photography asoffering “searing little spots of realism.” Thiscourse attends to the cultural and experientialglint of photographic imagery by way of ananthropological exploration of the social,political, and aesthetic dimensions ofphotography in a range of distinct culturalsettings. We will engage in two main efforts: ananthropologically informed inquiry into thephenomenon of photography and photographicendeavors that might be called“photoethnography.” In terms of an anthropologyof photography, we will develop anunderstanding of how peoples throughout theworld use, relate to, circulate, and perceivephotographs and how such uses and perceptionstie into ideas and practices of vision, time,memory, family, sociality, history, politics, andpersonal and cultural imaginings. As forphotoethnography, we will consider the ways inwhich photography and film can portray well (ornot) the lives and concerns of particular peoples.Through these engagements, we will reflect onthe complicated ethics and politics ofdocumentary photography; the sense of differingcultural aesthetics informing the creation andevaluation of photographs; pacings of time andmemory; the intricate play between text andimage and between interpretation and invocation;

4 Anthropology

and the circulation of digital images in atransnational era. Readings to be consideredinclude Gregory Bateson and Margaret Mead’sBalinese Character, James Agee and WalkerEvans’s Let us Now Praise Famous Men, RolandBarthes’s Camera Lucida, Robert Frank’s TheAmericans, and Christopher Pinney’s CameraIndica. We will also view a number ofethnographic films that mine questions ofphotographic representation, including DennisO’Rourke’s Cannibal Tours, Judith and DavidMacDougall’s Photo Wallas, and LucienCastaing-Taylor’s Sweetgrass.

The Power of Words:Language, Hegemony, andSocial InequalityAurora DonzelliOpen—YearLanguage is such a pervasive component of oureveryday lives that we often tend to forget thecomplex power dynamics that are alwaysembedded in humans’ engagements withlanguage. We tend to naturalize and overlook thepower-laden nature of communication andassume that language is a neutral and objectivesystem of signs apt at enabling the transmissionof information. But what is the relationshipbetween language and social status? What is therole of certain discursive representation of realityin reproducing or challenging the status quo?Why are certain languages considered to be betterand more prestigious than others? How cancertain conversational practices contribute to thereproduction of gender inequalities and racialstereotypes? What were the implications ofcolonization for the indigenous languages of thepopulations that experienced Euro-Americancolonial domination? What is the role of worldEnglishes in today’s globalized world? Through aseries of readings, we will discuss the varied andsometimes surprising interconnections betweenlanguage, power, and social inequality. Studentswill explore topics such as the role of linguisticideologies in the colonial enterprise, the historicalproduction of an official standard language andthe construction of hegemonic power, the unequalpower relations often at stake in multilingualcontexts, the role of language in craftingrepresentations of people’s identities, thecontemporary debates on the loss of indigenouslanguages, linguistic revitalization movementsand other activist efforts, the impact of language-based discrimination, the role of linguisticparodies as a form of cultural resistance, as well

as the social and political life of words as theytravel across global networks of power andmeaning.

Spaces of Exclusion, Places ofBelongingDeanna BarenboimOpen—SpringHow do people construct meaningful places in aPuerto Rican barrio in Philadelphia or in the silkfactories of Hangzhou? What should we make of“place-less” spaces or states, such as thoseinstantiated through technologies like socialmedia or Hindu yogic and meditative practice?How should we understand notions ofdisplacement, transborder identifications, orlongings for homeland as they play out forBurundian Hutu refugees in Tanzania,Palestinians in Gaza, or indigenous LatinAmerican migrants in California and Wyoming?This course explores issues of identity anddifference, locality and community, in the contextof transnational mobility and the globalized flowof people, ideas, values, and things. Engagingwith recent scholarly work in the fields ofanthropology, cultural studies, sociology,geography, architecture, and literature, we willseek to decode sociospatial arrangements to betterunderstand structures and processes of exclusionand marginalization. At the same time, we willobserve how people’s navigations through spaceand their efforts at place-making create sites ofcollective identity, resistance, belonging, andrecognition. Posed in a wide range ofethnographic contexts, our efforts to puzzlethrough these issues will require attention to theways in which space and place are, for instance,embodied, gendered, racialized, and (il)legalized.We will likewise attend to the politics and ethicsof postcolonial scholarship on space and placeand to the meanings of an engaged anthropologythat leans toward social justice.

Global Flows and Frictions inSoutheast Asia and BeyondAurora DonzelliIntermediate—Year“Globalization” has proliferated in scholarly andpopular discourse since the early 1990s as a termreferring to both the perception of the world’senhanced interconnectedness and the increasingcirculation of capital, labor, commodities,humans, and ideologies across national borders.For almost three decades, our minds have been

THE CURRICULUM 5

preoccupied with defining, understanding, andassessing these structural and culturaltransformations: What is unprecedented aboutglobalization, and how does it resemble olderforms of interconnection? How does what UlfHannerz (1992) called the “global ecumene”impact our historical consciousness? Should weimagine ourselves as the protagonists of anarrative of never-ending progress or as theinhabitants of the ruins of modernity? Drawing ona methodology originally designed to provideholistic, contextual, and fine-grained analyses ofsmall and (preferably) self-enclosed communities,anthropologists have been seeking to explore thecultural underpinnings of global connections.Divided on whether to read globalization as anenhancement of complexity or as a form ofcultural erosion, they have been exploring theeffects of large-scale global transformations onlocal identities and on people's everyday lives.What are the aesthetic, cultural, and existentialimplications of a world where “difference isencountered in the adjoining neighborhood [and]the familiar turns up at the ends of the earth”(Clifford 1988)? Anthropological engagementswith these questions have expanded ourdefinitions of culture; rather than conceiving it asattached to and defining of particular groups ofpeople, we have become skilled ethnographers ofmobile, unstable, and deterritorialized “globalcultural flows.” In this quest for moresophisticated theoretical tools to tackle thedynamics of contemporary cultural encounters,we have been confronted with the option ofviewing globalization through metaphors ofliquid flows or through the images of the clash ofcultures. However, both models have their pitfallsin their incapacity to account for “awkward,unequal, unstable, and creative qualities ofinterconnection across difference” (Tsing 2005).Focusing on global encounters in Southeast Asia,this course will engage intriguing ethnographicexamples of what Tsing termed cultural frictions.Rather than postulating simplistic, binaryoppositions between clear-cut cultural formationsor pervasive and unimpeded flows of goods,ideas, and people, we will explore concreteinstances of unequal exchanges emerging fromunexpected intersections among global, national,and local forces. We will read about religiousconversion and shifting notions of humanity inthe encounter between Calvinist missionaries andIndonesian highlanders, changing experiences ofsexuality among Filipina domestic workers inHong Kong, and contemporary transformations ofnotions of gender and morality in urban

Indonesia. We will explore the impact of theglobal touristic market on local notions ofcosmopolitanism in Thailand and the impact ofnew technologies on the shaping of newconceptions of the moral person in Oceania. Wewill discuss instances of spirit possession inMalaysian multinational corporations anddevelopment-induced displacement in Laos, aswell as the interplay of agreement andmisunderstanding in the encounters among NorthAmerican investors, NGO workers, and theinhabitants of the Malaysian and Indonesianrainforest. Through this anthropological journey,students will be exposed to key debates within thestudy of cosmopolitanism and will experiencefirsthand some of the challenges underlyingethnographic engagements with globalization.

Migration and ExperienceDeanna BarenboimSophomore and above—FallThis seminar will engage an emerging body ofanthropological research that asks how the broadsociocultural, political, moral, and economicstructures and processes that producetransnational migration affect the thinking,feeling, and sensing of people whose lives playout in the balance. Through our readings andseminar discussions, we will grapple with a seriesof questions that probe the contemporaryexperience of migration, such as: What are thefelt consequences of living in between “home”and “host” societies and between “traditional”and “transformed” ways of being? How is themigrant/transborder condition differently shapedby the particular intersections of ethnic, class,state, and other boundaries that are crossed? Howdo different forms of power shape and constrainmigrants’ subjective and intersubjectiveexperiences of time, space, embodiment, andself? In what sense is “illegal” versus“documented” status critical to the everydaypolitics and poetics of migrant life? In ourexploration of these and related questions, we willattend to the ways in which migrants draw oncultural resources to create spaces and practicesof connection, protection, and continuity despitethe disruptive potential introduced by migration.Latin American and indigenous migration willfocus prominently in our selection of readings,which will also include forays into ethnographiccontexts such as West African and Filipinomigrant experiences in Israel and Yolmo Nepali

6 Anthropology

life in Queens. Students may choose to conductfieldwork or to engage in service learning fortheir conference projects.

Global Adoptions: AnAnthropology of KinshipMary A. PorterSophomore and above—FallWe tend to assume that family-building involvesdeeply personal, intimate, and “natural” acts inmaking a relationship (marriage) and in becomingparents (sex). But in actual practice, thepragmatics of forming (and disbanding) familiesare much more complex. There are manyinstances where a desired pregnancy isbiologically impossible: infertility or gay parents,for example. Conversely, there are children bornto individuals who will not parent them for a widevariety of reasons. This seminar examines themeanings and processes, cross-culturally, ofadoption—defined here as the placement ofchildren to be raised permanently by others. Wewill explore this process anthropologically incountries and cultures across the globe, includingthe United States, Australia, Hawaii, Tanzania,China, Argentina, Sweden, Chile, Nigeria, andKorea. As well as looking within particular ethno-local sites, we will pay considerable attention tothe global movement of children to adoption.There is great variety in the circumstances oftransnational adoption from Swedish peopleseeking adoptive daughters in Chile to theKindertransports at the start of World War II andto the North American Orphan Trains of the 19thand 20th centuries. Questions we will examineinclude: What is the difference between fosteringand adoption? Why do people talk about “givingup” a child for adoption? Why is adoptionwelcomed in some cultures and hidden in others?When and why do adoptive parents attempt toexpose their children to their cultures of origin?Why is adoption discourse more about parentsgetting children than children getting parents?Why are the legal records of an adoption sealed?How do race, class, and gender play out inadoption scenarios? The materials for this classinclude literature, scholarly articles, ethnographicaccounts, historical documents, and film.Conference work may be done on any aspect ofthe class, as well as on other topics in theanthropology of kinship or in the ethnographiesof cultures and places encountered in the coursematerials.

Telling Lives: Life HistoryThrough AnthropologyMary A. PorterSophomore and above—SpringThrough studying life-history narratives (oneperson’s life as narrated to another),autobiographical memoir, and more experimentalforms in print and on screen, we will explore thediverse ways that life courses are experienced andrepresented. Throughout our readings, we willcarefully examine the narratives themselves,paying attention to the techniques of life historyconstruction and familiarizing ourselves withethical, methodological, and theoreticalchallenges. We will consider a number ofquestions about telling lives: What is therelationship between the narrator and his or herinterlocutor(s)? How does a life-history approachinform debates about representation? What canthe account of one person’s life tell us about thewider culture of which he or she is a part? Howcan individual life narratives shed light on suchissues as poverty, sexuality, colonialism,disability, racism, and aging? The selected textsattend to lives in various parts of the world,including Australia, Great Britain, the Caribbean,East Africa, and the United States. Students willalso analyze primary sources and create a lifehistory as part of their work for the course.

Workshop inPhotoethnographiesRobert R. DesjarlaisAdvanced—Fall“My pictures are not escapes from reality,” writesdocumentary photographer Bruce Davidson, “buta contemplation of reality, so that I canexperience life in a deeper way.” In this course,we will similarly engage in sustainedcontemplations of particular social and culturalrealities so as to understand better the lives ofothers. We will engage in this work throughcombinations of image and text in an effort tothink through the methods and possibilitiesinherent in a photoethnographic approach toanthropological research, in which certain waysof life are portrayed primarily throughphotographic means. To gain an informed senseof the methods, challenges, and benefits of justsuch an approach, students in this course will trytheir hands at photoethnographic research andcomposition. Each student will be asked toundertake an ethnographic research project inorder to investigate the features of a specific

THE CURRICULUM 7

social world—such as a homeless shelter, areligious festival, or a neighborhood inBrooklyn—in which photographs play a leadingrole in the portrayal of that world. She or he willthen craft a fully realized photoethnography thatconveys something of the features and dynamicsof that world in lively, accurate, andcomprehensive terms. Along the way, and withthe help of photobooks and anthropologicalwritings that are either exceptional orexperimental in nature, we will collectively thinkthrough some of the most important features ofphotoethnographic projects such asphotographing and conversing with others, theuse of fieldnotes and related materials, theinterlacing of theory and data, the play of wordsand images in a photoethnography, and theethnical and political responsibilities that comewith any attempt to understand and portray thelives of others, especially through photographicmeans. Texts to be considered include thoseauthored by Gregory Bateson and MargaretMead, Walker Evans and James Agee, RobertFrank, Bruce Davidson, Ed van der Elskin, NanGoldin, Susan Lipper, Marc Asnin, and PhilipeBourgois and Jeffrey Schonberg. Previouscourse work in anthropology or photography orpermission of the instructor is required.

Art History

The art history curriculum at Sarah LawrenceCollege covers a broad territory historically,culturally, and methodologically. Studentsinterested in art theory, social art history, ormaterial culture have considerable flexibility indesigning a program of study and in choosingconference projects that link artistic, literary,historical, social, philosophical, and otherinterests. Courses often include field trips tomajor museums, auction houses, and art galleriesin New York City and the broader regional area,as well as to relevant screenings, performances,and architectural sites. Many students haveextended their classroom work in art historythrough internships at museums and galleries, atnonprofit arts organizations, or with studio artists;through their own studio projects; or throughadvanced-level senior thesis work. SarahLawrence students have gone on to graduateprograms in art history at Columbia, JohnsHopkins, Northwestern, Bard, Williams, Yale,University of Chicago, Oxford University andUniversity of London, among others. Many of

their classmates have pursued museum andcuratorial work at organizations such as theGuggenheim Museum, the Metropolitan Museumof Art, and the Art Institute of Chicago; othershave entered the art business by working atauction houses such as Sotheby’s or by startingtheir own galleries; and still others have enteredsuch professions as nonprofit arts managementand advocacy, media production, and publishing.

First-Year Studies: Archi/Texts: Buildings andPhilosophies, Environmentsand Interactions, FromPericlean Athens toContemporary Los Angelesand BeyondJoseph C. ForteFYSReadings, lectures, presentations, and discussionsin this course will focus on major statementsmade by architects, critics, and philosophersdealing with the built landscape from Athens inthe fifth century to present-day Los Angeles andWorld Expo 2010 in Shanghai, China. Authorsinclude Plato and Aristotle, St. Augustine, LeonBattista Alberti, Denis Diderot, Adolf Loos, LeCorbusier, Frank Lloyd Wight, Martin Heidegger,Michel Foucault, Jane Jacobs, Peter Eisenman,Rem Koolhaas, Reyner Banham, Frank Gehry,and Thom Mayne. Readings will range fromAristotle’s Politics and Vitruvius’s Ten Books onArchitecture (73BCE) to Loos’s Ornament andCrime (1909) and Koolhaas’s Junkspace (2000)and beyond. Emphasis will be on close reading oftexts, historical context for ideas, and buildingsthat are prescribed, described, or proscribed bytheory in practice. Environmental issues will beassimilated into historical and sociological, aswell as scientific, context. The first assignmentwill deal with the uses of literature in developinga critical theory; the second will be classpresentations on theorists and attitudes towardarchitecture in the ancient world. Class will bebroken into firms that will develop responses totexts and to a particular architectural program andproject in second semester—the design of aretrofitted student center and campus plan forSarah Lawrence College. Conference projectsmay focus on a variety of architectural venues:new towns, world’s fairs, religious structures ofsymbolic (or other) import, architectural NGOs,favellas, and utopia, both inside and outside theWestern tradition.

8 Art History

East vs. West: Europe, theMediterranean, and WesternAsia from Antiquity to theModern AgeDavid CastriotaLecture, Open—YearHistorically, competition or conflict between theEuropean or Mediterranean West and the regionsof the Middle East has been seen as a strugglebetween Christian and Muslim worlds, with rootsin the era of the Crusades whose precedent andimplications reach into the present time. Whilethis course will focus extensively on the medievalperiod, it seeks to do so by situating the relationsbetween Christian Europe and the Muslim worldwithin a larger context as the result of geopoliticalpatterns that long antedated the emergence ofChristianity or Islam. In the fall, the course willbegin with the Greek invasion of the Near Eastunder Alexander as a war of retribution for thePersian invasion of Greece more than a centuryearlier. We will consider how the politicalstructure and culture of the multiethnicHellenistic Greek kingdoms emerged from thewreckage of the Persian Empire and how Romesubsequently built on Hellenistic Greekexperience and conflict with the Near East inestablishing its empire. We will examine theemergence of Christianity as an example of aRoman or Western response to an originallyEastern religion and, conversely, the emergenceof the Islamic faith and its new empire as anEastern challenge to the Christianized RomanEmpire of Late Antiquity. In the spring, we willsee how this approach affords a very differentview of the Crusades and the battle for the HolyLand as the outgrowth of longstanding culturaland political interactions or competitions thattranscend religious faith and doctrine. The coursewill look at Christian and Muslim culturalrelations in Spain and then close by examiningthe rise of the Ottoman Turkish Empire, whichoriginated as a Muslim regime in Eastern Europeand became a major power in Asia only after ithad conquered the remaining symbol of the oldChristian Roman Empire, Constantinople, in1453. We will consider primary historical andliterary sources, as well as major artisticmonuments.

The Paradox of Painting:Pictures and Practices,Histories and Theories, inRenaissance and Baroque Art,1500-1700Joseph C. ForteLecture, Open—YearAnnibale Carracci’s painting (1597-9) of St.Margaret, an Early Christian martyr, shows thesaint pointing upward while looking outward andleaning on an altar inscribed, “Sursum Corda”(Lift Up Your Hearts). An exploration of themultiple meanings and paradoxes of this image,admonition, epigram, and emblem form anintroduction to the basic questions andchallenges of this course. How is art to achievethis lifting up? Who or what should be lifted: theartists, the patron, the viewer, the material, theworld? Lifting up from what and to what or towhom? Lifting the heart, the head, the mind, thebody? Are all the arts and all the subjects of thevisual arts supposed to serve this same purpose?Does this admonition pertain to aesthetic, social,and historical issues, as well as to the theologicaland political? What about the linguisticimplications: Can an exalted “classical” languageexist side-by-side with a dynamic, naturalisticvernacular? The course will cover the art of 16th-century Italy, the Italian High Renaissance, as itframes the questions that painters, sculptors, andarchitects throughout Europe mediated in thefollowing era, commonly called the Age of theBaroque. Included in the first semester will bestudies of major artists such as Leonardo daVinci, Michelangelo, and Titian and art stylessuch as Mannerism; in the second semester,Caravaggio, Bernini, Rubens, Rembrandt, andPoussin and the style of Classicism, amongothers. First-semester group conferences focuson the challenges posed by the career ofMichelangelo; second semester, on the issues inart and architecture posed by the career ofBernini.

Islamic Art and Society:632-2013Jerrilynn DoddsLecture, Open—FallThis course will explore some of the cultural,political, and social meanings that can be drawnfrom the history of the art and architecture ofIslamic polities and of other pluralistic societiesin which Islam has played a part. We will seek tounderstand the relationship between the religion

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of Islam and the arts produced in lands whereMuslims are among the creators of visual culture,using works of art and architecture as documentsof social and political meaning. The course willbegin in Arabia in the seventh century andcontinue to the Mediterranean, Iraq, Iran, CentralAsia, and Asia. Finally, we will look at the arts ofIslam as a contemporary global phenomenon,including Islamic arts in Europe and America.This course will be offered as a small lecture.

The Artful Science:Photography and Society,1825-1919Maika PollackLecture, Open—FallWhen, why, and how was photography invented?This course introduces students to the history ofphotography in the 19th and early 20th centuries,from the medium’s invention with the parallel,contested origin stories of William Henry FoxTalbot and Nicéphore Niepce to the first motionpictures and until the earliest instances of Dadaphotomontage. Readings from a variety ofdisciplines, including historical documents andwritings by artists and critics, aid us inconsidering the contradictions inherent tophotography as a medium as we investigate itsrole as both art form and science. Examiningphotographic practices in fields as diverse asfashion, avant-garde art, anthropology,architecture, advertising, and politicaldocumentary, we will ask how early photographswere shaped by and, in turn, shaped practitioners’conception of reality.

Writing, Painting, andPerformance Since the Late19th CenturyEvan NeelyLecture, Open—SpringPerformance is a ubiquitous cultural phenomenonbut also a subject whose definition is a matter ofgreat controversy. It has been asserted by somescholars that the period after World War II sawthe rise of “performance” as an identifiable artgenre; yet, in the same period, sociologists likeErving Goffman argued that almost all features ofsocial interaction could be treated as“performances.” The ambiguity of the wordmakes research into the visual arts bothfascinating and contentious. This lecture coursewill take a broader view of the developments inthe use of the term as has been applied to three

central artistic mediums: paint, writing, and theinscrutable genre “performance art.” Students willclosely examine several canonical works fromthese three mediums produced over the course ofthe period from the late 19th to early 21stcenturies in order to develop and specify theirideas on deeper questions about the nature of art,ritual, social engagement, and even the nature ofaction itself. Close readings of works of art andliterature—such as the writing of Henry DavidThoreau and Antonin Artaud, the paintings ofJackson Pollock, the performances andphotographs of Carolee Schneemann, and themusic of John Cage—will be balanced againstinvestigation of social history and discussions ofthe theoretical problems at stake in the issue.Theoretical writings from the history of 20th-century philosophy will be used to supplementstudents’ investigations. These disparate materialswill allow us to focus on a network of questionswhose connection is rarely interrogated. Why did“performance” take on the properties of an artisticgenre only after World War II in a period whenmaterial standards of living had hit a peak? Whydid performers from this period so often expresstheir indebtedness to painting, and why is thegenre grouped among the visual arts rather thantreated as a subgenre of theatre? What differencedoes it make to the “material” of performancethat, unlike traditional theatre, it need not complywith a script? Is documentation simply a means ofdelivering an ephemeral work of art to peoplewho were not part of the audience, or is it anintrinsic component of the work itself? Lastly,and perhaps most importantly, why does the ideaof the “work of art” encompass something asephemeral as a performance or as enduring as apainting?

Ancient Albion: Art andCulture in the British Islesfrom Stonehenge to the VikingInvasionsDavid CastriotaOpen—YearGiven their geographical setting at thenorthwestern extreme of Europe, the arts andcultures of “Albion,” or Britain and Ireland, haveoften been described by the term “insular” in thesense of isolated, discrete, or peripheral, yetnothing could be further from the truth. No lessthan six Roman emperors spent time in Britain,and four came to power there. To a great extent,Irish clerics were responsible for the survival ofclassical learning during the Dark Ages. Indeed,

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throughout history, cultural developments in theBritish Isles were intimately related to ideas andevents on the European Continent and theMediterranean. Following this basic premise, inthe fall semester the course will examinecivilization in Britain and Ireland from the lateStone Age or Megalithic period, through theBronze and Early Iron Ages, to the coming of theCelts and the Roman conquest. In the spring, wewill focus on later Roman Britain, Irishmonasticism, and the emergence of Anglo-Saxonculture down to the arrival of the Vikings. Atevery turn, we will consider interactions with theurban civilizations to the south and west—theearly Aegean, Greece, Rome, and the earlymedieval Continent—to discover that Albion wasan integral part of the political, religious, andeconomic forces that have shaped the art andhistory of Europe up to the present time.

Art and the American SocialImaginaryEvan NeelyOpen—YearThis seminar is the first part of a two-semestercourse investigating the multifarious ways inwhich Americans pictured themselves and theirsociety from the post-Revolutionary period to thepresent. The course aims to be selective. TheUnited States is such a vast country, with such alarge populace, that no survey could possiblyexhaust the wealth of details offered by more thana century of political interaction and artisticexpression. By selecting certain canonical worksof art from the likes of John Singleton Copley,Henry David Thoreau, Frederick Law Olmsted,Emily Dickinson, and Thomas Eakins, we canbegin to approach a series of questions that havebeen central to political and artistic discourse inthe United States: Who inherited the legacy of theRevolution? What kind of education isappropriate for a democratic republic, and howshould its citizens represent themselves? What isthe relationship between capitalism andgovernance, and does slavery discredit Americanconceptions of economic freedom? How does onerepresent the land and the city? And, lastly, whatare the specific American contributions to artisticand social modernity? The first semester willfocus on the period starting from the ratificationof the Constitution and ending with the FirstWorld War, treating relations among issues suchas the debates about uniquely “American” art andliterature, self-knowledge, the market economy,slavery, early women’s rights, and the nature of

republican democracy. The second semester,covering the period from 1918 to the present, willfocus on the drastic shifts in many of these ideasbrought on by radical changes in the forms ofmodern art, the development of an industrialsociety, the transformation of the naturalenvironment, and the gestation of the “new socialmovements” of the postwar period. By selectingcertain literary and artistic monuments, we willexplore a multitude of issues and ask questionsabout how the arts can be used to frame politicaland economic issues, how law and the idea oflegality influenced the cultural life of Americans,how different social injustices were negotiated inthought and art, and how even the notions of landand property had been figured by the visual andverbal arts.

Depicting Decadence:Bohemians, Anarchists, and“New Women” in EuropeanArt and Culture, 1863-1914Maika PollackOpen—FallIn this seminar, we will examine fin-de-sièclereactions to the depiction of decadence in thepainting, printmaking, music, and decorative artsof the era. Analyzing the debates of critics andartists in Paris, Vienna, and London, we willwrite about the newly emergent figures of theanarchist, the aesthete, la femme nouvelle, and thedandy and craft researched arguments aboutcultural anxieties underlying the psychologicalphenomena of synesthesia, ennui, and hysteria.We will ask: Is the dandy a subversive hero, asCharles Baudelaire suggests? Is ornament acrime? What made figures like the “new woman”and the androgynous aesthete so threatening?Readings include: Deborah Silverman, ArtNouveau in Fin-de-siècle France; Max Nordau,Degeneration; Adolf Loos, Ornament and Crime;Paul Gauguin, Noa Noa; Richard Wagner, TheArtwork of the Future; Sigmund Freud, TheInterpretation of Dreams; Carl Schorske, Fin-De-Siècle Vienna: Politics and Culture.

Contemporary Curating: Artand ContextMaika PollackIntermediate—SpringThis seminar examines art made and exhibitedsince the mid-1990s. By analyzing works byartists, critics, and curators, students will studythe artworks, exhibitions, and critical debates

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defining the contemporary moment. The seminarwill entail frequent field trips to engage withcontemporary art in context. We will preview the2014 Whitney Biennial alongside one of itscurators and explore a major contemporary artfair. We will conduct studio visits with artists andvisit galleries and artist-run spaces showing newart. For a conference project, students willparticipate in the planning, installation andpresentation of an exhibition at a gallery inBrooklyn or work on an independent criticalproject focusing on contemporary art. Studentswill come away from the seminar able to identifyand discuss major institutions and figuresexhibiting, discussing, selling, and collecting newart and construct considered arguments assessingnew artworks and tendencies. Besides currentreadings from periodicals including Artforum,Contemporary Art Daily, Mousse, The New YorkTimes, Parkett, Texte zur Kunst, and others,readings will include: Doug Ashford, “TheExhibition as Artistic Medium”; Pierre Bourdieu,“The Forms of Capital”; Claire Bishop,"Antagonism and Relational Aesthetics"; NicolasBourriaud, Relational Aesthetics; Douglas Crimp,“Pictures”; Thelma Golden, “Black Male:Representations of Masculinity in ContemporaryAmerican Art"; Dave Hickey, Air Guitar(selections); Richard Hertz, Jack Goldstein andthe Cal Arts Mafia; David Joselit, “PaintingBeside Itself”; John Kelsey, “Next-Level Spleen”;Maria Lind, “The Collaborative Turn”; MichaelSanchez, “Contemporary Art, Daily”; and PeterSchjeldahl, Let’s See (selections).

Asian Studies

Asian Studies is an interdisciplinary fieldgrounded in current approaches to the variedregions of Asia. Seminars and lectures are offeredon China, Japan, India, Bangladesh, Nepal, andIndonesia. Courses explore Asian cultures,geographies, histories, societies, and religions.Visual and performing arts are included in theAsian Studies curriculum. Faculty, trained inlanguages of their areas, draw on extensive fieldexperience in Asia. Their courses bridgehumanities, social sciences, and global studies.

Students are encouraged to considerstudying in Asia during their junior year. TheOffice of International Programs assists studentsin locating appropriate opportunities. Recent

Sarah Lawrence College students haveparticipated in programs of study in India, China,and Japan.

First-Year Studies: ChinesePhilosophy and Daily LifeEllen NeskarFYSThis course will look at China’s philosophicaltraditions—Confucianism, Buddhism, andDaoism—and seek to understand their role inshaping the cultural practices of daily life. To dothis, we will take a two-pronged approach. Thefirst approach will involve the close reading ofthe foundational texts in each of the traditions.Topics to be explored will include: notions of theDao (Tao) and the ways in which it might beattained by individuals and society; the essence ofthe mind, human nature, and the emotions and theways they interact in behavior; the relationshipbetween knowledge and action; and ideals ofinner self-cultivation and social engagement. Thesecond approach will explore cultural practicesthrough a different set of texts, including schoolregulations and curricula, monastery rules andritual texts, “how-to” manuals for managing thefamily, records of charitable organizations, poetryand fiction, legal cases, diaries, and journals.Here we will consider the ways in which socialand cultural institutions were shaped andreshaped by the ongoing debates withinConfucianism, Buddhism, and Daoism. The goalis to bring these two approaches together byconsidering the various ways in whichphilosophical ideals unfolded in, or stood intension with, daily life and practice.

Chinese History I: FromOrigins to the Mongol EmpireEllen NeskarLecture, Open—FallThis course will explore the rise, development,and transformations of China’s socioculturalpractices and political institutions from earliesttimes to the Mongol period (14th century). Indoing so, we will challenge many of theconventional views of premodern China. Forexample, instead of seeing China as developing inisolation from the outside world, we will lookclosely at its international relations, itsexpansionist tendencies, its numerous conquestsby non-Chinese neighbors, and its involvement inSilk Road trade. Topics covered will include thepolitical and economic systems, urbanization andthe development of a market system, the rise and

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unfolding of its philosophical and religioustraditions (Confucianism, Daoism, andBuddhism), and changes in its social and culturalpractices. Class assignments will be varied,relying on scholarly articles as well as primarysources, including government documents,memoirs, diaries, biographies, philosophical texts,and fiction. Group conferences will allow formore in-depth reading and discussion of primarydocuments. This class will provide background toProfessor Landdeck’s spring lecture but is notrequired.

Chinese History II: From theMing Dynasty to YesterdayKevin LanddeckLecture, Open—SpringThis course provides a solid grounding in theimportant political events and socioculturalchanges of the densely-packed centuries from theMing dynasty (1368-1644) to the post-Maoreform era (1976-present). The course challengesmany conventional views on modern China; forexample, rather than seeing Chinese “modernity”as a reaction to defeat by Britain in the OpiumWar (1842), we will explore the modern featuresof the last two dynasties, such as late Mingconsumer culture and the multi-ethnic Manchuimperium with its colonial expansion in thenorthwest and southwest. Other topics coveredinclude the domestic crises facing China in the19th century, the impact of Western imperialism,the collapse of the dynastic system in 1911, thedesperate attempt to remake Chinese culture inthe New Culture Movement (1915-1923), the riseof revolutionary parties, the flowering of urbanculture of the 1920s-1930s, the extended traumaof the Sino-Japanese War (1937-1945), the rootsof the Communist revolution and its painfuldenouement in two decades of spasmodic Maoistradicalism (1957-1976), and finally the reformsthat underpin China’s recent economic successand resurgent nationalism. Group conferenceswill read historical scholarship and engagingprimary documents (in translation). This class is anatural continuation of Mr. Neskar’s fall class,which is not required; there is no prerequisite.

Personal Narratives: Identityand History in Modern ChinaKevin LanddeckOpen—YearThis yearlong seminar explores the realm ofprivate life and individual identity and their

relationship to the historical events and changestaking place in modern China from the late QingDynasty (1644-1911) into the Reform era(2000s). Our investigations will cover an eclecticmix of “personal” writings: diaries, letters,memoirs, oral testimony, autobiographies, third-party anthropological reconstructions ofindividuals, and (auto)biographical fiction.Among others, we will encounter late imperialConfucian radicals and mystics, petty literati,young urban women and their mothers withbound feet, peasants, radical revolutionaries,intellectuals, Maoist Red Guards, and factoryworkers.

Cultures and Arts of IndiaSandra RobinsonOpen—YearThe Indian subcontinent hosts numerous culturesgrounded in Hindu, Buddhist, Islamic, secular,and unassimilated traditions. This multifacetedseminar addresses the diverse cultural traditionsof India through literature and the visual arts.Beginning with core mythologies andiconography, we explore modes of Indian thoughtand expression found in devotional texts, courtpoetry, popular narratives, Hindu templesculpture, and Mughul miniature painting.Artistic production under Mughal and Britishimperial rule frames our study of the formation ofIndian identities. We move on to explorecontemporary Indian fiction and poetry in relationto modern painting, photography, and film. Weinterpret aesthetic, religious, economic, andpolitical aspects of South Asian arts in light ofpostcolonial theories of production andconsumption. Sectarian movements and castehierarchies are analyzed in relation to systems ofpatronage. Our inquiries address these questions:How do arts of the 21st century both reflect andtransform traditional myths and images? Whatsocial agendas have led to conventionaldistinctions between “classical” and “folk” arts,and why are such definitions now widelyrejected? Why does the Indian canon includecuisine and body decoration among classical artforms? Which arts historically have beenavailable to women? How have South Asianartists “written back” to orientalistrepresentations?

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Crucible of History: China inWorld War II, 1937-45Kevin LanddeckOpen—FallChina’s experience in World War II has longbeen overshadowed by, and at times literallyoverwritten with, the Communist revolution thatfollowed the war. With the deepening of post-Mao reforms and China’s rise as an economicjuggernaut, historians have turned their attentionto World War II as a key watershed period inChina’s recent past. The war’s significance is justnow being pieced together from fragmentedstories and experiences while its wounds linger,raw and sensitive, as witnessed by the simmeringanti-Japanese sentiment in China in late 2012.This seminar is an extended and intensive look atChina’s eight-year (1937-45) “War ofResistance” against Japan. Course material rangesfrom the terrain of contemporary journalism toUS intelligence reports, historical scholarship,memoirs, propaganda, fiction, and film. We willcover the wide geographical differences in howthe war was experienced, Nationalist (KMT)mobilization and strategy, Communist insurgencyand rapid expansion, cultural change, the socialdislocation of vast numbers of refugees,propaganda and art, the Nanjing Massacre(December 1937), life in occupied territory,American aid and involvement, and the politicallegacies and recent remembrances of the war.We will interrogate the gender dimension of theconflict, as well as Chinese collaboration withJapan, exploring their implications for nationalorthodoxies and conventional patrioticunderstandings of the war. At the heart of thiscourse are implicit questions about the limits ofhistorical representation. Can we construct anauthentic story of a conflict of this magnitude andcomplexity? Or does the contingency, chaos, andsuffering defy any coherent understanding? Canwe, in fact, understand modern war, or do all ourlenses inevitably distort it and mislead us?

Writing India: TransnationalNarrativesSandra RobinsonSophomore and above—FallThe global visibility of South Asian writers haschanged the face of contemporary Englishliterature. Many writers from the Indiansubcontinent continue to narrate tumultuousevents that surrounded the 1947 partition of Indiaand Pakistan upon independence from British

imperial rule. Their writings join utopianimaginings and legacies of the past with dystopiasand aspirations of today. This seminar addressesthemes of identity, fragmentation, hybridity,memory, and alienation that link South Asianliterary production to contemporary writing fromsettings elsewhere in Asia, Africa, and LatinAmerica. Accounts of communal violence reflectglobal urgencies. The cultural space of India hasbeen repeatedly transformed and redeployedaccording to varied cultural projects, politicalinterests, and economic agendas. Afterconsidering brief accounts of India as representedin early chronicles of Chinese, Greek, and Persiantravelers, we explore modern constructions ofIndia in excerpts from Kipling, Forster, Orwell,and other writers of the Raj. We focus on India asremembered and imagined in selected works ofwriters including Salman Rushdie and ArundhatiRoy. We apply interdisciplinary critical inquiry aswe pursue a literature that shifts increasinglyfrom narrating the nation to narrating its diasporicfragments in transnational contexts.

Law and Order in Pre-ModernChinaEllen NeskarSophomore and above—SpringThis course will offer a three-part approach to thestudy of law in pre-modern China, focusing onlegal theory, institutions and practices, and therelationship between law and popular culture. Thefirst part of the course will provide an overviewof the philosophical basis of law, the state’sdevelopment of civil and penal law codes, and itscreation of courts and judicial institutions. Thesecond part of the course will look more closelyat the implementation of the law code and itsapplication to criminal cases in the medievalperiod. Here we will study case books andjudicial judgments, precedent texts, magistrates’manuals, forensic guidelines, and journalaccounts. Topics that we will examine include:the role and function of local judges, theprocesses by which penal cases were judged andpunishments determined, and the rights andobligations of the various parties in a legal suit.The third part of the course will use religioustracts, folktales, and popular fiction to examinethe ways in which the judicial system bothinfluenced and was influenced by popular culture.Topics include the ways in which the courtsystem shaped popular notions of justice andrevenge and contributed to increasinglycomplicated notions of heaven and hell, the

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intersection of Buddhist notions of karma andConfucian concepts of retribution with the legalsystem, and the rise of popular fiction centered onthe courtroom and the wise judge.

Images of India: Text/Photo/FilmSandra RobinsonIntermediate—SpringThis seminar addresses colonial and postcolonialrepresentations of India. For centuries, India hasbeen imagined and imaged through encodedidioms that invite critical scrutiny. In recentdecades, writers and visual artists from India,Pakistan, and Bangladesh have been activelyengaged in reinterpreting the British colonialimpact on South Asia. Their work presentssensibilities of the colonized in counter-narrationto images previously established during theregime of the Raj. Highlighting previouslyunexposed impressions, such works inevitablysupplement, usually challenge, and frequentlyundermine traditional accounts underwritten byimperialist interests. Colonial and orientalistdiscourses depicted peoples of the Indiansubcontinent both in terms of degradation and interms of a romance of empire, therebyrationalizing various economic, political, andpsychological agendas. The external inventionand deployment of the term “Indian” isemblematic of the epoch, with colonialdesignation presuming to reframe indigenousidentity. Postcolonial writers and artists areconsequently renegotiating identities. What doesit mean to be conceived of as an Indian? Whathistorical claims are implicit in allegories ofregion and nation? How do such claims informevents taking place today, given the resurgence ofHindu fundamentalism? For this seminar onsemiotics and cultural politics, sources includeworks by prominent South Asian writers,photographers, and filmmakers.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

The Geography of Contemporary China: APolitical Ecology of Reform, GlobalIntegration, and Rise toSuperpower (p. 43), Joshua MuldavinGeography

Japanese I (p. 60), Kuniko Katz JapaneseJapanese II (p. 60), Sayuri I. Oyama Japanese

Japanese III (p. 61), Chieko Naka JapaneseFirst-Year Studies: Japanese Literature:

Ancient Myths to ContemporaryFiction (p. 68), Sayuri I. Oyama Japanese

Japanese Buddhist Art and Literature (p. 114),T. Griffith Foulk Religion

Biology

Biology is the study of life in its broadest sense,ranging from topics such as the role of trees inaffecting global atmospheric carbon dioxidedown to the molecular mechanisms switchinggenes on and off in human brain cells. Biologyincludes a tremendous variety of disciplines:molecular biology, immunology, histology,anatomy, physiology, developmental biology,behavior, evolution, ecology, and many others.Because Sarah Lawrence College facultymembers are broadly trained and frequently teachacross the traditional disciplinary boundaries,students gain an integrated knowledge of livingthings—a view of the forest as well as the trees.

First-Year Studies: Brain andBehaviorLeah OlsonFYSIs there a biological basis for consciousness? Doanimals have minds? How do biologists studyemotions? Does genetics determine behavior?This course will examine a wide variety ofquestions about the brain and behavior in bothhumans and nonhumans by reading topical booksand articles by researchers and scientistsexploring both the biology and the philosophy ofthe mind. We will learn the basic biology ofneuroscience, but much classroom time will bedevoted to discussions of readings by majorthinkers both contemporary andhistorical—including Descartes, Darwin, StevenPinker, and Antonio Damasio—who have tried tounderstand the biological relationship amongbrain, mind, and behavior.

General Biology I: Cellularand Molecular BiologyDrew E. CressmanLecture, Open—FallBiology, the study of life on Earth, encompassesstructures and forms ranging from the veryminute to the very large. In order to grasp thecomplexities of life, we begin this study with the

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cellular and molecular forms and mechanismsthat serve as the foundation for all livingorganisms. The initial part of the semester willintroduce the fundamental molecules critical tothe biochemistry of life processes. From there, webranch out to investigate the major ideas,structures, and concepts central to the biology ofcells, genetics, and the chromosomal basis ofinheritance. We conclude the semester byexamining how these principles relate to themechanisms of evolution. Throughout thesemester, we will discuss the individualsresponsible for major discoveries, as well as theexperimental techniques and processes by whichsuch advances in biological understanding aremade. This semester-long lecture is designed tobe followed in sequence by either of the twospring semester seminars: General Biology II:Organismal and Population Biology or GeneralBiology II: Anatomy and Physiology. Classeswill be supplemented with weekly laboratorywork.

Introduction to GeneticsDrew E. CressmanOpen—FallAt the biological core of all life on Earth is thegene. The unique combination of genes in eachindividual ultimately forms the basis for thatperson’s physical appearance, metabolic capacity,thought processes, and behavior. Therefore, inorder to understand how life develops andfunctions, it is critical to understand what genesare, how they work, and how they are passed onfrom parents to offspring. In this course, we willbegin by investigating the theories of inheritancefirst put forth by Mendel and then progress to ourcurrent concepts of how genes are transmittedthrough individuals, families, and wholepopulations. We will also examine chromosomestructure, the molecular functions of genes andDNA, and how mutations in DNA can lead tophysical abnormalities and diseases such asDown’s and Turner’s syndromes or hemophilia.Finally, we will discuss the role of genetics ininfluencing such complex phenotypes as behaviorand intelligence. Classes will be supplementedwith weekly laboratory work.

Disease EcologyMichelle HershOpen—FallInteractions between hosts and pathogens haveconsequences not only at the individual level butalso cascading up through populations,

communities, and ecosystems. In this course, wewill look at infectious disease through the lens ofecology. First, we will consider infected hosts asecosystems, focusing on ecological interactionswithin hosts—both between microorganisms andbetween pathogens and the host immune system.Next, we will investigate disease dynamics withinand between populations, including theemergence of new diseases and the dynamics ofvector-borne disease systems. Simple models ofdisease transmission and spread will beintroduced. Finally, we will explore the largerimpacts of disease on biological communities andentire ecosystems, looking at topics such as therelationship between disease and biodiversity andthe surprising ways in which disease can affectecosystem structure and function. Examples willbe drawn from plant, wildlife, and human diseasesystems.

Plant PhysiologyAlexandra WrightOpen—FallLast spring was long and cold. What are yougoing to do about it? If you prefer hot, dryweather, you can move to Arizona. Whenenvironmental conditions are undesirable, mobileorganisms like us can simply move to moredesirable locations. Plants, on the other hand, areusually stuck wherever they start. In this class, wewill explore physiological, developmental,morphological, and anatomical adaptations offlowering plants to diverse environments. Thiscourse will include a discussion of physiologicalprocesses from the cellular level (water andnutrient movements in cells) to the whole plantlevel (plant adaptations and plasticity in responseto environmental stress). We will utilize readingsfrom textbooks and the primary literature toexplore plant physiology, with particularemphasis on experimental plant physiology. Wewill also explore some experimental examples inthe lab to better understand how plantsphotosynthesize, respire, and control watermovement. Permission of the instructor isrequired.

General Biology II: Anatomyand PhysiologyBeth Ann DitkoffOpen—SpringAnatomy is the branch of science that exploresthe bodily structure of living organisms, whilephysiology is the study of the normal functions of

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these organisms. In this course, we will transitionfrom ecology to the exploration of the humanbody in both health and disease. Focus will beplaced on the major body units such as skin,skeletal/muscular, nervous, endocrine,cardiovascular, respiratory, digestive, urinary, andreproductive systems. By emphasizing conceptsrather than the memorization of facts, we willmake associations between anatomical structuresand their functions. The course will have aclinical approach to anatomy and physiology,with examples drawn from medical disciplinessuch as radiology, pathology, and surgery. Inaddition, a separate weekly laboratorycomponent will reinforce key topics. Assessmentwill include weekly quizzes and a finalconference paper at the conclusion of the course.The topic for the paper will be chosen by eachstudent to emphasize the relevance of anatomy/physiology to our understanding of the humanbody. This course is intended to follow GeneralBiology I: Cellular and Molecular Biology andemphasizes anatomical and physiological aspectsof life.

General Biology II:Organismal and PopulationBiologyMichelle HershOpen—SpringIn this class, we will apply the building blocks ofbiology from General Biology I—molecules,cells, genetics, and evolution—to betterunderstand the organization, structure, andfunction of earth’s staggering levels of biologicaldiversity. From the microscopic to themacroscopic scale, we will introduce and discussthe diversity of life, including viruses, bacteria,protozoa, fungi, plants, and animals. We will alsoexplore topics in ecology, considering howorganisms interact with the environment and eachother. Readings and lectures will besupplemented with peer-reviewed journal articles,and the process of biological inquiry, hypothesistesting, and experimental design will bediscussed. In addition, students will participate inweekly laboratory work, including field trips.This course is intended to follow General BiologyI: Cellular and Molecular Biology, andemphasizes microbiology, botany, and ecology.

Biology of CancerDrew E. CressmanIntermediate—SpringCancer is likely the most feared and notorious ofhuman diseases, being devastating in both itsscope and its prognosis. Cancer has beendescribed as an alien invader inside one’s ownbody, characterized by its insidious spread anddevious ability to resist countermeasures.Cancer’s legendary status is rightfully earned,accounting for 13% of all human deathsworldwide and killing an estimated eight millionpeople annually. In 1971, President RichardNixon declared a “war on cancer”; since then,more than $200 billion has been spent on cancerresearch. While clinical success has been modest,tremendous insights have been generated inunderstanding the cellular, molecular, and geneticmechanisms of this disease. In this course, wewill explore the field of cancer biology, coveringtopics such as tumor viruses, cellular oncogenesand tumor suppressor genes, cell immortalization,multistep tumorigenesis, cancer development andmetastasis, and the treatment of cancer. Inaddition, we will discuss new advances in cancerresearch and draw from recent articles in thepublished literature.

Giving, Taking, and Cheating:The Ecology of SymbiosisMichelle HershIntermediate—SpringFrom gut flora of animals to fungi living in treeroots, symbioses are important and widespreadthroughout the natural world. We can broadlydefine symbiosis as different species livingtogether in a close association of any nature, frommutualism to parasitism. In this seminar course,we will explore how symbioses are developed,maintained, and broken down and consider thescientific challenges to understanding thefunction of such associations. We will read anddiscuss papers from the primary literature,exploring a broad range of taxonomic groups witha special emphasis on microbial symbiosis(involving fungi or bacteria).

Chemistry

Chemistry seeks to understand our physical worldon an atomic level. This microscopic picture usesthe elements of the periodic table as buildingblocks for a vast array of molecules, ranging from

THE CURRICULUM 17

water to DNA. But some of the most fascinatingaspects of chemistry involve chemical reactions,where molecules combine andtransform—sometimes dramatically—to generatenew molecules.

Chemistry explores many areas of ourphysical world, ranging from our bodies and theair that we breathe to the many products of thehuman endeavor, including art and a plethora ofconsumer products. Students at Sarah LawrenceCollege may investigate these diverse areas ofchemistry through a variety of courses:Atmospheric Chemistry, EnvironmentalChemistry, Nutrition, Photographic Chemistry,and Extraordinary Chemistry of Everyday Life, toname a few. In addition to these courses, theCollege routinely offers General, Organic, andBiochemistry to provide a foundation in thetheories central to this discipline.

Just as experimentation played afundamental role in the formulation of thetheories of chemistry, it plays an integral part inlearning them. Therefore, laboratory experimentscomplement many of the seminar courses.

General Chemistry IColin D. AbernethyLecture, Open—FallChemistry is the study of the properties,composition, and transformation of matter. It iscentral to the production of the materials requiredfor modern life; for example, the synthesis ofpharmaceuticals to treat disease, the manufactureof fertilizers and pesticides required to feed anever-growing population, and the development ofefficient and environmentally benign energysources. This course provides an introduction tothe fundamental concepts of modern chemistry.We will begin by examining the structure andproperties of atoms, which are the building blocksof the elements and the simplest substances in thematerial world around us. We will then explorehow atoms of different elements can bond witheach other to form an infinite variety of morecomplex substances called compounds. This willlead us to an investigation of several classes ofchemical reactions: the processes by whichsubstances are transformed into new materialswith different physical properties. Along the way,we will learn how and why the three states ofmatter (solids, liquids, and gases) differ from oneanother and how energy may be either producedor consumed by chemical reactions. In weeklylaboratory sessions, we will perform experimentsto illustrate and test the theories presented in the

lecture part of the course. These experiments willalso serve to develop practical skills in bothsynthetic and analytic chemical techniques.

General Chemistry IIColin D. AbernethyLecture, Open—SpringThis course is a continuation of GeneralChemistry I. We will begin with a detailed studyof both the physical and chemical properties ofsolutions, which will enable us to consider thefactors that affect both the rates and direction ofchemical reactions. We will then investigate theproperties of acids and bases and the role thatelectricity plays in chemistry. The course willconclude with introductions to nuclear chemistryand organic chemistry. Weekly laboratorysessions will allow us to demonstrate and test thetheories described in the lecture segment of thecourse. Prerequisite: General Chemistry I

Environmental ChemistryMali YinOpen—FallThis course provides an introduction to the basicconcepts of chemistry and their application tocurrent environmental issues. Topics include acidrain, ozone depletion, air pollution, globalwarming, and surface water and groundwaterpollution. We will then consider how humanactivities such as transportation, energyproduction, and chemical industries influence theenvironment.

Physical Chemistry ResearchSeminarColin D. AbernethyIntermediate, Small seminar—YearChemists are always trying to make newmolecules or devise better ways of making usefulones. They do this partly out of curiosity andpartly because new chemical compounds areneeded in every aspect of our lives—frompharmaceuticals to novel materials such asceramics and semiconductors. To be successful, achemist needs to understand both how and whychemical reactions occur. Physical chemistrydescribes the bonding in molecules, howmolecules interact, what factors determinewhether a reaction is favorable or not, and whatthe outcome of a particular reaction will be. Inthis course, we will explore the tools andconcepts of physical chemistry that are requiredto enable us to think like research chemists. In so

18 Chemistry

doing, we will develop an overview of chemicalprocesses and an understanding of themechanisms of chemical reactions. In seminar,we will discuss topics such as quantummechanics, thermodynamics, spectroscopy, andthe “curly arrows” of organic reactionmechanisms. In the laboratory, we will synthesizenew chemical compounds, determine theirstructures, and explore their reactivity. During thespring semester, we will present our findings atregional and national scientific meetings andconferences. This course will be useful for bothpremed students and those who wish to develop afuller and deeper understanding of the physicaland biological sciences. Prior study of chemistryor permission of the instructor is required.

Organic ChemistryMali YinIntermediate—YearThis yearlong course is a systematic study of thechemistry of carbon compounds. Introductorytopics include bonding, structure, properties,reactions, nomenclature, stereochemistry,spectroscopy, and synthesis of organiccompounds from a functional group approach.More advanced topics include reactionmechanisms, chemistry of aromatic compounds,carbonyl compounds, and biomolecules such ascarbohydrates and amino acids. In the laboratory,students learn the basic techniques used in thesynthesis, isolation, and identification of organiccompounds. Prerequisite: General Chemistry orits equivalent.

BiochemistryMali YinAdvanced—SpringBiochemistry is the chemistry of biologicalsystems. This course will introduce students tothe basic principles and concepts of biochemistry.Topics will include the structure and function ofbiomolecules such as amino acids, proteins,enzymes, nucleic acids, RNA, DNA, andbioenergetics. This knowledge will then be usedto study the pathways of metabolism.Prerequisites: Organic Chemistry and GeneralBiology.

Classics

Classics course offerings at Sarah LawrenceCollege include ancient Greek and Latin at the

beginning, intermediate, and advanced levels, aswell as literature courses in translation. Beginninglanguage students acquire the fundamentals ofancient Greek or Latin in one year and beginreading authentic texts. Intermediate andadvanced students refine their language skillswhile analyzing specific ancient authors, genres,or periods.

Ancient Greek and Roman insights anddiscoveries originated Western culture andcontinue to shape the modern world. Ancientartists and writers still inspire the greatest artistsand writers of today. Greek and Roman ideasabout politics, drama, history, and philosophy (toname just a few) broaden 21st-centuryperspectives and challenge 21st-centuryassumptions. Classical languages and literatureencourage thoughtful, substantive participation ina global, multicultural conversation and cultivateskills necessary for coping with both failure andsuccess. Because it is multidisciplinary, classicalliterature adapts easily to students’ interests andrewards interdisciplinary study. Classics coursescontribute directly to the College’s uniqueintegration of the liberal arts and creative arts, asdeveloping writers and artists fuel their owncreative energies by encountering the work ofingenious and enduring predecessors. The studyof Classics develops analytical reading andwriting skills and imaginative abilities that arecrucial to individual growth and essential forcitizens in any functioning society.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

First-Year Studies: Amid the Tears andLaughter: The Political Art of AncientGreek Tragedy and Comedy (p. 66), EmilyKatz Anhalt Greek (Ancient), Latin

Beginning Greek (p. 46), Emily Katz AnhaltGreek (Ancient), Latin

Intermediate/Advanced Latin: Livy and Ovid:Foundations and Transformations (p. 62),Emily Katz Anhalt Greek (Ancient), Latin

Beginning Latin (p. 62), Samuel B. Seigle Greek(Ancient), Latin

Intermediate/Advanced Latin: Livy and Ovid:Foundations and Transformations (p. 62),Emily Katz Anhalt Greek (Ancient), Latin

The Greco-Roman World: Its Origins, Crises,Turning Points, and FinalTransformations (p. 71), Samuel B. SeigleGreek (Ancient), Latin

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First-Year Studies: Amid the Tears andLaughter: The Political Art of AncientGreek Tragedy and Comedy (p. 66), EmilyKatz Anhalt Greek (Ancient), Latin

How Stories Define Us: Greek Myths and theInvention of Democracy (p. 0), Emily KatzAnhalt Greek (Ancient), Latin

Computer Science

What is computer science? Ask 100 computerscientists, and you will likely receive 100different answers. One possible, fairly succinct,answer is that computer science is the study ofalgorithms: step-by-step procedures foraccomplishing tasks formalized into very precise,atomic (indivisible) instructions. An algorithmshould allow for a task to be accomplished bysomeone who or something that does not evenunderstand the task. In other words, it is a recipefor an automated solution to a problem.Computers are tools for executing algorithms.(Not that long ago, “computer” referred to aperson who computed!)

What are the basic building blocks ofalgorithms? How do we go about findingalgorithmic solutions to problems? What makesan efficient algorithm in terms of the resources(time, memory, energy) that it requires? Whatdoes the efficiency of algorithms say about majorapplications of computer science such ascryptology, databases, and artificial intelligence?Computer science courses at Sarah LawrenceCollege are aimed at answering questions such asthose. Sarah Lawrence computer science studentsalso investigate how the discipline intersects otherfields of study, including mathematics,philosophy, biology, and physics.

Privacy vs. Security in aNetworked WorldMichael SiffLecture, Open—SpringThe Internet was developed at the height of theCold War as a way to maintain a robustcommunication system in the event of a nuclearattack. It is ironic, then, that the same technologymay put us at risk of 21st-century security threatssuch as electronic surveillance, aggregation andmining of personal information, andcyberterrorism. In this lecture, we contrastdoomsday myths popularized by movies such asWar Games with more mundane scenarios suchas total disruption of electronic commerce. Along

the way, we address questions such as: Doesmodern technology allow people to communicatesecretly and anonymously? Can a few individualsdisable the entire Internet? Can hackers launchmissiles or uncover blueprints for nuclear powerplants from remote computers on the other side ofthe world? We will also investigate othercomputer security issues, including spam,computer viruses, and identity theft. Meanwhile,with our reliance on cell phones, text messages,and electronic mail, have we unwittingly signedourselves up to live in an Orwellian society? Orcan other technologies keep “1984” at bay? Ourgoal is to investigate if and how society can strikea balance so as to achieve computer securitywithout substantially curtailing rights to freespeech and privacy. Along the way, we willintroduce the science of networks and describethe underlying theories that makes the Internet atonce tremendously successful yet so challengingto regulate. A substantial portion of the coursewill be devoted to introductory cryptology—thescience (and art) of encoding and decodinginformation to enable private communication. Wewill conclude with a discussion on how cutting-edge technologies such as quantum cryptographyand quantum computing may impact the privacyof electronic communications in the near future.Group conferences will include a mix of seminar-style debates over privacy rights and hands-onlaboratories in which students will experimentwith network simulators and code-making andcode-breaking software.

A Liberal Artist's Guide toWeb DesignMiguel BermudezOpen—FallIn 2007, Google proclaimed that the Web "is theplatform." Since then, this platform has arguablybecome the most important medium ofcommunication on the planet. On the Web, onecan easily book a plane ticket, share a story,photos or a movie with millions, video chat, paybills, find a job, become famous (or infamous),maybe even topple a business or two. In short,change the world. Though the core Webinteraction is simple, an incredible level ofsophistication and scale have been built around it.In this class, students will learn to design andimplement Web pages ranging from portfolios tonarratives, leveraging the "platform" usingHTML, CSS and Javascript. Along the way wewill discuss some of the history behind the Web,the push for standards and the evolution of tools

20 Computer Science

and techniques that drive its success. We willlearn about client-server architectures; and thedifferences between client-side and server-sideWeb programming. We will consider when itmakes sense to design from the ground up andwhen it might be more prudent to make use ofexisting libraries and frameworks rather than toreinvent the wheel. We will also discuss theaesthetics of Web design - why are some pageselegant (even art) when others are seem clunky,loud, difficult to use, or worse yet - boring. Wewill also learn how to pair a particular designwith the message being conveyed. And we willattempt to discern between principles of Webdesign that are timeless and those which areflavors of the month. While the course will impartvery practical skills, its larger aim is to betterunderstand and appreciate the import, limitationsand possibilities of the Web in the context of aliberal arts seminar.

Is the Singularity Near?James MarshallOpen—FallSomething profound is happening on planetEarth. The past 100 years have witnessed themost rapid and far-reaching technologicaladvances in human history. Think of the world of1913 as compared to the world of 2013. Backthen, automobiles, flying machines, andtelephones were curiosities only recentlyinvented; television, space travel, computers,mobile phones, and the Internet were unimaginedand still decades in the future. What of the next100 years? A number of serious, highly respectedscientists and scholars believe that the relentlesslyaccelerating pace of technological change overthe next few decades will transform our humancivilization into something radically different,almost unrecognizable—an event that will markthe beginning of a new “posthuman” era inevolutionary history. This event, often called theSingularity, will be driven by advances inmolecular biology, genetic engineering,nanotechnology, and machine intelligence. RayKurzweil, a well-known technologist and AIpioneer, has argued that the transition frombiologically-based to technologically-basedevolution is natural and inevitable and will bringenormous benefits to society. Others, taking amore pessimistic view of the human future, warnof the increasing risk of self-extinction posed bythe development of ever more-powerfultechnologies and worry that our genes may havefinally outsmarted themselves. How realistic is

the Singularity scenario, and just how seriouslyshould we take these ideas? In this course, wewill explore these questions in depth, focusing inparticular on developments in computationalintelligence and on placing these ideas within thelarger context of human and cosmic evolution.

The Way of the Program: AnIntroduction to ComputerScienceJames MarshallOpen—FallThis course is an introduction to computerscience and the art of computer programmingusing the elegant, yet easy-to-learn, programminglanguage Python. Students will learn theprinciples of problem solving with a computerwhile gaining the programming skills necessaryfor further study in the discipline. Throughout thecourse, we will emphasize the power ofabstraction and the benefits of clearly written,well-structured programs. We will begin withbasic procedural programming and work our wayup to object-oriented concepts such as classes,methods, and inheritance. Along the way, we willexplore the fundamental concepts of algorithmsand their efficiency, binary representations ofdata, digital logic, and recursion. Other topicsinclude introductory computer graphics, fileprocessing, sorting and searching algorithms,basic data structures (such as lists, dictionaries,and binary trees), and some principles of gamedesign and implementation. Weekly laboratorysessions will reinforce the concepts covered inclass through extensive hands-on practice at thecomputer.

Introduction to CreativeComputingCalli HigginsOpen—SpringInterested in learning how to code but not surewhere to start? This introductory course isdesigned for individuals with little-to-noprogramming experience. Through weeklycreative assignments, students will learn theprinciples of problem solving with a computerwhile mastering the fundamentals ofprogramming (variables, conditionals, iteration,functions, and objects). These tools are the basicbuilding blocks of programming needed to createcutting-edge graphics applications, includingvideo games, interactive art, live videoprocessing, and data visualizations. When

THE CURRICULUM 21

designing our applications, we will spend timeconsidering the needs of the user to create asmooth and intuitive experience. The easy-to-use,Java-based “Processing” programmingenvironment is the primary vehicle for the class.The final weeks of the semester will take on aworkshop format to support the development of afinal project utilizing more advanced techniquessuch as image processing, computer vision, anddata parsing.

DatabasesMichael SiffOpen—SpringA modern database system is a collection ofinterrelated facts recorded on digital media and aset of computer programs to access those facts. Inthe 21st century, databases have becomeubiquitous via the Web and “cloud computing” tothe point where users may not even realize wheretheir data is stored, how it is accessed, and whohas access to it. This course attempts to shed lighton why and how our society has become sodependent on information-processing byexamining software (and to a lesser extenthardware) techniques that lead to the efficientstorage and retrieval of information. We willillustrate these principles by designing databasesusing open-source platforms (such as MySQL)and by designing Web sites to manipulate thosedatabases using client-side technologies (such asHTML, CSS, Javascript, and AJAX) and server-side programming languages (such as PHP andPython). Major topics include relational databasedesign, query languages (such as SQL, XQuery,and XSLT), the object-relational model, ACIDproperties, and the client-server paradigm. Timepermitting, we will discuss the rise of “big data”and modern “Web-scale” concepts such asNoSQL and Google’s Big Table. Each studentwill be responsible for designing andimplementing a Web-accessible databaseapplication of her or his choosing, using open-source database software and a Web-applicationprogramming language such as PHP, Python, orRuby. Students will work on their projectsthroughout the course and will demonstrate themto rest of the class at the close of the semester.We will also consider Web-applicationframeworks such as Ruby on Rails and Django.In addition to regular reading assignments, therewill be several problem sets and shortprogramming assignments. There will also be amore substantial programming assignment usedto illustrate issues pertaining to the practical

implementation of database systems. Suggestedconference topics include data mining, databaseprivacy, geographic information systems (GIS),and the implementation of a miniature databasesystem. Permission of the instructor is required.Students should be familiar with the basics ofHTML and have at least one semester ofprogramming experience.

The Soul of the Machine: AnIntroduction to ComputerArchitectureMichael SiffIntermediate—FallThe focus of this course is on the selection andinterconnection of components to create acomputer. There are two essential categories ofcomponents in modern computers: the hardware(the physical medium of computation) and thesoftware (the instructions executed by thecomputer). As technology becomes morecomplex, the distinction between hardware andsoftware blurs. We will study why this happens,as well as why hardware designers need to beconcerned with the way software designers writeprograms and vice versa. Along the way, we willlearn how computers work from higher-levelprogramming languages—such as Java, Python,and C—down to the basic zeroes and ones ofmachine code. Topics include Boolean logic,circuit design, computer arithmetic, assemblylanguage, machine code, memory hierarchies, andparallel processing. Time permitting, we willinvestigate the relationship between energyconsumption and the rise of multicore and mobilearchitectures. Permission of the instructor isrequired. Students should have at least onesemester of programming experience, preferablyin C, C++, Java, or Python.

Data Structures andAlgorithmsJames MarshallIntermediate—SpringIn this course, we will study a variety of datastructures and algorithms that are important forthe design of sophisticated computer programs,along with techniques for managing programcomplexity. We will use Java—a strongly typed,object-oriented programminglanguage—throughout the course. Topics coveredwill include types and polymorphism, arrays,linked lists, stacks, queues, priority queues,heaps, dictionaries, balanced trees, and graphs,

22 Computer Science

along with several important algorithms formanipulating these structures. We will also studytechniques for analyzing the efficiency ofalgorithms. The central theme tying all of thesetopics together is the idea of abstraction and therelated notions of information hiding andencapsulation, which we will emphasizethroughout the course. Weekly lab sessions willreinforce the concepts covered in class throughextensive hands-on practice at the computer.Students should have at least one semester ofprogramming experience in an object-orientedlanguage such as Python, Java, or C++.

Dance

The Sarah Lawrence College Dance programpresents undergraduate students with an inclusivecurriculum that exposes them to vital aspects ofdance through physical, creative, and analyticalpractices. Students are encouraged to studybroadly, widen their definitions of dance andperformance, and engage in explorations of formand function.

Basic principles of functional anatomy are atthe heart of the program, which offers classes inmodern and postmodern contemporary styles,classical ballet, yoga, Feldenkrais: AwarenessThrough Movement®, and African dance.Composition, improvisation, contactimprovisation, Labanotation, dance history, musicfor dancers, dance and camera, teachingconference, lighting design/stagecraft, andperformance projects with visiting artists roundout the program

Each student creates an individual programand meets with advisers to discuss overallobjectives and progress. A yearlong series ofcoordinated component courses, including a dailyphysical practice, constitute a Dance Third. Inaddition, all students taking a Dance Thirdparticipate at least once each semester inmovement training sessions to address theirindividual needs with regard to strength,flexibility, alignment, and coordination, as well asto set short- and long-term training goals.

A variety of performing opportunities forundergraduate and graduate students are availablein both informal and formal settings. Althoughprojects with guest choreographers are frequent, itis the students’ own creative work that is thecenter of their dance experience at the College. Inorder to support the performance aspect of the

program, all students are expected to participatein the technical aspects of producing concerts.

We encourage the interplay between theatre,music, visual arts, and dance. Music Thirds andTheatre Thirds may take dance components withthe permission of the appropriate faculty.

In the interest of protecting the well-being ofour students, the Dance program reserves theright, at our discretion, to require any student tobe evaluated by Health Services.

Prospective and admitted students arewelcome to observe classes.

First-Year Studies in DancePeggy GouldFYSThe Dance program encourages first-yearstudents to study aspects of dance in an integratedand vital curriculum of technical movementpractices, improvisation, and dance history. Intechnical practice classes such as Contemporaryand Ballet, emphasis is placed on developingawareness of space and time, use of energy,articulation of form through sensation, andbuilding strength and control with anunderstanding of functional anatomy. InImprovisation, structured activities form aframework for investigating the properties ofmovement in the context of experience andperformance. Goals include honing perceptiveand communicative skills, exploring movementinstincts and appetites, and constructing a viablefoundation from which to work creatively. InDance History, students will explore the historyof concert dance in the United States from theearly 20th century to the present. First-yearStudies in Dance seminar provides students withan additional weekly forum to expand analyticalskills, both oral and written, for communication,independent research, and study. We willconsider and cultivate critical perspectives ondance as an art form through movement studies,class exercises, discussion, reading, writing, andoral presentation, building skills in each of thoseareas throughout the year. In sum, thesecomponents are designed to encourage individualinvestigation and development of communitycentered on dance.

Dance/MovementFundamentalsMerceditas Mañago-AlexanderYearThis class is an introduction to the basicprinciples of contemporary and ballet practices.

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The fundamentals class will develop skills basicto all movement studies, such as dynamicalignment through coordination and integration ofthe neuro/skeletal/muscular system, strength,balance, and basic spatial and rhythmicawareness.

Modern and Post-ModernPracticeEmily Devine, Peter Kyle, MerceditasMañago-Alexander, Gwen WelliverIn these classes, emphasis will be on thecontinued development of basic skills, energyuse, strength, and control relevant to theparticular style of each teacher. At all levels,attention will be given to sharpening eachstudent’s awareness of time and energy and todisciplining the body to move rhythmically,precisely, and in accordance with soundanatomical principles. Intermediate and advancedstudents will study more complex movementpatterns, investigate somatic use, and concentrateon the demands of performance.

BalletBarbara ForbesYearAt all levels, ballet studies will guide students increative and expressive freedom by enhancing thequalities of ease, grace, musicality, and symmetrythat define the form. To this end, we will explorealignment with an emphasis on anatomicalprinciples and enlist the appropriateneuromuscular effort needed to dance withoptimal integration of every aspect of theindividual body, mind, and spirit. Students mayenter this yearlong course in the second semesteronly with permission of the instructor.

Dance Training ConferenceLiz RodgersYearStudents will meet with the instructor at leastonce per semester to address individual dancetraining issues. We will examine these issues bydiscussing progress, specific challenges, andshort-term and long-term goals. In addition, wewill develop practical strategies to achieve thosegoals by means of supplemental strength,flexibility, kinesthetic awareness, andcoordination exercises. This course is required forall students taking a Dance Third. It is designed to

support the work being done in movementpractice classes, concerts, and performanceprojects.

ImprovisationPeggy GouldYearMerge your mind and body in the momentthrough dance improvisation. This invaluablecreative mode will help you recognize, embody,and develop sensations and ideas in motion.Internal and external perceptions will be honedwhile looking at movement from many points ofview—as an individual or in partnership withothers. Beginning Improvisation is required forall students new to the Dance program. This classis an entry into the creative trajectory that laterleads to composition and dance making. Otherimprovisation classes are recommended forstudents who have already taken BeginningImprovisation and want to explore this formfurther.

Experimental ImprovisationEnsembleKathy Westwater, John A. YannelliSpringThis class explores a variety of musical and dancestyles and techniques, including freeimprovisation, chance-based methods,conducting, and scoring. We will collaborativelyinnovate practices and build scores that extendour understanding of how the mediums of danceand music relate to and with one another. Howthe body makes sound and how sound moves willserve as entry points for our individual and groupexperimentation. Scores will be explored with aneye toward their performing potential. Theensemble is open to composer-performers,dancers, performance artists, and actors. Musicstudents must be able to demonstrate proficiencyin their chosen instrument. All instruments(acoustic and electric), voice, electronicsynthesizers, and laptop computers are welcome.Permission of the instructors is required.

Contact ImprovisationKathy WestwaterFallThis course will examine the underlyingprinciples of an improvisatory form predicated ontwo or more bodies coming into physical contact.Contact Improvisation, which emerged in the1960s out of the Judson Experimental Dance

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Theatre, combines aspects of social and theatricaldance, bodywork, gymnastics, and martial arts.We will explore movement practices that enhanceour sensory awareness, with an emphasis onaction and physical risk taking. Contemporarypartnering skills, such as taking and giving weightand finding a common “center,” will provide abasis for further exploration.

CompositionSara Rudner, Emily DevineMovement is the birthright of every human being.These components explore movement’sexpressive and communicative possibilities byintroducing different strategies for makingdances. Problems posed run the gamut fromconceptually driven dance/theatre to structuredmovement improvisations. These approaches varydepending on the faculty. Learn to mold kineticvocabularies of your own choice and incorporatesound, objects, visual elements, and text tocontextualize and identify your vision. Studentswill be asked to create and perform studies, directone another, and share and discuss ideas andsolutions with peers. Students are not required tomake finished products but to involve themselvesin the joy of creation. Beginning Improvisation iseither a prerequisite or should be taken at thesame time. This course will be taught by Ms.Rudner in the fall, and Ms. Devine in the spring.

Dance MakingSara Rudner, Kathy Westwater, EmilyDevine, John A. Yannelli, WilliamCatanzaroYearIndividual choreographic projects will bedesigned and directed by seniors and graduatestudents with special interest and experience indance composition. Students and faculty willmeet weekly to view works-in-progress and todiscuss relevant artistic and practical problems.Whenever possible, the music for these projects,whether new or extant, will be performed live inconcert. Dance Making students are encouragedto enroll in Lighting Design and Stagecraft forDance. Prerequisites: Dance Composition, Musicfor Dancers, and permission of the instructor.

Senior SeminarSara RudnerYearThis class is designed to support the creative andtechnical practices, as well as the practical

concerns, of students in their senior year. It willalso serve as a forum for discussions of artpractices in other media and the nature of thecreative process. Choreographic projects will bepresented and discussed in seminar and inconference.

Anatomy in ActionPeggy GouldYearHow is it possible for humans to move in themultitude of ways that we do? Learn to developyour X-ray vision of the human being in motionin a course that combines movement practice,drawing, lecture, and problem solving. In thiscourse, movement is the vehicle for explorationof our profoundly adaptable anatomy. In additionto making drawings as we study the entiremusculoskeletal system, we will learn IreneDowd’s Spirals™, a comprehensive warm-up/cool-down for dancing that coordinates all jointsand muscles through their fullest range of motion.Insights gained in this course can providetremendous inspiration in the creative process.Students may enter this yearlong course in thesecond semester only with the permission of theinstructor.

Anatomy SeminarPeggy GouldAdvanced—YearThis is an opportunity for advanced students whohave completed Anatomy I to pursue their studyof anatomy in greater depth. Each student willresearch a topic or topics in which functionalanatomy plays a significant part. We will meetweekly to discuss questions and shareexperiences.

YogaPatti BradshawYearThis course offers students the opportunity tostudy the ancient art of yoga. Classes emphasizethe union of spirit, mind, and body throughpractices that include breathing techniques,vocalizations, and postures (asanas). By offeringclear principles of biomechanical alignment andbalance, the practice develops integrated strengthand flexibility and helps dancers interweavetechnique and artistry.

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Feldenkrais: AwarenessThrough Movement®Barbara ForbesYearMoshe Feldenkrais believed that rigidity, mentalor physical, is contrary to the laws of life. Hissystem of somatic education develops awareness,flexibility, and coordination as students areverbally guided through precisely structuredmovement explorations. The lessons are donelying on the floor, sitting, or standing andgradually increase in range and complexity.Students are required to bring their full attentionto their experience in order to develop theircapacity for spontaneous, effortless action. Self-generated learning will release habitual patterns,offer new options, and enhance the integratedactivity of the entire nervous system.

African DanceMelissa AlexisYearIn this class, students will explore thefundamental aesthetic of African dance. Therewill be an emphasis on work to internalize theintricacies of African polyrhythm. Students willspend time exploring the cultural meaning andimportance of grounding, strength, and stability,which are essential to the form. Learning Africandance exposes students to the meaning of dancein African culture. This class also builds personalawareness, as it transcends cultural boundaries.Classes will be accompanied by live drumming.Students may enter this yearlong course in thesecond semester only with permission of theinstructor.

Dance and CameraCatherine WeisFallWhen technology and the human body becomepartners, who leads? In this course we willinvestigate the blending of movement andtechnology in performance. Why do you look at ahuge screen onstage when the live person isstanding there beside it? What makes us look atone thing over another? By refining ourawareness of how we see, we become moresophisticated choreographers and more articulateperformers. Students will be encouraged todevelop two perspectives—of performer and ofviewer—and to discuss their findings.Technology is such a part of our everyday life,it’s like breathing. We never stop to think about

it. But when technology is used on stage as anequal partner with the performer, our habits ofseeing are disrupted; breaking those habits oftenlets us discover something new. This coursecelebrates the imagination. Students will beencouraged to work with simple materials such ascameras and projectors as tools for performanceor to harness technology to make liveperformance more eloquent. Each week, the classwill be making sketches to be performed andviewed. At times, dances from the 1980s bypeople like Steve Paxton and Ishmael HoustonJones will be conjured up and viewed.

Dance HistoryRose Anne Thom, Marjorie FolkmanYearThis is a course in the history of performance inthe United States from the early 20th century tothe present, as exemplified by the dancers,choreographers, and teachers who brought aboutnotable changes in the art. The relationship ofdance to the larger cultural environment will bediscussed, with emphasis placed on the dance ofour time. This course is designed to help thestudent relate his or her own work to thedevelopment of the art and to encourage creativecritical perception. This course is for all studentsbeginning the Dance program. It will be taughtby Ms. Thom in the fall and Ms. Folkman in thespring.

Labanotation/RepertoryRose Anne ThomFallThis course will cover elementary andintermediate levels of Laban’s system ofmovement notation. Students will concentrate oncorrect observation and analysis of movement,writing facility, and the ability to read andperform authentic, historical dance forms.Reconstruction and performance of a notatedwork from the modern dance or ballet repertoirewill be the culmination of the students’ work.

Teaching ConferenceRose Anne Thom, Emily DevineAdvanced—YearThis course is an inquiry into the ways in whichdance might be taught in various settings todifferent populations. The detailed study ofkinesthetic, verbal, and creative factors inteaching will be presented and analyzed in termsof teaching objectives. Students will be placed as

26 Dance

practice teachers, under supervision, in danceclasses on campus and in community schools.Students may enter this yearlong course in thesecond semester only with permission of theinstructor. The course will be taught by Ms. Thomin the fall and Ms. Devine in the spring.

Lighting Design and Stagecraftfor DanceBeverly Emmons, Kathy KaufmannYearThe art of illuminating dance is the subject of thiscomponent. We will examine the theoretical andpractical aspects of designing lights for dance.Students will create original lighting designs forDance program concerts. Preference will be givento seniors and graduate students.

Dance MeetingDance FacultyYearThis is a regular gathering of all Dance Thirds inwhich we share ongoing student interests andinvite guests to teach, perform, and inform.Topics have included dance injuries, dancetherapy, kinesthetic awareness, nutrition, worlddance forms, and presentations by New York Citychoreographers.

Performance ProjectJodi MelnickFallThe focus of this class is an ongoing awareness ofthe dancers’ facility while experiencing andassimilating new ideas and qualities. We willconcentrate on efficient, articulate sequences,musicality and phrasing, nuance and gesture, withboth set material and improvisatory modalities.We aim to sharpen the viewing eye when lookingat movement detail. As the course progresses, wewill focus on the creative process ofchoreography, developing new work along theway and driven by our deepened physicalexperience. Throughout the semester, we willcontinue to have a dialogue about dance, dance-making, and the dancing body.

Performance Project:Memories, Present Moments,and Movements MergeDianne McIntyreSpringIn this course, students will participate indeveloping the template for the choreography.Each will have the opportunity to share histories,experiences, fables, or current personal,community, and world issues around a selectedtheme. The instructor as the main choreographerwill employ the dancers’ input with stories andmovement ideas. The work will include studentsspeaking live or in recordings. Dance vocabularywill focus on abstract enhancement ofstorytelling; high energy contrasts; extremeclarity in lines, articulation, and momentum; andbroad use of space. Dancers will be coached toachieve hig- level performance skills, includingexpressions of the theatrical within the dance.

Design Studies

Design Studies at Sarah Lawrence College is across-disciplinary initiative that offers a variety ofanalytical approaches to the cultural act ofconstructing environments, buildings, andaesthetic, yet functional, objects. Courses inarchitectural and art history and theory, computerdesign, environmental studies, physics, andsculpture allow students to investigate—in bothcoursework and conference—a wide range ofperspectives and issues dealing with all facets ofbuilt design. These perspectives includetheoretical explorations in history and criticism,formal approaches that engage sociopoliticalissues, sustainable problem solving, and spatialexploration using both digital and analog designtools. Courses of study might include structuralengineering in physics and projects on bridgedesign that reflect these structural principles incourses on virtual architecture and sculpture; thestudy of the architecture and politics ofsustainability in class and conference work for artand architectural history and environmentalstudies; and sculpture and art history courses thatengage issues of technology, expression, andtransgression in the uses of the techniques andcrafts of construction. When coordinated withparticipating faculty, programs of study offer anexcellent preparation for further engagement in

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the fields of architecture, both theory andpractice; in digital and environmental design; andin engineering.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

Islamic Art and Society: 632-2013 (p. 9),Jerrilynn Dodds Art History

First-Year Studies: Archi/Texts: Buildings andPhilosophies, Environments andInteractions, From Periclean Athens toContemporary Los Angeles andBeyond (p. 8), Joseph C. Forte Art History

The Paradox of Painting: Pictures andPractices, Histories and Theories, inRenaissance and Baroque Art,1500-1700 (p. 9), Joseph C. Forte ArtHistory

The Way of the Program: An Introduction toComputer Science (p. 21), James MarshallComputer Science

Steampunk Physics (p. 94), Scott Calvin PhysicsClassical Mechanics (Calculus-Based General

Physics) (p. 95), Anthony Schultz PhysicsIntroduction to Mechanics (General Physics

Without Calculus) (p. 94), Daniel JohnsonPhysics

Art and Visual Perception (p. 109), ElizabethJohnston Psychology

Lineages of Utopia (p. 120), Shahnaz RouseSociology

Kinetic Sculpture with Arduino (p. 150), JasonKrugman Visual Arts

Sustainable Architecture Studio Lab (p. 153),Tishan Hsu Visual Arts

Third Screen: Playable Media for MobileDevices (p. 150), Angela Ferraiolo VisualArts

Drawing Machines (p. 150), Jason KrugmanVisual Arts

Economics

At Sarah Lawrence College, economics is nottaught as a set of techniques for working in astatic field but as an evolving discipline. In theliberal arts tradition, Sarah Lawrence studentsapproach the study of economics by addressingissues in historical, political, and cultural context.They analyze and evaluate multiple schools ofthought as they relate to actual situations,exploring from an economic perspective suchtopics as globalization, growth and social policy,

inequality, capitalism, and the environment.Students who have focused on economics havegone on to become union organizers, joined thePeace Corps, interned with United Nationsagencies, gone to law school, and enteredgraduate programs in public policy andinternational development.

Social Metrics I: Introductionto Structural Analysis in theSocial SciencesJamee K. MoududLecture, Open—FallThe course is designed for all students interestedin the social sciences who wish to understand themethodology and techniques involved in theestimation of structural relationships betweenvariables. It is designed for students who wish tobe able to carry out empirical work in theirparticular field, both at Sarah Lawrence Collegeand beyond, and critically engage empirical workdone by academic or professional socialscientists. After taking this course, students willbe able to analyze questions such as thefollowing: What effects do race, gender, andeducational attainment have in the determinationof wages? How does the female literacy rateaffect the child mortality rate? How can onemodel the effect of economic growth on carbondioxide emissions? What is the relationshipamong sociopolitical instability, inequality, andeconomic growth? How do geographic locationand state spending affect average public-schoolteacher salaries? How do socioeconomic factorsdetermine the crime rate in the United States?How can one model the US defense budget? Thecourse is split up, broadly, into three sections. Inthe first part, we will study the application ofstatistical methods and techniques in order to: a)understand, analyze, and interpret a wide range ofsocial phenomena such as those mentioned above;b) test hypotheses/theories regarding the possiblelinks between variables; and c) make predictionsabout prospective changes in the economy. Socialmetrics is fundamentally a regression-basedcorrelation methodology used to measure theoverall strength, direction, and statisticalsignificance between a “dependent” variable—thevariable whose movement or change is to beexplained—and one or more “independent”variables that will explain the movement orchange in the dependent variable. Social metricswill require a detailed understanding of themechanics, advantages, and limitations of the“classical” linear regression model. Thus, the first

28 Economics

part of the course will cover the theoretical andapplied statistical principles that underlieOrdinary Least Squares (OLS) regressiontechniques. This part will cover the assumptionsneeded to obtain the Best Linear UnbiasedEstimates of a regression equation, also known asthe “BLUE” conditions. Particular emphasis willbe placed on the assumptions regarding thedistribution of a model’s error term and otherBLUE conditions. We will also cover hypothesistesting, sample selection, and the critical role ofthe t- and F-statistic in determining the statisticalsignificance of a social metric model and itsassociated slope or “b” parameters. In the secondpart, we will address the three main problemsassociated with the violation of a particularBLUE assumption: multicollinearity,autocorrelation, and heteroscedasticity. We willlearn how to identify, address, and remedy eachof these problems. In addition, we will take asimilar approach to understanding and correctingmodel specification errors. The third part of thefall class will focus on the analysis of historicaltime-series models and the study of long-runtrend relationships between variables. No priorbackground in economics or the social sciences isrequired, but a knowledge of basic statistics andhigh-school algebra is required.

Work and Workers’Movements in the GlobalizedPolitical EconomyKim ChristensenOpen—YearWhat is the situation of workers today? How doestheir situation differ by race, gender, sexualorientation, nativity/country of origin? How haveworkers attempted to improve their status—boththrough unions and related movements andthrough lobbying for changes in governmentpolicy? And how has increased globalization(with accompanying increases in capital flightand immigration) impacted these issues? Thiscourse will address these topics from atheoretical, historical, and legal/public policyperspective, with an eye to contextualizing andunderstanding current-day labor struggles. As partof the requirements for the course, students willbe expected to engage in, and reflect upon, aservice-learning project with a New York Citylabor-related organization such as an immigrantworker center, a labor union, or an advocacyorganization.

Introduction to EconomicTheory and PolicyKim ChristensenOpen—YearEconomics has a profound impact on all of ourlives—from where we live and go to school towhat we do for a living, how we dress, how weentertain ourselves. Economics is also cruciallyintertwined with the social and political issuesthat we care about—from global warming topoverty and discrimination. This yearlong courseintroduces a variety of approaches toeconomics—including neoclassical, Keynesian,behavioralist, Marxian, and feminist—andencourages students to apply these contrastingperspectives to current economic issues. Weconclude with an exploration of the causes andconsequences of the recent financial andeconomic crisis.

Political Economics of theEnvironmentMarilyn PowerOpen—YearIs it possible to provide economic well-being tothe world’s population without destroying thenatural environment? Is sustainable developmenta possibility or a utopian dream? How do wedetermine how much pollution we are willing tolive with? Why are toxic waste dumpsoverwhelmingly located in poor, frequentlyminority, communities? Whether throughactivities such as farming, mining, and fishing, orthrough manufacturing processes that dischargewastes, or through the construction ofcommunities and roadways, human economicactivity profoundly affects the environment. Thegrowing and contentious field of environmentaleconomics attempts to analyze the environmentalimpact of economic activity and to proposepolicies aimed at balancing economic andenvironmental concerns. There is considerabledebate, with some theorists putting great faith inthe market’s ability to achieve goodenvironmental outcomes; others advocate muchmore direct intervention in defense of theenvironment; and some question the desirabilityof economic growth as a goal. Underlying thesedifferences are political economic questions ofdistribution of power and resources amongclasses and groups within the United States andacross the globe. This course will explore therange of views, with an emphasis onunderstanding the assumptions underlying their

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disagreements and on the policy implications ofthose views. The concepts will be developedthrough an examination of ongoing policy debateson issues such as air pollution and globalwarming, the decimation of the world’s fishpopulation, automobiles and the reliance onpetrochemicals, and the possibility of sustainabledevelopment.

History of Economic ThoughtMarilyn PowerIntermediate—YearAs industrial capitalism emerged as the dominanteconomic system in Europe and North America inthe 18th century, theorists sought to understandthe logic of this new way of organizingproduction and distribution. What determined theprice of goods? The wages of labor? The profitsto owners of capital? They theorized about thedynamics of the system. What caused theeconomy to grow? Would it grow unceasingly?Cyclically? Or would capitalism inevitablydecline into stagnation or collapse at some point?Theorists were also concerned with the role ofgovernment policy in this new capitalist system.Should the government actively regulate theeconomy, or should it play a minimal role andleave markets to determine outcomes withoutintervention? Should trade with other countries beregulated or free? What was the responsibility ofthe government with respect to the poor? Shouldthey be assisted? Controlled? These questionswere vigorously debated by political economistsfrom the onset of capitalism and, to this day,continue to be the focus of disagreements amongeconomists and political economists. This coursewill examine the development of economic theorythrough a focus on these debates about value,distribution, economic dynamics, and the role ofgovernment. The emphasis will be on readingauthors in the original, including Adam Smith,David Ricardo, Karl Marx, Alfred Marshall, JohnMaynard Keynes, Joan Robinson, and MiltonFriedman. Open to students with a background ineconomics, political theory, or related studies.

Social Entrepreneurship:Models for Intervention inGlobal PovertyCatherine MutherSophomore and above—FallThe term social entrepreneurship refers to anapproach to creating sustainable and scalablesocial change. This seminar will define and

explore social entrepreneurship as an emergingand dynamic field. It is not a course on how tobecome a social entrepreneur; however, studentswill gain insights into developing socialenterprises through case studies. We will examinepromise and practice with the perspective ofglobal economic scholarship and theory. What isthe potential of social entrepreneurship as acatalyst for social change? What are the barriers,limits, and constraints to achieving sustainableimpact? Focusing on global poverty provides acontext to look at social entrepreneurship as oneapproach to addressing complex and systemicproblems. Issues and controversy are part of theterrain. For example, is microcredit a sustainablestrategy for poverty alleviation and women’sempowerment, or is it a path toward deeperindebtedness for the poorest or the poor? Aremarket-based interventions more effective inreaching vulnerable populations than distributionmodels of government, aid agencies, or NGOs?What is the role of subsidy, sustainability, andprofit maximization in meeting the needs of thebottom billion? In what ways do market forcescreate tension between social mission and theeconomic viability of business models? Inaddition to analyzing the work of leadingdevelopment economists, we will look at casestudies of social enterprises in emergingeconomies as models of intervention, innovation,and social change.

Social Metrics II: FurtherTopics on Structural Analysisin the Social SciencesJamee K. MoududIntermediate—SpringThe spring semester class is a seminar and buildson the fall class by introducing students toadvanced topics in social metrics. We will studyautoregressive dependent lag (ARDL) models,co-integration, and error correction modelsinvolving non-stationary time series. We willinvestigate simultaneous equations systems,vector error correction (VEC), and vectorautoregressive (VAR) models. The final part ofthe seminar will involve the study of panel data,as well as logit/probit models. As with the fallclass, the spring class will also be very “handson” in that students will get ample exposure toconcrete issues. Mathematical derivations will bekept to a minimum, as the goal is to train studentsto do practical work in social metrics. Also likethe fall semester class, students will have to dojoint collaborative projects in addition to

30 Economics

conference work. Finally, methodological issueswill be discussed throughout the semester. Thespring semester is particularly relevant to studentswho wish to pursue graduate studies in a socialscience discipline, although it will be equallyrelevant for those seeking other types of graduatedegrees that involve knowledge of intermediate-level quantitative analysis. Prerequisite: SocialMetrics I.

Industrial Competition, LaborRelations, and SocialDemocracy: Controversies,Challenges, and ProspectsJamee K. MoududIntermediate, Advanced—SpringContemporary economists who deal with laborrelations (e.g., the analysis of wage determinationand working conditions) do not explicitly discussbusiness investment and competitive decisions,while scholars in the industrial organizationliterature (who study the business firm andcompetition) do not deal with issues surroundinglabor relations. Yet, in the real world, laborrelations and industrial organization shape eachother and the welfare state in complex ways. Thepurpose of this course is to investigate the nexusbetween these issues—in both theoretical andhistorical terms—and the implications for thedevelopment of the welfare state. The course hastwo broad parts. In the first part, we willinvestigate controversies regarding the nature ofthe business enterprise. It is part of theconventional discourse on economic policy thatfree-market competition is the key to bringingabout national wealth creation with risingstandards of living. And yet there is considerabledebate in the literature on industrial organizationtheory regarding the nature of the capitalist firmand the environment within which it grows ordies. Drawing on the classic writings ofSchumpeter, the Oxford Economists’ ResearchGroup, the Institutionalist tradition, and others,this part of the class will introduce students to awide variety of theoretical perspectives on thefirm by contrasting the textbook neoclassicaltheories of the firm with other theoreticalperspectives. In the second part of the course, wewill investigate—from both a historical and aninternational perspective—the concreteinstitutional and political contexts that have led toparticular links among business investment, laborrelations, and social policy. We are particularlyinterested in investigating the ways in whichbusiness power and preferences have shaped

social democratic (or progressive) labor andwelfare state policies in the United States,Sweden, and Germany.

This course requires some background ineconomics/social sciences and an interest inhistorically informed analysis.

Environmental Studies

Environmental Studies at Sarah LawrenceCollege is an engagement with humanrelationships to the environment through a varietyof disciplines. Sarah Lawrence’s EnvironmentalStudies program is a critical component of aliberal arts education; it is an intersection ofknowledge-making and questions about theenvironment that are based in the humanities, thearts, and the social and natural sciences. SarahLawrence students seeking to expand theirknowledge of environmental studies areencouraged to explore the interconnectionsbetween disciplinary perspectives, whiledeveloping areas of particular interest in greaterdepth. The Environmental Studies program seeksto develop students’ capacities for critical thoughtand analysis, applying theory to specificexamples from Asia, Africa, and the Americasand making comparisons across geographicregions and historical moments. Courses includeenvironmental justice and politics, environmentalhistory and economics, policy and development,property and the commons, environmental riskand the rhetoric of emerging threats, and culturalperspectives on nature, as well as courses in thenatural sciences.

Environmental Studies, in conjunction withthe Science, Technology, and Society program,offers an annual, thematically focusedcolloquium: Intersections: Boundary Work inScience and Environmental Studies. This seriesbrings advocates, scholars, writers, andfilmmakers to the College, encouragingconversations across the disciplines amongstudents, faculty, and guest speakers, as well asaccess to new ideas and lively exchanges.Students may participate in internships during theacademic year or in rural and urban settingsacross the country and throughout the worldduring the summer. Guest-study at Reed College,the Council on International EducationalExchange, the semester in environmental scienceat the Marine Biological Laboratory (WoodsHole), or other programs are available to qualified

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Sarah Lawrence students. Vibrant connectionsacross the faculty mean that students can craftdistinctive competencies while building a broadlybased knowledge of environmental issues,problems, policies, and possibilities.

Picturing NatureCharles ZernerOpen—SpringFrom the painting of prehistoric bestiaries oncave walls in Southern France to the creating ofanimated, pixilated fantasies of toxic forests byJapanese anime artists, environmental imaginingand image-making are fundamental humancapacities and activities. Representing nature is aworld-making activity. What work does nature-making do at different historical moments? Whathistorical forces precipitate changes in the waythat nature and its boundaries with the “human”are imagined? How, for example, did 18th-century English ideas of the pastoral lead to anobsession with making flat, uniform lawns inmid-20th-century America? How was natureimagery used to fashion ideas of German andEnglish nationhood and national character? Weexamine landscape aesthetics and forestmythology in Nazi Germany and the England ofRobin Hood to offer insights into this question.We also investigate how images of the enemy asinsect were used during World War II to mobilizecampaigns of total “extermination,” and howideas and images of nature lured into the Alaskanwilderness John Krakauer’s protagonist in Intothe Wild. We ask how images of the wild areproduced, mediated, and circulated in the films ofHayao Miyazaki, Walt Disney, James Cameron,Youtube videos, and US Air Force animations.The course also explores nature-making as aworld-making activity. How are images of thehuman body, as well as the “nature outside”imagined, and with what consequences? How, forexample, are images of the immune systemchanging, as ideas of park management andecology permeate medical understandings of themicrobial world as well as nature conservationpolicies? What is distinctive about the garden as ahuman invention? Meditations on gardens,forests, and farms—from the gardening of forestsin Southeast Asia and Latin America to “gardensof the homeless” in New York City—form a pathin this itinerary. What are the gardens of thefuture? And what forms of the wild do we wish tocultivate, create, or conserve?

Strategies of Visibility: Arts ofEnvironmental Resistance andCreativityCharles ZernerSophomore and above—FallMany of the lethal compounds produced bycontemporary industry and government-sponsored facilities are not accessible to thesenses. Human beings are not biologicallyequipped to sense the hazards of radioactivity;nor do they perceive, under normal circumstancesand levels of contamination, the presence ofchemical compounds or radioactive materials thatare significant causes of disease, debility, andmortality in human and nonhuman populations. Akey problem and challenge for artists, localresidents, writers, scientists, and public policyexperts, as well as for local, regional andnongovernmental environmental advocacyorganizations, is how to render “visible”—oraccessible to our senses—the nature andimmanence of these toxic and radiologicalthreats. How are individuals and organizationscreating and deploying “strategies of visibility”and “tactics of sensibility”—techniques oftranslation and mediation that engage humancapacities to perceive and respond to sensorystimuli—in order to create more fully informed,alert, and engaged publics? How do strategies ofvisibility create possibilities for awareness andempathy? What possibilities are there fordeveloping strategies of visibility that engage theaffections and perceptions of citizens in a worldof proliferating threats and images of threat? Theaesthetic project is investigated as a tactical andstrategic attempt in fashioning sensibilities,making and mobilizing publics, and equippingcitizens to respond to environmental issues.Background/course work in social sciences isrequired.

New Nature: EnvironmentalDesign in the 21st CenturyCharles ZernerAdvanced—YearThis course investigates emerging technologies,philosophies, and practices of environmentaldesign and management in the early 21st centuryfrom the level of regional landscapes to the levelof cells. What are the values, visions, andassumptions that animate contemporarydevelopments in environmental design? Whatforms of technological know-how and knowledgeproduction practices enable these developments?

32 Environmental Studies

What ethical, aesthetic, or political implicationsmight these shifts in the making of environments,organs, and organisms entail? How might webegin to make informed judgments aboutemerging form(s) of nature, environmentaldesign, and humanity? The course begins with anintroduction to debates on the nature of natureand machines in America in the 18th century,grounding discussion through examiningchanging ideas of environment, ecosystems, andequilibriums. Post-World War II ideologies ofdesign, command, and control of theenvironment, including nuclear power anddevelopments in chemistry, are examined. Wethen turn to debates on nature, communities, andconservation from the 1970s through the late1990s, from the era of “the green planet” and“rain-forest conservation.” Preoccupations withbiowarfare, genetic engineering, and humanenhancement in the post-September 11 era arekey topics. We examine contemporarydevelopments in environmental design in severaldomains, including landscape architecture;cyborg technology; simulation, mediation, andvirtual environments; and biotechnology/biowarfare. The work of bioartists and engineers,genetic engineers working for private industryand the government, as well as the work ofenvironmental networks—including the CriticalArt Ensemble, Rhizome, and the New MediaCaucus—form part of this itinerary. Attitudestoward pollution are undergoing sea changes aslandscape designers remediate toxic sites usingnatural processes and timescales. Industrialdesigners and environmental chemists arereconceptualizing the basis for resourceextraction, processing, and manufacturing. On amicro level, molecular biologists andnanoengineers are creating emergent forms oftissues and organisms for purposes of medicine,as well as for waging war. On the battlefield, thenature of war is rapidly changing. Robotic armiesunder “human control” may be the armed forcesof the future. Organisms and biochemicalprocesses are being enlisted and drafted intomilitary, as well as medical, service. At the sametime, landscape architecture is beingreconceptualized as the discipline charged withresponsibility for “imagining and saving theEarth.” A marvelous diversity of efforts atinnovative sustainable uses of energy, water, andindustrial design will be examined through texts,Web sites, films, and speakers from the ES/STSColloquium Series. Where possible, field tripswithin the New York City/New York State areawill be arranged. In New York City, for example,

community gardens, rooftop agriculture andbotanical gardens, waste treatment, andinnovative urban installations may be visited.What will constitute our planetary home in aworld of emerging, new nature(s)? What forms ofenergy, water, and toxic management are beingimagined, designed, and implemented? How areengineers, artists, architects, and agronomists, aswell as writers of science fiction and film,contributing to the formation of new nature andhuman relationships to the environment in the21st century? Background in social science, inscience, technology, and society, or in design isrequired.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

Spaces of Exclusion, Places of Belonging (p. 5),Deanna Barenboim Anthropology

Global Flows and Frictions in Southeast Asiaand Beyond (p. 5), Aurora DonzelliAnthropology

First-Year Studies: Archi/Texts: Buildings andPhilosophies, Environments andInteractions, From Periclean Athens toContemporary Los Angeles andBeyond (p. 8), Joseph C. Forte Art History

General Biology I: Cellular and MolecularBiology (p. 15), Drew E. Cressman Biology

General Biology II: Anatomy andPhysiology (p. 16), Beth Ann DitkoffBiology

Disease Ecology (p. 16), Michelle Hersh BiologyGiving, Taking, and Cheating: The Ecology of

Symbiosis (p. 17), Michelle Hersh BiologyGeneral Biology II: Organismal and

Population Biology (p. 17), Michelle HershBiology

Organic Chemistry (p. 19), Mali Yin ChemistryEnvironmental Chemistry (p. 18), Mali Yin

ChemistryPrivacy vs. Security in a Networked

World (p. 20), Michael Siff ComputerScience

Political Economics of theEnvironment (p. 29), Marilyn PowerEconomics

First-Year Studies: Introduction toInternational Development Studies: ThePolitical Ecology of Development (p. 42),Joshua Muldavin Geography

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The Geography of Contemporary China: APolitical Ecology of Reform, GlobalIntegration, and Rise toSuperpower (p. 43), Joshua MuldavinGeography

Sickness and Health in Africa (p. 55), MaryDillard History

First-Year Studies: Place, Landscape, andIdentity in the Middle East (p. 49),Matthew Ellis History

The Nonfiction Essay: Writing the Literatureof Fact, Journalism, and Beyond (p. 76),Nicolaus Mills Literature

Lineages of Utopia (p. 120), Shahnaz RouseSociology

The Political Economy of Pakistan (p. 121),Shahnaz Rouse Sociology

Filmmaking: Visions of Social Justice (p. 143),Damani Baker Visual Arts, Filmmaking,Screenwriting and Media Arts

Animation Studio: Direct Techniques (p. 145),Robin Starbuck Visual Arts, Filmmaking,Screenwriting and Media Arts

First-Year Studies: Shapes, Sizes, andSentences: First-Year Seminar inNonfiction Writing (p. 157), Vijay SeshadriWriting

Ethnic and DiasporicStudies

Ethnic Studies as an academic discipline lies atthe intersection of several increasingly powerfuldevelopments in American thought and culture.First, interdisciplinary and comparativescholarship has become so prevalent as torepresent a dominant intellectual norm. Second,the use of this new scholarly methodology tomeet new academic needs and illuminate newsubject matter has given rise to a plethora ofdiscourses—women’s studies; Native Americanstudies; African American studies; gay, lesbian,and transgender studies; and global studies. Third,and perhaps most important, there has been agrowing recognition, both inside and outsideacademia, that American reality is incorrigiblyand irremediably plural and that responsibleresearch and pedagogy must account for andaccommodate this fact.

We define Ethnic Studies, loosely, as thestudy of the dynamics of racial and ethnic groups(also loosely conceived) who have been denied, atone time or another, full participation and the fullbenefits of citizenship in American society. We

see these dynamics as fascinating in themselvesbut also feel that studying them illuminates theentire spectrum of humanistic inquiry and that afruitful cross-fertilization will obtain betweenEthnic Studies and the College’s well-establishedcurricula in the humanities, the arts, the sciences,and the social sciences.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

Migration and Experience (p. 6), DeannaBarenboim Anthropology

Spaces of Exclusion, Places of Belonging (p. 5),Deanna Barenboim Anthropology

Global Flows and Frictions in Southeast Asiaand Beyond (p. 5), Aurora DonzelliAnthropology

East vs. West: Europe, the Mediterranean, andWestern Asia from Antiquity to theModern Age (p. 9), David Castriota ArtHistory

Islamic Art and Society: 632-2013 (p. 9),Jerrilynn Dodds Art History

Personal Narratives: Identity and History inModern China (p. 13), Kevin LanddeckAsian Studies

Cultures and Arts of India (p. 13), SandraRobinson Asian Studies

Writing India: TransnationalNarratives (p. 14), Sandra Robinson AsianStudies

Images of India: Text/Photo/Film (p. 15),Sandra Robinson Asian Studies

Global Africa: Theories and Cultures ofDiaspora (p. 52), Mary Dillard History

Sickness and Health in Africa (p. 55), MaryDillard History

Ideas of Africa: Africa Writes Back (p. 54),Mary Dillard History

Gender, Education, and Opportunity inAfrica (p. 56), Mary Dillard History

Popular Culture in the Modern MiddleEast (p. 55), Matthew Ellis History

Women and Gender in the Middle East (p. 57),Matthew Ellis History

Women/Gender, Race, and Sexuality in Film:History and Theory (p. 57), Kathryn HearstHistory

Imagining Race and Nation (p. 51), KomoziWoodard History

Rethinking Malcolm X and the Black ArtsMovement: Imagination andPower (p. 55), Komozi Woodard History

34 Ethnic and Diasporic Studies

Based on a True Story? Latin AmericanHistory Through Film (p. 53), MatildeZimmermann History

The Cuban Revolution(s) from 1898 toToday (p. 56), Matilde ZimmermannHistory

African American Literature: ConstructingRacial Selves and Others (p. 69),Alwin A. D. Jones Literature

“New” World Studies: Maroons, Rebels, andPirates of the Caribbean (p. 76),Alwin A. D. Jones Literature

“New” World Literatures: Fictions of theYard (p. 77), Alwin A. D. Jones Literature

Music and/as Language: Ethnomusicology ofNorth America (p. 81), Jonathan KingMusic

Music and/as Social Identity: Ethnomusicologyof the Atlantic Coasts (p. 82), JonathanKing Music

Democracy and Diversity (p. 98), David PeritzPolitics

Home and Other Figments: Immigration,Exile, and Uprootedness (p. 105), SeanAkerman Psychology

Global Child Development (p. 109), KimFerguson Psychology

Intersections of Multiple Identities (p. 111),Linwood J. Lewis Psychology

Islam in Europe and the United States (p. 115),Kristin Zahra Sands Religion

Religion, Ethics, and Conflict (p. 116), KristinZahra Sands Religion

Warriors, Rogues, and Women in Breeches:Adventurous Lives in Early ModernTrans-Atlantic Literature: Literature inTranslation (p. 70), Esther FernándezSpanish

Filmmaking: Visions of Social Justice (p. 143),Damani Baker Visual Arts, Filmmaking,Screenwriting and Media Arts

Film History

Sarah Lawrence students approach film, first andforemost, as an art. The College’s film historycourses take social, cultural, and historicalcontexts into account; but films themselves arethe focus of study and discussion. Students seekartistic value equally in Hollywood films, artfilms, avant-garde films, and documentaries, withemphasis on understanding the intentions offilmmakers and appreciating their creativity. As avaluable part of a larger humanistic education in

the arts, the study of film often includesexploration of connections to the other arts, suchas painting and literature. Close association withthe filmmaking and visual arts departmentsenables students working in these areas to applytheir knowledge of film to creative projects. Andwithin the discipline, the study of film givesstudents insight into stylistic techniques and howthey shape meaning. Advanced courses inspecific national genres, forms, movements, andfilmmakers—both Western and non-Western—provide a superb background in thehistory of film and a basis for sound criticaljudgment. Students benefit from New York City’senormously rich film environment, in which filmseries, lectures, and festivals run on a nearlycontinuous basis.

Introduction to Film ArtMalcolm TurveyLecture, Open—FallThis lecture is designed to introduce students tothe rich art of film. We will begin by studyingcinema’s basic aesthetic features: its stylistictechniques such as editing, cinematography, andsound, as well as its major narrative and non-narrative forms. We will then consider aestheticconcepts relevant to film art such as genre andauteur. Throughout, we will watch a variety offilms from the United States and abroad thatexemplify cinema’s myriad forms and styles:mainstream and avant-garde, fiction andnonfiction, narrative and non-narrative, black-and-white and color, silent and sound. The classwill heighten students’ aesthetic appreciation ofany film by enabling them to notice and evaluatethe creative choices made by filmmakers of allkinds. We will meet twice a week; in addition,there will be two separate mandatory screeningsper week.

Cinema in the 1930sGilberto PerezLecture, Open—SpringIn the 1930s, the first decade of sound, cinemaflourished around the world. It was a great decadefor Hollywood movies, with gangster films suchas The Public Enemy and Scarface, musicals suchas 42nd Street and Swing Time, melodramas suchas Man’s Castle and Stella Dallas, political filmssuch as Mr. Smith Goes to Washington and YoungMr. Lincoln, and comedies such as City Lights,Trouble in Paradise, It Happened One Night, andThe Awful Truth. It was also a great decade forFrench and Japanese cinema: directors like Jean

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Vigo and Jean Renoir in France and KenjiMizoguchi, Yasujiro Ozu, Mikio Naruse, andHiroshi Shimizu in Japan were taking the art offilm in new directions. And in Germany and theSoviet Union, as well, some remarkable movieswere being made. In this course, we will look at arich sampling of world cinema from the 1930s.

Major FilmmakersGilberto PerezOpen—FallFilm is a collaborative art. The director, thewriter, the cinematographer, the editor, theactors...all these and several other talents cometogether to make a movie. “People are incorrectto compare a director to an author,” John Fordsaid. “If he’s a creator, he’s more like anarchitect. And an architect conceives his plansaccording to precise circumstances.” In thiscourse, we will examine the work of four majorfilmmakers and great architects of cinema: JohnFord, Kenji Mizoguchi, Jean Renoir, and LuisBuñuel. All four had long careers whosedevelopment and evolution, both stylistic andthematic, we will look into with some care.

The Horror FilmMalcolm TurveyOpen—SpringFrankenstein, Dracula, The Thing from AnotherWorld, Psycho, Night of the Living Dead, TheExorcist, The Texas Chainsaw Massacre,Halloween, Alien, Videodrome, The Silence of theLambs...these are just some of the influentialfilms we will be watching in order to study theways in which American horror films and theirmonsters have been designed to make theiraudiences feel horrified. We will pay equalattention to the creative innovations of individualfilmmakers and the conventions of the genrewithin which they work. We will examinewhether the genre reflects, if not promotes, thefears of American society and address some ofthe larger philosophical questions it raises: What,precisely, is horror? Why do we enjoy watchingfilms that make us feel ostensibly undesirableemotions such as fear and disgust—emotionswhich, in our ordinary lives, we tend to avoid?Finally, we will compare and contrast Americanand Japanese horror films, a number of whichhave recently been remade in the United States.

The DoubleGilberto PerezIntermediate—YearCharacters in fiction are often doubles of eachother, as in the strange case of Dr. Jekyll and Mr.Hyde. In this course, we will examine variousforms of the double in films from the silent era tothe present day. We will begin with The Studentof Prague, a German movie from 1913 that tellsthe story of a student haunted by his mirror imageafter he sells it to a mysterious stranger; and wewill read Otto Rank’s classic psychoanalyticstudy, The Double, which focuses on this film.Like Jekyll and Hyde or Dorian Gray and hispicture, the student of Prague and his reflectionare an example of the Gothic double, the uncannydoppelganger in the Romantic tradition. We willconsider several other examples in works by suchfilmmakers as Hitchcock, Fritz Lang, MayaDeren, Kurosawa, Antonioni, Werner Herzog,and David Lynch. But there is an older, comictradition of doubling that has to do with socialidentity—the outer rather than the inner self—andwe will also consider the comic double in worksby such filmmakers as Chaplin, Lubitsch, Ozu,Preston Sturges, Woody Allen, and Almodóvar.Besides the comic and the Gothic, there are otherkinds of doubling: the gangster father and the sonturned gangster in The Godfather, the figures ofEast and West in John Ford’s westerns, thedreamlike other selves in Buñuel’s surrealistfilms, the director impersonator in Kiarostami’sClose-Up, the husband looking for his wife andthe wife looking for her husband in Zhang KeJia’s Still Life, and the portraits of the artist inworks by such filmmakers as Cocteau,Mizoguchi, Fellini, and Tarkovsky. Anycharacters set in comparison with one anothermay be viewed as doubles; and characters can bedoubles not only of each other but also of thespectator—when we identify with a character heor she becomes, in a sense, our double—and ofthe implied author behind the work. We will lookinto figures of the author and of the spectatoramong other variants of the double in a mediumwhose images and sounds are, themselves,doublings: animated duplicates of life.

The New WavesMalcolm TurveyIntermediate—YearThe New Wave is often assumed to be a uniquelyFrench development in which, around 1960, agroup of young film critics modernizedfilmmaking in their innovative first feature films

36 Film History

that appealed to the tastes of young people asnever before. In fact, the years 1958-67 saw ahost of new cinemas emerge throughout Europeand beyond, as young filmmakers entered the filmindustry in unprecedented numbers and pioneerednew film forms and styles. This course willconsider The New Wave as an internationalphenomenon. Hence, although we will begin inFrance with the films of Godard, Truffaut,Chabrol, Resnais, and Varda, we will quicklyshift focus to young filmmakers working in othercountries in Europe in the 1960s, such asBertolucci and Pasolini in Italy, Reisz andAnderson in Great Britain, and Kluge and Straub/Huillet in Germany. We will then turn ourattention to the Young Cinema in Poland, theCzech New Wave, and the New Cinemas inYugoslavia and Hungary; we will end the firstsemester with the work of Tarkovsky andParadzhanov in the Soviet Union. We will beginthe second semester with the extraordinary filmsof Oshima, Teshigahara, Yoshida, Shinoda,Imamura, Suzuki, and other members of theJapanese New Wave before moving on to theNew Hollywood of the late 1960s, in whichfilmmakers such as Kubrick, Scorsese, andAltman combined classical Hollywood genreswith modernist innovations. Finally, we willconsider the more politicized Cinema Novo inBrazil. Throughout, we will pay attention to theinnovations of individual filmmakers, what theyshared in common, the extent to which theytransformed their film industries, and the socialand economic conditions that made theirinnovations possible. Previous study of filmhistory is a prerequisite for this class.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

The Cold War in History and Film (p. 52),Jefferson Adams History

Women/Gender, Race, and Sexuality in Film:History and Theory (p. 57), Kathryn HearstHistory

Filmmaking, Screenwritingand Media Arts

Sarah Lawrence College’s undergraduateFilmmaking, Screenwriting and Media ArtsProgram (FSMA) offers a vibrant, dynamic,

creative incubator to ignite the imagination of thenext generation of media makers. The programseeks to help students navigate the intersection ofart and technology, as they acquire the tools andskills of the discipline and develop their criticaland creative voices.

Cognizant that not every student willgraduate to be a writer, director, producer, orgame developer, the program believes that—withthe enduring power and influence of cinema,television, the Web, and social media—studentsin all fields of study benefit from media literacyand theory and an enduring understanding of theways and means of media development andproduction. The program explores a broad scopeof media making, including narrative fiction,documentary/nonfiction, experimental film,animation, cinematography, storyboarding,directing actors, as well as producing,screenwriting, writing for television, writing andproducing for the Web, writing for games, andgame development.

Interdisciplinary work across the liberal artsis encouraged, and formal and informalcollaboration among the Music, Dance, Theaterand other disciplines continue to emerge andflourish. In a creative alliance with the Theatreprogram, FSMA has begun the third year of itsinterdisciplinary, team-taught project indeveloping and producing Web series.

Our faculty and staff are all accomplished,working filmmakers, screenwriters, and mediaartists. We have an exchange program inAnimation with Cal Arts and study-abroadopportunities in film in Paris, Cuba, and in Pragueat the world famous FAMU film school. Ourever-expanding network of alums working in thefield help provide internship opportunities, aswell.

Recent graduates routinely have workrepresented at some of the world’s mostprestigious film and media festivals, andgraduates who chose to pursue advanced degreesare finding traction at the top film schools in theUnited States and abroad.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

Women/Gender, Race, and Sexuality in Film:History and Theory (p. 57), Kathryn HearstHistory

First-Year Studies: Working WithPerformance For Screenwriters andDirectors (p. 142), Doug MacHugh Theatre

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Filmmaking: Visions of Social Justice (p. 143),Damani Baker Visual Arts

Media Sketchbooks (p. 144), Robin StarbuckVisual Arts

Animation Studio: Direct Techniques (p. 145),Robin Starbuck Visual Arts

Experimental Animation: HybridImaging (p. 145), Robin Starbuck VisualArts

Screenwriting: The Art and Craft of Film-Telling (p. 146), Frederick Michael StrypeVisual Arts

Filmmaking Structural Analysis (p. 147),Frederick Michael Strype Visual Arts

Storyboard Drawing and Visualization forFilm, Animation, and InteractiveMedia (p. 145), Scott Duce Visual Arts

Drawing for Animation: Light andForm (p. 146), Scott Duce Visual Arts

The Director Prepares (p. 148), MaggieGreenwald Visual Arts

Script to Screen (p. 146), Rona Naomi MarkVisual Arts

Making the Genre Film: Horror, Sci-Fi, andFantasy (p. 148), Rona Naomi Mark VisualArts

Working With Light and Shadows (p. 143),Misael Sanchez Visual Arts

Cinematography: Composition, Color, andStyle (p. 144), Misael Sanchez Visual Arts

Writing for the Screen (p. 146), Ramin SerryVisual Arts

Digital Documentary Storytelling:Development and Process (p. 143), RicoSpeight Visual Arts

Producing for the Screen: A Real WorldGuide, Part I (p. 148), Heather WintersVisual Arts

Producing for the Screen: A Real WorldGuide, Part II (p. 149), Heather WintersVisual Arts

French

The French program welcomes students of alllevels, from beginners to students with severalyears of French. Our courses in Bronxville areclosely associated with Sarah Lawrence’sexcellent French program in Paris, and ourpriority is to give our students the opportunity tostudy in Paris during their junior or senior year.This may include students who start at the

Beginning level in their first year at SarahLawrence, provided that they fully dedicatethemselves to learning the language.

Our program in Paris is of the highest level,with all courses taught in French and with thepossibility for students to take courses (withconference work) at French universities and otherParisian institutions of higher education. Ourcourses in Bronxville are, therefore, fairlyintensive in order to bring every student to thelevel required to attend our program in Paris.

Even for students who don’t intend to goabroad with Sarah Lawrence, the French programprovides the opportunity to learn the language inclose relation to French culture and literature,starting at the Beginning level. At all levelsexcept for Beginning, students conduct individualconference projects in French on an array oftopics—from medieval literature to Gainsbourgand the culture of the 1960s, from Flaubert’sMadame Bovary to avant-garde French femaleplaywrights. On campus, the French program triesto foster a Francophile atmosphere with ournewsletter La Feuille, our French table, ourFrench ciné-club, and other francophoneevents—all run by students, along with twoFrench assistants who come to the College everyyear from Paris.

In order to allow students to study Frenchwhile pursuing other interests, students are alsoencouraged, after their first year, to takeadvantage of our Language Third and Language/Conference Third options that allow them tocombine the study of French with either anotherlanguage or a lecture on the topic of their choice.

During their senior year, students may alsothink about applying to the English assistantshipprogram in France, which is run by the FrenchEmbassy in Washington D.C. Every year, SarahLawrence graduates are admitted to this selectiveprogram and spend a year in France, working inschools for the French Department of Education.

Bienvenue!

Advanced Beginning French:From Language to LiteratureBrian Kilgo-KellyOpen—YearThis course is designed for students who havestudied some French in the past but wish toreview the fundamentals before venturing into thestudy of complex literary texts in French. Thecourse will be divided into two parts. The firstsemester will focus mainly on an intense, fast-paced revision of language skills: vocabulary,

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grammar, syntax, idioms. Students will writemultiple short essays and participate inconversation and oral activities in class. We willalso engage with various kinds of documents inFrench (songs, movies, texts, etc.). The secondsemester of the course will continue this work onlanguage but will shift the focus more towardliterature and literary discussions. Conferenceswill be individual, allowing students to pursuetheir interests in any area of French andfrancophone literatures and cultures. In additionto conferences, a weekly conversation sessionwith a French language assistant(e) is required.Attendance at the weekly French lunch table andFrench film screenings are highly encouraged.Students who have successfully completed abeginning and an intermediate level Frenchcourse may be eligible to study in Paris withSarah Lawrence College during their Junior year.Admission by placement test (to be taken duringinterview week at the beginning of the fallsemester). Course conducted in French.

Beginning French: Languageand CultureEric Leveau, Michelle LeeOpen—YearAn introduction to French using the multimedia“Débuts” system (textbook/two-part workbook/full-length movie, Le Chemin du retour), thisclass will allow students to develop an activecommand of the fundamentals of spoken andwritten French. In both class and groupconferences, emphasis will be placed on activitiesrelating to students’ daily lives and to French andfrancophone culture. The textbook integrates aFrench film with grammar study, exposingstudents to the spoken language from the verybeginning of the course. Other materials mayinclude French songs, cinema, newspaper articles,poems, and short stories. Group conferencesreplace individual conference meetings for thislevel, and a weekly conversation session with aFrench language assistant(e) is required.Attendance at the weekly French lunch table andFrench film screenings are both highlyencouraged. Students who successfully completea beginning and an intermediate-level Frenchcourse may be eligible to study in Paris withSarah Lawrence College during their junior year.Course conducted in French. There will be twosections offered: the first by Mr. Leveau; thesecond by Ms. Lee.

Intermediate French I: FrenchIdentities From Jeanne d’Arcto ZidaneEric LeveauIntermediate—YearThis course will offer a systematic review ofFrench grammar and is designed to strengthenand deepen students’ mastery of grammaticalstructures and vocabulary. Students will alsobegin to use linguistic concepts as tools fordeveloping their analytic writing. More than othercountries, France’s identity was shaped bycenturies of what is now perceived by the Frenchas a historically coherent past. It is not surprising,then, that the 15th-century figure of Jeanne d’Arcis today the symbol of the extreme right wingparty of Le Pen, which has gained a significantinfluence in France in the last 30 years. Thisphenomenon can be seen, in part, as a reaction tothe changing face of France’s society asexemplified by the French “Black-Blanc-Beur”soccer team that Zidane led to victory in theWorld Cup in 1998. In this course, we willexplore the complexities of today’s Frenchidentity or, rather, identities by following themost contemporary controversies that haveshaken French society in the past 20 years while,at the same time, exploring historical influencesand cultural paradigms at play in these “débatsfranco-français.” Thus, in addition to newspapers,online resources, recent movies, and songs, wewill also study masterpieces of the past inliterature and in the arts. Topics discussed willinclude, among others, school and laïcité, cuisineand traditions, immigration and urban ghettos,women and feminism in France, French love, theheritage of French Enlightenment (les Lumières),“devoir de mémoire,” and the relation of Francewith dark episodes of its history (slavery, Régimede Vichy and Nazi occupation, Algerian war).Authors studied will include Marie de France,Montaigne, Voltaire, Hugo, Flaubert, Proust,Colette, Duras, Césaire, Djebar, Chamoiseau, andBouraoui. In addition to conferences, a weeklyconversation session with a French languageassistant(e) is required. Attendance at the weeklyFrench lunch table and French film screenings areboth highly encouraged. The Intermediate I and IIFrench courses are specially designed to helpprepare students for studying in Paris with SarahLawrence College during their Junior year.Admission by placement test to be taken duringinterview week at the beginning of the fallsemester or completion of Beginning French.Course conducted in French.

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Intermediate French INiamh DugganIntermediate—YearThis course will offer a systematic review ofFrench grammar and is designed to strengthenand deepen students’ mastery of grammaticalstructures and vocabulary. Students will developtheir analytical and creative writing skills inFrench through essays and rewrites. TheIntermediate French I and II courses are speciallydesigned to help prepare students for studying inParis with Sarah Lawrence College during theirjunior year. Admission by placement test to betaken during interview week at the beginning ofthe fall semester or completion of BeginningFrench. Course conducted in French.

Intermediate French II: TheWriting of Everyday Life inFrench 20th-CenturyLiteratureJason EarleIntermediate—YearThis Intermediate II French course is designed forstudents who already have a strong understandingof the major aspects of French grammar andlanguage but wish to develop their vocabularyand their grasp of more complex aspects of thelanguage. Students are expected to be able toeasily read more complex texts and to expressthemselves more abstractly. A major part of thecourse will be devoted to the study and discussionof literary texts in French. “Question yoursoupspoons”: In this challenge to his readers,Georges Perec summed up, in his unique manner,a particular strain of 20th-century French letters,one that seeks to turn literature’s attention awayfrom the extraordinary, the scandalous, and thestrange toward an examination of the ordinarymakeup of everyday life. This course willexamine some of the aesthetic and theoreticalchallenges that the representation of the quotidianentails. Does the everyday hide infinite depths ofdiscovery, or does its value lie precisely in itssuperficiality? How do spaces influence ourexperience of everyday life? How can (andshould) literature give voice to experiences andobjects that normally appear undeserving ofattention? How does one live one’s gender on aneveryday basis? Can one ever escape fromeveryday life? We will review fundamentals ofFrench grammar and speaking and develop toolsfor analysis through close readings of literarytexts. Students will be encouraged to develop

tools for the examination and representation oftheir own everyday lives in order to take upPerec’s call to interrogate the habitual. Readingswill include texts by Proust, Breton, Aragon,Leiris, Perec, Queneau, Barthes, the Situationists,Ernaux, and Calle. The Intermediate I and IIFrench courses are specially designed to helpprepare students for studying in Paris with SarahLawrence College during their junior year.Admission by placement test to be taken duringinterview week at the beginning of the fallsemester or by completion of Intermediate FrenchI (possibly Advanced Beginning for outstandingstudents). Course conducted in French.

Intermediate III/AdvancedFrench: Proust: A ReadingGuideLiza GabastonIntermediate, Advanced—YearAs scholars and Proust lovers will be celebratingthe centennial of the publication of Du côté dechez Swann this fall (the first volume of À larecherche du temps perdu was published onNovember 14, 1913 by Grasset), this course willoffer an exciting opportunity to discover (orrediscover) an author who is often considered,somewhat paradoxically, as both unapproachableand too canonical—a daunting “classic” whoseprolixity and intricate prose have discouragedmany who often haven’t even tried to read him.Our main purpose will be to challenge thismisconception and lift these barriers, providingthe tools that will help reveal a different Proustfar from the cliché of the precious, overanalyticalesthete; rather, an audacious and, at times,scandalous and incredibly funny writer whoprofoundly renewed the form of the novel andhad a lasting impact on 20th- and 21st-centuryliterature well beyond France’s borders. Whilereading extensive excerpts from Du côté de chezSwann, we will deepen our understanding of thecontext in which Proust was writing by exploringcontemporary works of fiction (Gide andRadiguet, for example, but also Virginia Woolfand James Joyce), as well as theoretical texts onthe novel and its “crisis” by writers such as PaulValéry, André Breton, Nathalie Sarraute, andSamuel Beckett. Once called an author “betweentwo centuries,” Proust will offer the perfectvantage point from which to understand themetamorphosis of the French novel between theearly 1800s and the late 1990s. The course willinclude a review of the finer points of Frenchgrammar, based on the texts that will be read in

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class. Students will improve their writing skillsthrough regular exercises and assignments. Theywill also develop tools for literary analysis andwill be introduced to the French essay format.Course conducted entirely in French.

Another course offered in a related discipline thisyear is listed below. A full description of thecourse may be found under the appropriatediscipline.

First-Year Studies: Modern Myths ofParis (p. 67), Jason Earle

Games, Interactivity, andPlayable Media

Games, Interactivity, and Playable Media spansofferings in visual arts, film and media, andcomputer science to foster technical and digitalliteracy in the arts. Designed for experimentation,this initiative helps students establish digitalproficiency while supporting the exploration of awide range of new media forms and technologies.Courses of study might include visualprogramming, artificial intelligence, gaming,robotics, experimental animation, computer arts,experimental media design, data visualization,real-time interactivity, digital signal processing,cross-platform media environments, and mobilemedia development. Students are encouraged tocoordinate these project-based investigations ofthe digital throughout their studies in thehumanities, including literature, philosophy,politics, sociology, theatre, and writing.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

The Way of the Program: An Introduction toComputer Science (p. 21), James MarshallComputer Science

The Soul of the Machine: An Introduction toComputer Architecture (p. 22), MichaelSiff Computer Science

Is the Singularity Near? (p. 21), James MarshallComputer Science

Privacy vs. Security in a NetworkedWorld (p. 20), Michael Siff ComputerScience

New Media Literacies (p. 70), Una ChungLiterature

Media Sketchbooks (p. 144), Robin StarbuckVisual Arts, Filmmaking, Screenwriting andMedia Arts

Animation Studio: Direct Techniques (p. 145),Robin Starbuck Visual Arts, Filmmaking,Screenwriting and Media Arts

Experimental Animation: HybridImaging (p. 145), Robin Starbuck VisualArts, Filmmaking, Screenwriting and MediaArts

Storyboard Drawing and Visualization forFilm, Animation, and InteractiveMedia (p. 145), Scott Duce Visual Arts,Filmmaking, Screenwriting and Media Arts

Concepts in Sculpture (p. 153), Rico GatsonVisual Arts

Digital Imaging Techniques (p. 154), ShamusClisset Visual Arts

Kinetic Sculpture with Arduino (p. 150), JasonKrugman Visual Arts

Machines As Material (p. 154), Joe WinterVisual Arts

Things and Beyond (p. 153), Tishan Hsu VisualArts

Third Screen: Playable Media for MobileDevices (p. 150), Angela Ferraiolo VisualArts

Drawing Machines (p. 150), Jason KrugmanVisual Arts

Geography

Geography is a fundamentally interdisciplinaryfield, often seen as straddling the natural andsocial sciences and increasingly drawing upon thearts and other forms of expression andrepresentation. For these reasons, Sarah LawrenceCollege provides an exciting context, as thecommunity is predisposed to welcomeGeography’s breadth and interdisciplinaryqualities. Geography courses are infused with thecentral questions of the discipline. What is therelationship between human beings and “nature”?How does globalization change spatial patterns ofhistorical, political, economic, social, and culturalhuman activities? And how do these patternsprovide avenues for understanding ourcontemporary world and pathways for the future?

Two seminars are taught on a regular basis:Introduction to Development Studies: ThePolitical Ecology of Development and TheGeography of Contemporary China and Its Placein a Globalizing World Economy. In addition, alecture course, Food, Agriculture, Environment,

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and Development, provides students anopportunity to investigate these issues and theirconnections both in lecture and in groupconference activities that include debates andspecial presentations.

As a discipline built on field study, studentsin Geography classes participate in fieldtrips—most recently, for example, to farmingcommunities in Pennsylvania but also toManhattan’s Chinatown, where students engageaspects of Chinese culture in walks through thecommunity that expose the heterogeneity ofChina through food, art, religion, and language,while simultaneously clarifying the challengesfacing recent immigrants and legacies ofinstitutions imbued with racism that are carvedinto the built environment. That is one of theoverarching goals of contemporary geography: toinvestigate the ways that landscape and placeboth reflect and reproduce the evolvingrelationship of humans to each other and to theirenvironments.

First-Year Studies:Introduction to InternationalDevelopment Studies: ThePolitical Ecology ofDevelopmentJoshua MuldavinFYSIn this yearlong seminar, we will begin byexamining competing paradigms and approachesto understanding “development” and the “ThirdWorld.” We will set the stage by answering thequestion: What did the world look like 500 yearsago? The purpose of this part of the course is toacquaint us with and to analyze the historicalorigins and evolution of a world politicaleconomy of which the “Third World” is anintrinsic component. We will thus study thetransition from feudalism to capitalism, the rise ofmerchant and finance capital, and thecolonization of the world by European powers.We will analyze case studies of colonial“development” to understand the evolvingmeaning of this term. These case studies will helpus assess the varied legacies of colonialismapparent in the emergence of new nations throughthe fitful and uneven process of decolonizationthat followed. The next part of the course willlook at the United Nations and the role that someof its associated institutions have played in thepost-World War II global political economy, onemarked by persistent and intensifyingsocioeconomic inequalities, as well as frequent

outbreaks of political violence across the globe.By examining the development institutions thathave emerged and evolved since 1945, we willattempt to unravel the paradoxes of developmentin different eras. We will deconstruct themeasures of development through a thematicexploration of population, resource use, poverty,access to food, the environment, agriculturalproductivity, and different development strategiesadopted by Third World nation-states. We willthen examine globalization and its relation toemergent international institutions and theirpolicies; for example, the IMF, World Bank, andWTO. We will then turn to contemporarydevelopment debates and controversies thatincreasingly find space in theheadlines—widespread land grabbing bysovereign wealth funds, China, and hedge funds;the “global food crisis”; and the perils of climatechange. Throughout the course, our investigationsof international institutions, transnationalcorporations, the role of the state, and civilsociety will provide the backdrop for the finalfocus of the class: the emergence of regionalcoalitions for self-reliance, environmental andsocial justice, and sustainable development. Ouranalysis of development in practice will drawupon case studies primarily from Africa but alsofrom Asia, Latin America and the Caribbean, andthe United States. Conference work will beclosely integrated with the themes of the course,with a two-stage substantive research projectbeginning in the fall semester and completed inthe spring. Project presentations will incorporatea range of formats, from traditional papers tomultimedia visual productions. Where possibleand feasible, you will be encouraged to doprimary research during fall study days andwinter and spring breaks.

Fixed Cities: Excavating theUrban FutureStephen McFarlandIntermediate—YearThis course draws on readings in urbangeography, city planning, sociology, and politicaleconomy to come to grips with the complexforces shaping the development of Americancities. We will begin by familiarizing ourselveswith foundational studies of the processes andpower structures that form the urban landscape.We will go on to examine the historical trajectoryand contemporary contours of urban issues, suchas racial segregation, inequality, housing,gentrification, environmental justice, downsizing,

42 Geography

and urban sprawl. In our discussions andconference projects, we will wrestle with theopportunities and constraints facing reformersand urban social movements and will exploreprogressive, radical, and utopian visions of asocially just and sustainable urban future.

Critical Cartography:Mapping for Social andEnvironmental JusticeStephen McFarlandIntermediate—SpringThis course is an introduction to the theory andpractice of digital mapmaking. Using theCollege's newly created GIS (GeographicInformation Systems) lab, we will examinehistorical and contemporary uses of maps bysocial movements, community organizations, andadvocacy groups in areas includingenvironmental justice, racial segregation, incomeinequality, public health, mass incarceration, foodsecurity, solidarity economies, labor organizing,surveillance, militarism, and politicalboundarymaking. We will reflect on maps asanalytical and ideological artifacts and delve intotheir power to illuminate (and mystify) social andspatial relationships. Through a series of labassignments, students will become proficient withthe basic functions of the ArcGIS softwarepackag and familiar with fundamental principlesof cartographic design. Conference projectsconnected to the real-world work of social andenvironmental justice groups will be facilitatedand encouraged.

The Geography ofContemporary China: APolitical Ecology of Reform,Global Integration, and Rise toSuperpowerJoshua MuldavinIntermediate—SpringDespite widespread daily reporting on China’srise to superpower status, and both its challengeto and necessary partnership with the UnitedStates, what do we really know about thecountry? In this seminar, we will explore China’sevolving place in the world through political-economic integration and globalization processes.We will begin with an overview of contemporaryChina, discussing the unique aspects of China’smodern history and the changes and continuitiesfrom one era to the next. We will explore

Revolutionary China and the subsequent socialistperiod to ground the seminar’s focus: post-1978reform and transformation to the present day.Rooted in the questions of agrarian change andrural development, we will also study seismicshifts in urban and industrial form and China’semergence as a global superpower on its way tobecoming the world’s largest economy. We willanalyze the complex intertwining of theenvironmental, political economic, andsociocultural aspects of these processes as weinterpret the geography of contemporary China.Using a variety of theoretical perspectives, wewill analyze a series of debates: Is there afundamental conflict between the environmentand rapid development? What is the role of thepeasantry in the modern world? What is theimpact of different forms of state power andpractice? How does globalization shape China’sregional transformation? And, on the other hand,how does China’s integration impactdevelopment in every other country and region ofthe world? Modern China provides immenseopportunities for exploring key theoretical andsubstantive questions of our time. A product firstand foremost of its own complex history, othernation-states, and international actors andinstitutions such as the World Bank, transnationalcorporations and civil society have also heavilyinfluenced China. The “China model” of rapidgrowth is widely debated in terms of its efficacyas a development pathway and yet defies simpleunderstandings and labels. Termed everythingfrom neoliberalism to market socialism toauthoritarian Keynesian capitalism, it is a modelfull of paradoxes and contradictions. Not least ofthese is its impact on global climate change.Other challenges include changing genderrelations, rapid urbanization, and massive internalmigration. In China today, contentious debatescontinue on land reform, the pros and cons ofglobal market integration, the role of popularculture and the arts in society, how to defineethical behavior, the roots of China’s socialmovements— from Tian’anmen to currentwidespread social unrest and discontent amongworkers, peasants, students, andintellectuals—and the meaning and potentialresolution of minority conflicts in China’shinterlands. Land and resource grabs in China andabroad are central to China’s rapid growth androle as an industrial platform for the world, butresulting social inequality and environmentaldegradation challenge the legitimacy of China’sleadership like never before. As China bordersmany of the most volatile places in the

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contemporary world and increasingly projects itspower to the far corners of the planet, we willconclude our seminar with a discussion ofsecurity issues, geopolitics, and potentialscenarios for China’s future. Throughout theseminar, there will be comparisons with otherareas of the world within the context of thebroader theoretical and thematic questionsmentioned above. Weekly selected readings,films, mass media, and books will be used toinform debate and discussion. A structuredconference project will integrate closely with oneof the diverse topics of the seminar. Someexperience in the social sciences is desired but notrequired.

German

As the official language of the Federal Republicof Germany, Austria, Liechtenstein, and portionsof several other European countries—and withlinguistic enclaves in the Americas andAfrica—German is today the native tongue ofclose to 120 million people. For advanced-degreeprograms in fields such as art history, musichistory, philosophy, and European history,German is still a required language. And whetherthe motivation for study is business, culture,travel, friendship, or heritage, a knowledge ofGerman can add inestimable depth to a student’slandscape of thought and feeling.

Students should ideally plan to studyGerman for at least two years. First- and second-year German aim to teach students how tocommunicate in German and acquire grammaticalcompetency through exercises that both demandaccuracy and encourage free expression. Whileconference work in Beginning German consists ofintensive grammar work with the Germanassistant (both group and individual conferences),intermediate-level students work on their culturalcompetency by reading German literature (fairytales, novellas, poems) and working on class,group, or individual research projects (e.g.,writing a short story or screenplay in German,exploring German cities online, readingnewspaper articles on current events). AdvancedGerman is a cultural studies seminar. Studentssolidify their cultural competency by studyingGerman history and culture from the late 18thcentury to the present. A special emphasis isplaced on 20th-century German history andculture, including contemporary Germanliterature and film.

Many German students spend a semester oryear studying in Germany. Students have theopportunity to take a 5-week summer seminar inBerlin (6 credits). Those students will take aGerman Cultural Studies seminar, with anemphasis on the history and culture of Berlin, anda class in art/architecture, dance, or the Germanlanguage (taught at Neue Schule in Berlin).

Beginning GermanRoland DollingerOpen—YearThis course concentrates on the study ofgrammar, vocabulary, and pronunciation in orderto secure the basic tools of the German language.Through grammar exercises in class, dialogues,and short compositions, students will learn thefundamental skills to speak, read, and write inGerman. This class will meet three times (90minutes) per week: twice with Mr. Dollinger andonce with Ms. Mizelle, who will also meet withstudents individually or in small groups foran extra conference. Course materials include thetextbook, Neue Horizonte, along with a workbookand a graded German reader that will allowstudents to start reading in German after the firstweek. We will cover at least 12 chapters from thetextbook—all of the basic grammar andvocabulary that students will need to know inorder to advance to the next level. There will beshort written tests at the end of each chapter.Students will also learn basic facts aboutGermany today.

Intermediate GermanRoland DollingerIntermediate—YearThis course stresses speaking, reading, andwriting German and a thorough review ofGerman grammar. Its aim is to give students morefluency and to prepare them for a possible junioryear in Germany. Readings in the fall will consistof fairy tales, short stories, poems, and threenovellas by the Austrian writer Stefan Zweig.Students will give several oral presentations (on afairy tale, on a German city, on a German artist orintellectual). In the spring semester, we will useIm Spiegel der Literatur, a collection of shortstories written by some of the most famousGerman writers such as Thomas Mann andBertolt Brecht. A solid grammar review, based onthe book German Grammar in Review, will helpstudents improve their speaking and writingskills. Regular conferences with Ms. Mizelle willsupplement class work. Prerequisite: Beginning

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German at Sarah Lawrence College or anotherinstitution of higher learning or at least foursemesters of German in high school.

Contemporary GermanLiterature and Film Since 1989Roland DollingerAdvanced—FallIn this seminar, we will focus on ContemporaryGerman Literature and Film since the fall of theBerlin Wall in 1989. As we read plays, prosefiction, and essays by writers such as SvenRegener, Thomas Brussig, Ingo Schulze,Christian Kracht, Clemens Meyer, Maxim Biller,Bernhard Schlink, Judith Hermann. Doris Dörrie,and Zafer Senocak, we will give special attentionto: (1) social and cultural conflicts in Germany inthe wake of German reunification; (2) howGerman writers deal with the double burden ofNational Socialism and East Germancommunism; and (3) “existential” questionsfacing ordinary Germans today. We will alsowatch several famous films—such as Amkuerzeren Ende der Sonnenallee, Das Leben derAnderen, Good-bye Lenin, and Barbara—thatwill introduce us both humorously and tragicallyinto the life of Germans behind the “IronCurtain.” This course consists of three equallyimportant components: Students will have oneseminar with Mr. Dollinger, who will discuss theclass materials with them in German; one seminarwith Ms. Mizelle, who will work with studentscollectively on various grammar and vocabularyissues; and one biweekly individual conferencewith Mr. Dollinger. Students must demonstrateadvanced language skills during registration inorder to be permitted into this class. Seminarconducted entirely in German.

18th- and 19th-CenturyGerman Literature:Classicism, Romanticism, andBeyondRoland DollingerAdvanced—SpringIn this seminar, we will study and analyze someof the most famous German texts from severalliterary eras: Storm and Stress, GermanClassicism, German Romanticism, and 19th-century German Realism. Students will beintroduced to canonical plays, novels, shortstories, and poems by Lessing, Schiller, Goethe,Kleist, Tieck, Eichendorff, Droste-Hülshoff,Hauptmann, and Thomas Mann. Students will

examine questions of genre (e.g., Whatconstitutes a novella?), literary era (e.g., What dowe mean when we speak of a “Romantic” text?),and historical and social developments inGermany since the late 18th century. But we willalso deal with with the “existential,” emotional,and philosophical conflicts that torment theliterary characters that we study in these works.Students need very good reading skills for thisclass, which consists of three equally importantcomponents: (1) Students will have one seminarwith Mr. Dollinger, who will discuss the classmaterials with them in German; (2) one seminarwith Ms. Mizelle, who will work with studentscollectively on various grammar and vocabularyissues; and (3) one biweekly individualconference with Mr. Dollinger. Students mustdemonstrate advanced language skills duringregistration in order to be permitted into thisclass. Seminar conducted entirely in German.

Global Studies

Global processes, exchanges, and movementshave remapped the contemporary world. GlobalStudies courses seek to provide a coherent criticalframework within which to study suchincreasingly fluid cultural and national crossings.Global Studies faculty members working in thedisciplines of Asian studies, history, and literaturehave been engaged in rethinking previousassumptions about history and cartography. Theircourses tend to reframe familiar histories, as wellas to uncover unfamiliar routes of humaninteraction. These classes adopt interdisciplinaryapproaches that help bring to light historicconcerns that otherwise might be renderedinvisible.

Examples of Global Studies offeringsinclude courses on the intersection of culturessurrounding the Mediterranean; overlappingcolonial and postcolonial histories of Europe,Africa, Asia, and Latin America; linked PacificRim cultures—for example, shared historiesamong peoples from the western coast of theAmericas, the Philippines, and Japan; intertwinedhistories and literatures of Africa and theAmericas in light of the concept of a BlackAtlantic; and homologous literatures and historiesof native peoples from different geographicregions.

For course descriptions, see Asian Studies,History, and Literature.

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Greek (Ancient)

The Sarah Lawrence College Classics programemphasizes the study of the languages andliterature of ancient Greece and Rome. Greek andLatin constitute an essential component of anyhumanistic education, enabling students toexamine the foundations of Western culture andexplore timeless questions concerning the natureof the world, the place of human beings in it, andthe components of a life well lived. In studyingthe literature, history, philosophy, and society ofthe ancient Greeks and Romans, students come toappreciate them for themselves, examine thecontinuity between the ancient and modernworlds, and, perhaps, discover “a place tostand”—an objective vantage point for assessingmodern culture.

In their first year of study, students acquireproficiency in vocabulary, grammar, and syntax,with the aim of reading accurately and withincreasing insight. Selected passages of ancientworks are read in the original languages almostimmediately. Intermediate and advanced coursesdevelop students’ critical and analytical abilities,while exploring ancient works in their literary,historical, and cultural context. Conferenceprojects provide opportunities for specializedwork in areas of interest in classical antiquity.Recent conference projects have included closereadings of Homer’s Iliad, Aristophanes’ Clouds,Pindar’s Odes, Plato’s Republic, Cicero’s deAmicitia, the poetry of Catullus, and Virgil’sAeneid, as well as studies of modern theories ofmyth, Nietzsche’s Birth of Tragedy in connectionwith the tragedies of Aeschylus, Sophocles, andEuripides, the social implications of Romandomestic architecture, and a comparison ofEuripides’ Hippolytus with Racine’s Phèdre.

Greek and Latin will be especially beneficialfor students interested in related disciplines,including religion, philosophy, art history,archaeology, history, political science, English,comparative literature, and medieval studies, aswell as education, law, medicine, and business.Greek and Latin can also prove valuable to allthose who wish to enrich their imagination in thecreative pursuits of writing, dance, music, visualarts, and acting.

Beginning GreekEmily Katz AnhaltOpen—YearThis course provides an intensive introduction toAncient Greek grammar, syntax, and vocabulary,

with the aim of being able to read the language assoon as possible. By mid-semester in the fall,students will be reading authentic excerpts ofAncient Greek poetry and prose. Students willalso read and discuss several dialogues of Plato inEnglish. During the spring semester, whilecontinuing to refine their grammar and readingskills, students will read extended selections ofPlato’s Apology in the original Greek.

Intermediate GreekSamuel B. SeigleIntermediate—YearThis course has two aims: to develop thestudent’s ability to read Greek intelligently andfluently and to give the student a generalunderstanding of Greek history and literature. Theauthors to be read will be determined at the timeof registration.

Advanced GreekSamuel B. SeigleAdvanced—YearThis course has two aims: to extend the student’sability to read classical Greek and to deepen thestudent’s appreciation of the literary traditions ofthe Greeks. The authors to be read will bedetermined at the time of registration.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

First-Year Studies: Amid the Tears andLaughter: The Political Art of AncientGreek Tragedy and Comedy (p. 66), EmilyKatz Anhalt Classics, Latin

The Greco-Roman World: Its Origins, Crises,Turning Points, and FinalTransformations (p. 71), Samuel B. SeigleClassics, Latin

Health, Science, andSociety

Health, Science and Society is a cluster ofundergraduate and graduate courses, programs,and events that addresses the meaning of healthand illness, advocacy for health and health care,and structures of medical and scientificknowledge. Courses and events aremultidisciplinary, bringing together perspectives

46 Greek (Ancient)

from the humanities, creative arts, social sciences,and natural sciences. Undergraduate students whoare interested in health, science, and society areencouraged to take courses across the curriculumand to design interdisciplinary conferenceprojects.

Over the past 25 years, as health and diseasehave been examined from social, economic,political, and historical perspectives, there hasbeen an increased awareness of the ways in whichdefinitions of disease are framed in relation to thevalues, social structures, and bases of knowledgeof particular communities. Globalization hasrequired us to understand health and disease ascrucial international issues, and environmentalhealth is increasingly seen to be a matter of policythat has significantly differential effects ondifferent populations. Public talks and events areregularly scheduled to bring togetherundergraduate and graduate faculty and studentsto consider these questions of health, medicine,and scientific knowledge from a broad variety ofperspectives.

This focus of study may be of interest tostudents interested in the health professions,including premed, nursing, or allied professionssuch as physical therapy, allowing them tocombine courses in the natural sciences withexplorations of the social sciences, arts, andhumanities. Similarly, students in the arts andhumanities who are interested in health andillness may find that incorporating science andsocial science into their educational programenables them to achieve a greater depth ofunderstanding and expression in their work.

Health, Science and Society offersundergraduate students the unique opportunity totake advantage of Sarah Lawrence College’snationally recognized graduate master’s programsin Human Genetics and Health Advocacy, boththe first such graduate programs offered in thecountry. Events and programs are alsocoordinated with the graduate programs in Art ofTeaching and Child Development and incollaboration with the Child DevelopmentInstitute.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

First-Year Studies: Brain and Behavior (p. 15),Leah Olson Biology

Introduction to Genetics (p. 16), Drew E.Cressman Biology

Biology of Cancer (p. 17), Drew E. CressmanBiology

Sickness and Health in Africa (p. 55), MaryDillard History

Disabilities and Society (p. 121), Sarah WilcoxSociology

Medical Technologies (p. 121), Sarah WilcoxSociology

History

The History curriculum covers the globe. Mostcourses focus on particular regions or nations, butofferings also include courses that transcendgeographical boundaries to examine subjects suchas African diasporas, Islamic radicalism, orEuropean influences on US intellectual history.Some courses are surveys—of colonial LatinAmerica, for example, or Europe since WorldWar II. Others zero in on more specific topics,such as medieval Christianity, the Cubanrevolution, urban poverty and public policy in theUnited States, or feminist movements andtheories. While history seminars center onreading and discussion, many also train studentsin aspects of the historian’s craft, includingarchival research, historiographic analysis, andoral history.

Forgery, Lies, and Deceptionin the History of the MiddleAgesMichael PeixotoOpen—SpringThe issue of forgery is central to many of themost important aspects of medieval history. Someof the foundational documents relating to themedieval growth of the papacy were forgeriesthat were not discovered until centuries later.Hundreds of landed charters, accounting for largepieces of the kingdom of England, were forged inthe immediate wake of the Norman conquest of1066. Some scholars have estimated that as manyas 50% of all documents from the Merovingianperiod were forged. In addition to these overtcases of intentional deception, medieval peoplealso struggled with the ideas of authorship,authority, and legitimacy regarding many keyelements of medieval culture. Theologicalwriting, personal letters, religious objects, andnarrative chronicles all posed issues of truth andfalsehood for medieval people. This class willstudy the intellectual, cultural, and social history

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of medieval forgery and ideas of veracity. Wewill examine famous forged documents such asthe Donation of Constantine, the use of historicalchronicles as a source for political propaganda,the legitimacy of relics and miracles, and thecorrespondence with the imaginary Eastern king,Prester John. The material of the class willexplore many of the most important events of theMiddle Ages: the coronation of Charlemagne, thefirst crusade, the affair of Abelard and Heloise,and the Trial of the Templars, among others. Theclass will question the search for legitimacy inhistorical writing and explore the uses of fake andoutright untrustworthy material. The strategies forthe critical interpretation and use of phony anddeeply biased sources will prove valuable inanalyzing almost any historical material and,consequently, conference papers on any medievaltopic will be welcome. This course does notrequire any previous knowledge of medievalhistory and is open to all students interested in theperiod.

Medieval EconomiesMichael PeixotoOpen—FallThe Middle Ages were a time of dramaticeconomic change in Europe. Between the ninthand the fourteenth centuries, a primarily agrarianeconomy based on the values of land and laborgrew into a commercial one based on theexchange of currency. This change, however,was not absolute. Throughout the Middle Ages,diverse economic realities existedsimultaneously. Silver mined in central Asiapermeated European trade even as some localcommunities became more isolated anddecentralized. Money was used to purchasespiritual rewards just as much as market goods.In this course we will study how medieval peopledefined, measured, and allocated valuableresources. We will begin and end the class with alook at long-distance trade and the European rolein pre-modern global commerce. Out initial uniton global trade will consider the Pirenne thesisand the question of what happened to trade in theEarly Middle Ages. The final unit will examinethe expansion of the European role in globalcommercial systems in the fourteenth century,immediately before and after the spreading of theBlack Death. In the intervening weeks we willexamine various agrarian and urban economiclandscapes. We will read sources on fiefallocation, forest management, gifts to saints,beer-brewing, anti-Judaism, intentional poverty,

guilds, and public ceremonies. By the completionof the course, students should have a betterunderstanding of the complexities of medievalcommerce in all its forms.

The Evolution of HumanRights LawMichael GranneLecture, Open—SpringOne need not look far for examples of a state’ssickening treatment of its citizens. Recent historygives us Syria; a longer view includes theHolocaust and many other examples. The worldhas seen pogroms, merciless religious crusades,tragic political show trials, and, unfortunately,frequent episodes of genocide. But history,especially recent history, has also yielded aregime designed to constrain these practices. Sohow can we hope to achieve a meaningfulunderstanding of the human experience withoutexamining both the wrongs and the rights?Should the human story be left to so-calledrealists, who claim that power wins out overideals every time? Or is there a logic of mutualrespect that offers better solutions? This lectureexamines the history of human rights law andhumanitarian law. Approximately half the coursewill address the long and remarkably consistenthistory of the laws of war, focusing on theprinciples of military necessity, proportionality,and discrimination, as well as the cultural,political, and technological context in which theselaws evolved. The other half will focus on therights that individuals and groups claim againsttheir own states. We will examine such importantcases as Roper v. Simmons (juvenile deathpenalty), El-Masri (“war on terror”), andSrebenica/Kritić. The readings consist of anedited book (The Laws of War: Constraints onWarfare in the Western World), a selection ofcase studies, and primary source documents,including treaties and judicial decisions. Inaddition to the conference project, students willanalyze a human rights convention and afirsthand account of their choosing. Althoughthere are no prerequisites, students would benefitfrom having taken The Contemporary Practice ofInternational Law.

48 History

The Contemporary Practice ofInternational LawMichael GranneLecture, Open—FallWhat is the value of international law in a worldthat continues to see brutal tragedies in Syria andelsewhere? Which government is the governmentof Egypt following the military coup? Caninternational law have any genuine significancewithout a means of enforcement, such as a globalpolice force and judiciary? Is it simply that“might makes right”? Or, in fact, is it true that“most states comply with most of theirobligations most of the time”? These are thecornerstone questions that define thecontemporary practice of international law. Thislecture provides an overview of international law,its substance, theory, and practice. It addresses awide range of issues, including the bases andnorms of international law, the law of war (jus adbellum and jus in bello), human-rights claims,domestic implementation of international norms,treaty interpretation, and state formation/succession. We will examine such importantcases as Nuremberg, Hamdan v Rumsfeld, andAbu Ghraib. The readings consist mainly ofhistorical case studies (International LawStories), supplemented by internationalconventions and judicial decisions. This coursealso gives students a taste of what law schoolcourses are like. Active participation is expectedand encouraged. Mock oral arguments and othersimulations form a crucial part of the experience.Each student writes a source analysis and a caseanalysis, as well as completing a majorconference project.

First-Year Studies: InventingAmerica: Cultural Encountersand American Identity,1607-1877Eileen Ka-May ChengFYS“The past is a foreign country,” T. H. Hartleyonce declared, and perhaps the past of one’s owncountry is doubly so. The present, after all,always seems inevitable. Surely the United Statesof 2013 is but the flowering of the seeds plantedso many centuries ago. This course seeks tochallenge this assertion, as we consider not onlyhow Americans in the period between 1607 and1877 differed from us but also how much theydiffered from one another. How did the early anddiverse European colonists themselves deal with

unfamiliar cultures at a time when the veryconcept of newness was alien to them? We mustnot forget that Columbus believed that he hadsimply discovered a new route to India. Asdifferent as they were from each other, neither theNative Americans who lived in North America,nor the Europeans who colonized that region, northe Africans whom the colonists imported asslaves had any intention of establishing a newnation. Consequently, in examining Americanhistory from the early 17th century to the CivilWar, the question should be not why did theUnited States divide during the Civil War but,rather, why were Americans able to unify as anation at all? In our consideration of thisquestion, we will focus on two interrelatedthemes: how these different cultures interactedwith and affected one another and howAmericans defined their identity. Who wasconsidered American, and what did it mean to bean American? What was the relationship betweenAmerican identity and other forms of socialidentity such as gender, class, race, and culture?We will address these questions by examiningmajor political, social, cultural, and intellectualdevelopments in American history from thecolonial period to the Civil War andReconstruction. Specific topics to be studied willinclude the European colonization of NorthAmerica, relations between European settlers andNative Americans, the relationship between thecolonies and Britain, the causes and effects of theAmerican Revolution, the shift to a capitalisteconomy and the advent of the IndustrialRevolution, the character and development ofslavery, and the causes and consequences of theCivil War. We will use both primary andsecondary sources, but the course will placeparticular emphasis on primary documents as partof an effort to view history from the perspectivesof historical actors themselves.

First-Year Studies: Place,Landscape, and Identity in theMiddle EastMatthew EllisFYSWhat does it mean to “belong” to a place, andhow do people’s sense of belonging affect theirworldviews? All too often, the Middle East isportrayed in Western media as a place defined byperpetual conflict and upheaval. By the sametoken, prevailing interpretations of MiddleEastern history and society tend to present theregion’s inhabitants as intensely ideological—at

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once primarily motivated by, and inured to,oftentimes violent struggle in the service of broadpolitical forces for change (of which Islamismrepresents perhaps the most commonly citedexample). In this course, we will attempt tochallenge such widespread conceptions of theMiddle East as a hyperpoliticized region byapproaching it through an entirely differentoptic—the relationship that various MiddleEastern societies have forged with the places andspaces they inhabit. How have differentenvironments and landscapes—from the SaharaDesert and the ancient and continuously occupiedcities that dot the region (such as Baghdad orDamascus) to the lush Nile valley—shaped theway that people in the region think about theiridentity? How have denizens of the Middle Eastnegotiated their local identities with broaderregional geographies, and how did the onset ofimperialism and nationalism affect this dynamic?How has a fundamental concern with place,landscape, and identity been represented in Arab,Persian, and Turkish literature and art over thecenturies? What is the proper relationshipbetween geography and history, and how can anexploration of this relationship help us makebetter sense of the experience of various MiddleEastern societies? This course will provide abroad overview of Middle Eastern history fromlate antiquity to the present, focusing throughouton people’s subjective relationships with thevaried geographies of the Middle East as itscentral framework for unpacking the region’sdiversity and complexity.

First-Year Studies: Literature,Culture, and Politics in USHistory, 1840s-2000sLyde Cullen SizerFYSThis course is premised on a series ofassumptions: First, that the public words andstories that Americans choose to tell reflect ideas,concerns, presumptions, and intentions abouttheir time period and that they do, intentionallyand unintentionally, “political work” in revealingthe world in the way that they shore up, modify,or work to change power structures. Second, thatyou, the reader, have some sense of context forthese stories (or that you will work to acquireone) and, hence, have some sense of how theyreflect the material world that they seek tochange. Novels, stories, memoirs, and criticalessays all derive from a single vantage point andneed to be understood as one voice in a larger

conversation coming from a particular time and aparticular place. Third, that these readings arelargely primary sources (always paired with asecondary source chapter, article, or introduction)and that this pairing presumes a desire on yourpart to grapple with the material of this momentyourselves and to write history as well as read it.Themes of particular significance will include theconstruction of national identity, classconsciousness, the experience and meaning ofimmigration, slavery (and particularly race), andthe political significance of gender and sexuality.In the fall, authors will include the classics andthe merely popular; for example, Margaret Fuller,Herman Melville, Frederick Douglass, KateChopin, W.E.B. Dubois, Willa Cather, ErnestHemingway, and F. Scott Fitzgerald, along withFanny Fern, Louisa May Alcott, and HoratioAlger, among others. In the spring, we will takeup authors such as Zora Neal Hurston, CarsonMcCullers, Ralph Ellison, J.D. Salinger, MaryMcCarthy, Toni Morrison, Sandra Cisneros,Maxine Hong Kingston, Dorothy Allison, GloriaNaylor, Louise Erdrich, and Thomas Pynchon.Conference projects in the fall will focus onhistory and literature to 1930; in the spring, onhistory and literature up to just yesterday.

Becoming Modern: Europefrom 1760 to 1914Philip SwobodaLecture, Open—YearWhat are the distinctive features of our “modern”civilization? A partial list would includerepresentative democracy, political parties,nationalism, religious pluralism andsecularization, mass production, rapidtechnological change, consumerism, free markets,a global economy, and unceasing artisticexperimentation. All these characteristicallymodern things became established in the 19thcentury, and most of them were pioneered byEuropeans. Yet in Europe, with its ancientinstitutions and deeply-rooted traditions, this newform of civilization encountered greaterresistance than it did in that other center ofinnovation, the United States. The resultingtensions between old and new in Europe set thestage for the devastating world wars andrevolutions of the 20th century. In this course, wewill examine various aspects of the epochaltransformation in ways of making, thinking, andliving that occurred in Europe during whathistorians call the “long 19th century”(1789–1914). We will also survey the political

50 History

history of the period and consider how thedevelopment of modern civilization in Europewas shaped by the resistance it encountered fromthe defenders of older ways. The course readingwill focus primarily on the most innovativeregions of 19th-century Europe: Britain, France,Germany, Scandinavia, and Italy; but we will alsogive some attention to the Habsburg Empire andRussia, which gave birth to some of the mostinfluential ideas and artistic trends of the 20thcentury during the three decades that precededWorld War I. In our group conferences, we willdiscuss a broad range of contemporary evidencetestifying to the changes, tensions, and conflictsof this era—from government documents,revolutionary proclamations, and political tractsto philosophical and scientific essays, fiction,plays, poetry, and works of visual art.

Imagining Race and NationKomozi WoodardLecture, Open—YearThis course will rethink the narrative of Americanurban and ethnic history up to the 21st century interms of what historian Anthony Marx called“Making Race and Nation.” At times, a nation isborn in a revolutionary war; and, at times, anation is born in the poetic, sermonic, and lyricaldreams of a national community. America is animagined national community, whose history iscontinuously reworked in poetic images that helpgenerations of American people reorder and makemeaning of this country’s dynamic chaos. Thus,an underpinning of history writing is the poeticimagination. This course explores major contoursin the long road of democratic revolution that ledto the Barack Obama White House. For centuries,a black president of the United States wasunimaginable. Far too many Americansconceived of America as a White Nation. In thatnational vision, nonwhites were thought to besegregated somewhere outside of the boundariesof full American citizenship. By exploringpainting, theatre, photography, film, andhistoriography, this course will rethink themetanarrative of American history in terms ofunfinished American revolutions attempting toremake race and nation in the modern world.

1919Persis CharlesLecture, Open—FallThe period l9l9-l920 saw the eruption ofnumerous civil disorders: riots, strikes, new socialand cultural movements, and political parties.

New patterns of production and consumptionwere also beginning. While all these wereresponses to long-established tendencies ineconomic life, in class and racial conflict, andnational liberation struggles, it is not acoincidence that so many appeared within a fewmonths of each other. They stemmed from thedisruption and trauma of the war, whichtransformed all existing trends in ways thatreverberated throughout the interwar period andbeyond. The goal of this course is to examine,from a global perspective, the possibilities forgood and ill that were opened up. It is clear, forexample, that the war disrupted major tendenciesin the socialist and workers‘ movements. TheRussian Revolution and the rise of internationalcommunism marked a break with important partsof the traditional left and seemed to some to haveestablished a vital and exciting new kind ofpolity; to others, a frightening and aggressive newenemy of civilization. We will study the debatesover the Soviet Union in the light of theseprofound disagreements. It is also clear that thewar meant new directions in world capitalism.One of the most significant was the unleashing ofAmerican economic power. We will study howdevelopments in the US oil and automotiveindustries impinged on Latin America, the MiddleEast, and Africa in the search for petroleum andrubber. At the same time, we will learn how thiseconomic buildup enabled capitalism to replicateitself through the creation of such industries asadvertising, which took on a new vitality in thisperiod. Its seductive images of individual desiresand personal fulfillment permitted it both toshadow and to rival the collective movements thatworked for social change. Conflict over socialchange occurred on many fronts. Movements ofnational liberation in the British Empire werenow placed in the context of the gradual eclipseof British power, even as Britain emergedvictorious from the war and as a major power inredrawing maps of many contested terrains.Against this background, we will look at Britishefforts to deal with popular aspirations in India,Ireland, and Palestine with the outbursts ofviolence that often characterized state action inthese matters. Other important subjects includethe movements for gender and sex equality andjustice for workers and African Americans. Theyhad to face a long-running 19th-century socialDarwinist ideology, which the war had made onlymore toxic as witness the reception given toreturning black soldiers expecting a better life, therestrictions on US immigration, and the appeal ofracism, anti-Semitism, and many other ethnic

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prejudices to wide sectors of opinion. In the fieldof sex and gender, new movements of protest andaffirmation grew up while old ones declined. Thegoal of women’s suffrage having been achieved,the suffragist style of feminism began todisappear along with its liberal, rationalist, andparliamentary values. The war had done much todestroy them in all parts of the political spectrumand had cleared the way for many new culturalphenomena, including fascism, artisticmodernism, and the emergence of a new gaypeople's consciousness, to name just a few. Citiessuch as Paris, New York, and Berlin offer casestudies of the vibrant subcultures that flourishedduring these years. Course readings and topicswill include: the John Dos Passos novel Nineteen-Nineteen; Sherwood Anderson’s Winesburg,Ohio; Rudyard Kipling’s short story MaryPostgate; Margaret McMillan’s Paris 1919 on theTreaty of Versailles; selections from Mein Kampf;literature on the steel strike of 1919 in the UnitedStates; the 1919 Amritsar Bazaar massacre inIndia; Pan-Africanism and American racialdisturbances of that year and the responses ofsuch people as Garvey and DuBois; the coming ofthe private automobile and its relationship tohighway construction, suburbanization, and theonrush of the extractive industries into Liberia,for example, searching for cheap rubber; the riseof public relations and the “engineering ofconsent,” as it was called by a founder of modernadvertising, and how it worked both in politicalpropaganda and in the sale of commodities; andthe emergence of new styles of sexual expression.For written work, students will select subjectsfrom the syllabus and explore them more deeplyin a few short essays, using extra reading inconsultation with the instructor.

The SixtiesPriscilla MuroloOpen—YearAccording to our national mythology, socialinsurgencies of the 1960s originated in the UnitedStates and pitted radical youth against theAmerican mainstream. The real story is muchmore complicated. Politically speaking, “TheSixties” began in the late 1940s and extendedwell into the 1970s. The ferment was by nomeans confined to youth, and developmentswithin the United States were following globalpatterns. Revolutionary movements and ideasreverberated from Asia and Africa to Europe andthe Americas, and they mobilized people fromvirtually all walks of life. This course will situate

US movements within their global contexts andwill focus especially on movements inspired byrevolutionary nationalism and its variouspermutations among activists addressing issues ofcolonialism, class, race, gender, and sexuality.Readings will include historical documents, aswell as scholarship; we will also make ample useof music and film.

The Cold War in History andFilmJefferson AdamsOpen—FallThe half-century conflict that developed after1945 between the United States and the SovietUnion—along with their respectiveallies—manifested itself in many differentspheres of life. This course will explore theintegral role that film played on both sides of theIron Curtain. Following an introductory survey ofthe main events of the Cold War, we will examinea series of major films (mostly in chronologicalorder), focusing on the context in which theywere made and the larger historical themes thatthey contain. Various genres—such as the rubblefilm, the thaw film, the Czech new wave, the spyfilm, the musical, and animation—are alsorepresented. A sampling of the syllabus includesThe Murderers Are Among Us, The Cranes AreFlying, On the Waterfront, Man of Marble, TheSpy Who Came in From the Cold, and GoodbyeLenin! A short written assessment is requiredafter each of the weekly screenings, andsupplementary readings will be assigned, as well,to aid our discussions. For conference, studentsare encouraged to investigate the work of anindividual director during this era, the depictionof a specific Cold War event or issue in severalfilms, or the national cinemas of countries,particularly in the Eastern bloc.

Global Africa: Theories andCultures of DiasporaMary DillardOpen—FallChanges in migration patterns, immigration laws,and refugee policies have meant that Africans areliving and working in unexpected places. Studiesof the African diaspora used to focus on thedispersion of Africans as a result of the trans-Saharan, transatlantic, and Indian Ocean slavetrades. More recent scholarship has focused onnew African diasporas: Senegambians in Harlem,Ghanaians in Germany, Nigerians in Japan. These

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modern day dispersals, powered in part by theforces of globalization, demand new levels ofanalysis by scholars. People of African descenthave made lasting contributions to the societieswhere they now live. Unfortunately, because theirpositions have historically been defined by racismand servile status, these contributions have oftenbeen appropriated, stolen, or ignored. The goal ofthis class is to bring the contributions of Africanmigrants to the forefront of intellectual discourse.We will attempt to answer the questions: Whatconstitutes the contours of the African diaspora?How have African migration patterns changedover time? What role has class, ethnicity, gender,religion, and race played in notions of return orexile? Although this is primarily a history class,we will make use of geography, sociology,anthropology, autobiography, literature, film, andmusic as sources. By the end of the semester,students will have a clearer understanding of howpresent-day African immigration patterns fit intoa larger history of voluntary, involuntary, andforced migration.

The Disreputable 16th CenturyPhilip SwobodaOpen—FallIn this course, we will examine fundamentalbeliefs about the world shared by most 16th-century Europeans and discuss the writings of anumber of 16th-century thinkers and men ofletters who challenged one or another on thesebeliefs. We will be paying particular attention tobeliefs that secular-minded modern Westernersare likely to find “disreputable”—intellectuallypreposterous, morally outrageous, or both.Almost all well-educated people in 16th-centuryEurope believed that the Earth was the center ofthe universe; that human destinies were dictated,at least to some extent, by the influence of theplanets and stars; that the welfare of theircommunities was threatened by the maleficentactivities of witches; and that rulers had a moralduty to compel their subjects to practice aparticular religion. It is a valuable exercise inhistorical imagination and human sympathy tolearn what 16th-century people believed and howthese beliefs fit together to form a coherentpicture of the world. Given the gulf between thisvision of the universe and our own, it should notbe surprising that many of the 16th-centurywriters whose names are most familiar to us todaywere “disreputable” in their own time. Weremember them because the unconventionalviews with which they scandalized their

contemporaries prefigured features of our ownoutlook. There is much to be learned about themind of the 16th century by studying the variousways in which these dissidents challenged thereceived wisdom of their age; there is also muchto be learned by considering to what extent, inspite of their intellectual daring, they continuedtaking for granted many of their society’s basicassumptions. The 16th century was the century ofthe Reformation and early Counter-Reformation.But this course is not primarily concerned withthe theological beliefs that separated Protestantsand Catholics. On the contrary, the beliefs aboutthe world that will engage our attention werecherished by virtually every respectable person,whether Catholic or Protestant, in 16th-centuryLatin Europe; and the ideas of the dissidentthinkers we will be reading were, in most cases,denounced by Protestants and Catholics alike.

Based on a True Story? LatinAmerican History ThroughFilmMatilde ZimmermannOpen—FallThis course looks at critical historical momentsand issues over five centuries of conflict andchange in Latin America through the vehicle offilm. The emphasis is on feature films created fora popular audience by Latin American directors(particularly from Brazil, Mexico, Argentina, andCuba), with a few examples of how LatinAmerica has been portrayed by filmmakers inEurope and the United States. We will look atissues of authenticity and voice, some of thepitfalls of using film to understand history, andthe role of cinema in the creation of national andpopular memory. Although most of these filmshave been analyzed on many levels, the emphasisof this particular course will be on content andsocial or political vision rather than film theory,technique, or aesthetics. The topics or epochs thatwe will examine include: the encounter/conquest,slavery and race, colonial women, nationalism,dictatorship and the disappeared, El Norte—theUnited States and Latin America, urbanindigeneity, revolution and power, revolution andculture wars, imperialism and globalization.Required readings will include historicalmonographs and primary sources, and one of thetwo weekly class meetings will be a filmshowing. There is no language prerequisite forthis course; all films are available with Englishsubtitles.

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Espionage in the 20th CenturyJefferson AdamsOpen—SpringWhat has been called the world’s second-oldestprofession truly came of age in the present era.Never before have so many countries—rangingfrom superpowers to aspiring third-worldregimes—invested such vast resources into thecreation and maintenance of permanentintelligence organizations. This course willexplore not only the reasons behind this majorhistorical development but also the differentbranches of intelligence, specificallycryptography, covert action, estimates andanalysis, and counterintelligence. Besidesexamining how espionage has influenced thelarger course of events, we will discuss the ethicaldilemma of a secret government agency operatingwithin a democratic society and the obstacles inproviding reliable intelligence for policymakers.Particular attention will be given to the Cold Warconflict, as well as to the more recent War onTerrorism. Relying on a variety of sources andapproaches, the class assignments will consist ofautobiography, historical analysis, case studies,fictionalized accounts, and film. For conference,some past topics have included the evolution ofthe Mossad, the case of the double agent RobertHanssen, the life and writings of Lawrence ofArabia, and women in the OSS.

Ideas of Africa: Africa WritesBackMary DillardOpen—SpringThe continent of Africa has been variouslydescribed as the birthplace of humanity, theMotherland, a country, a continent, and a heart ofdarkness. All of these descriptions reflectrepresentations of Africa, but how accurately dothey reflect reality? This course analyzes theintellectual history of ideas about Africa andargues that some ideas have an enduring shelflife—even when they have been consistentlyproven to be inaccurate. We will criticallyinterrogate historical and anthropological studies,travelers’ accounts, media representations, andfilms created by non-Africans. However, we willalso examine the critical responses by Africanphilosophers, novelists, academics, artists, andjournalists who have attempted to address theseimages.

In Tolstoy’s TimePhilip SwobodaOpen—SpringCount Leo Tolstoy (1828-1910) wrote what aregenerally agreed to be two of the greatest novelsof all time, War and Peace and Anna Karenina.But in addition to writing epic novels, Tolstoylived an epic life. The young Tolstoy was adissolute aristocrat who won literary fame withstories about his experiences as a soldier duringthe Crimean War. As he aged, Tolstoy becameincreasing preoccupied with spiritual questionsand with the sufferings of Russia’s peasants. Hisspiritual turmoil eventually precipitated aconversion that transformed Tolstoy into thechampion of a drastically simplified Christianityand a pioneer advocate of nonviolence who, assuch, greatly influenced Gandhi. By the end of hislife, Tolstoy was one of the world’s most famouspeople, a moral teacher who was an object ofadulation to millions inside and outside Russia.But the leaders of Russian culture, while admiringhis novels and his advocacy for the oppressed,were meanwhile articulating visions of theircountry’s future completely at odds with theprinciples for which Tolstoy stood. In thisseminar, we will study the intertwining of oneman’s biography with the history of the countrythat produced him—a country that he, in turn,portrayed with brilliant insight in his novels andstories. Students will be introduced to Tolstoy’sremarkable life and to his extraordinaryachievement as a writer. We will read and discusshis major novels and some of his smaller works.The course will also provide an introduction tothe history of Russia during Tolstoy’s longlifetime. We will examine how his Russianupbringing shaped him, how the problems ofRussian society are reflected in his novels, andhow Russians responded to the preaching andhumanitarian activism in which he engaged from1880 onwards. The course is intended to helpstudents acquire a sophisticated understanding ofRussian culture and society at the dawn of the20th century.

The American Revolution andIts Legacy: From British toAmerican NationalismEileen Ka-May ChengSophomore and above—YearIt may be comforting to know that historiansagree that an American Revolution did indeedoccur. Less comforting but more intriguing may

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be the realization that historians do not agree onwhen it commenced and when it ended, much lesson the full meaning of what exactly took placebeyond the mere facts of the Revolution.Certainly, the question was profound enough tomove John Adams to ask, “What do we mean bythe Revolution?” In the fall, we will examine thecauses and character of the Revolution bystudying the political, intellectual, social, andcultural dimensions of this event. In the spring,we will look at how Americans adapted thelegacy of the Revolution to the social andpolitical changes of the 19th century and at howthat legacy at once divided and unified Americansin this period. How were both opponents anddefenders of slavery able to appeal to theRevolution to legitimize their views? What wasthe relationship between the Revolution and theCivil War? Was the Civil War a “secondAmerican Revolution”? By looking at howAmericans used the memory of the Revolution todefine their identity, the course ultimately aims toachieve a better understanding of the basis for,and nature of, American nationalism. Open tofirst-year students with permission of theinstructor.

Rethinking Malcolm X and theBlack Arts Movement:Imagination and PowerKomozi WoodardIntermediate—YearThis seminar examines the old and newscholarship on the life and legacy of Malcolm X.Since Malcolm X was not only a political leaderbut also a spoken-word artist, the audio-visualrecordings of speeches and interviews are centralto the seminar. Students will also examine thecontroversies surrounding not only the ManningMarable biography but also the joint authorshipof the Autobiography of Malcolm X with AlexHaley. Rethinking Malcolm X involvescomplicating one-dimensional caricatures bystudying several dimensions of the man whopropelled himself from Malcolm Little toMalcolm X to El Hajj Malik El Shabazz:dimensions such as the political, cultural,spiritual, intellectual, and symbolic, as well asprivate and public. Students will also payattention to the legacy of Malcolm X on the BlackArts Renaissance that changed African Americanidentity, purpose, and direction.

Sickness and Health in AfricaMary DillardIntermediate—FallDepending on the level of his or her resources, asick person in Africa potentially has access to avariety of options for treatment. How illness isperceived becomes a crucial determinant in howpeople seek care. Despite the array of treatmentoptions, the state of public health in most Africancountries has become woefully inadequate. Whilethe reasons for this decline in health status arerelated to questions of the international politicaleconomy, they can also be traced historically.This class studies the history of health, healing,and medical practices in Africa in order toidentify the social, historic, and economic factorsthat influence how therapeutic systems in Africahave changed over time. We will investigate arange of topics, including the place of traditionalhealers in providing care, the impact of the AIDSpandemic on overall public health, and the role ofglobalization in changing the structure of health-care delivery in most African countries.

Popular Culture in the ModernMiddle EastMatthew EllisIntermediate—FallHow can we characterize the relationship betweenculture and modernity in the Middle East? Is thereeven (or has there ever been) such a thing as“popular culture” in such a multi-layered anddiverse region? This intermediate seminarexamines the cultural history of the Middle Eastfrom roughly the late-18th century to the present,taking culture as a crucial lens through which toview broader political and social transformationsin the region. Along the way, we will alsoexamine some theoretical and comparativescholarship on the formation and interpretation ofcultures on various levels—as well as theconstitution of mass society and media—andconsider its relevance to the historiography of themodern Middle East. Topics to be coveredinclude: coffeehouses and local neighborhoodlife; poetry, oral tradition and story-telling;nationalism and the fraught formation of nationalcultures; the impact of colonialism on Arab,Ottoman, and Persian cultural identities; diglossiaand the tension between formal and colloquialArabic cultural production; literacy, print media,and the issue of reading publics; popular cinemaand cultural intimacy; celebrity; radio, television,and the rise of transnational pan-Arab culture;social networking and new media; music videos;

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and the role of art and culture in the “ArabSpring.” Basic familiarity with the Middle East ispreferred though not required.

The Cuban Revolution(s) from1898 to TodayMatilde ZimmermannSophomore and above—FallCuba has an impact on world affairs and culturecompletely disproportionate to its size andpopulation. This is true not only in the politicalsphere but also in such varied areas as music,sports, and medicine. This course will look atelements of continuity and change in threerevolutionary movements: the 19th-centurystruggle against slavery and Spanish colonialism,which ended with the US occupation of 1898; arevolutionary anti-dictatorial upsurge in the1930s; and the socialist revolution of 1959. Wewill examine how the internal dynamics ofrevolutionary Cuba have developed over the last54 years (economic challenges, relations betweenworkers and the state, race relations, changes inthe family, art and revolution, generationaldifferences and the role of youth). We will look atthe reasons for the half-century of hostilitybetween the United States and Cuba and considerthe possibility of improved relations. The coursewill use film, art, and firsthand accounts, as wellas historical and political analysis, to look at thecontradictory reality of Cuba today. Studentsplanning to apply to the Sarah Lawrence study-abroad program in Havana are stronglyencouraged to take this course.

Effort, Merit, PrivilegePersis CharlesIntermediate—SpringThis course is a history of ideas and practicesconnected to the notion of advancement by meritrather than by inherited status or wealth. Thiscomparatively modern idea is more complex thanit may appear. We will focus on four epochs inwhich personal merit came increasingly to thefore. The first is the age of the French Revolutionand Napoleon. With the cry, “The career open totalent,” and the abolition of feudal privilege, therevolutionaries helped to further the developmentof individualism, self-assertion, and personalambition while, at the same time, implicating thecitizen more and more deeply in the apparatus ofthe state. The second era will be 1859 to 1870 inBritain, from the publication of The Origin ofSpecies with the anxieties it provoked about the

struggle for existence, to the education act of1870. That act, which followed a majorliberalization of the suffrage, set populareducation on its feet as a national project. We willstudy the right to vote and get an education as themeans by which the culture created marks ofmerit. We will also look at the struggles of thoseexcluded, such as women and the very poor. Thenext period is the aftermath of the American CivilWar, from Reconstruction to Jim Crow. Theslaves, now free—what was to become of them?Should they compete in society at large, or was ittheir lot to be kept permanently in a kind of quasi-slavery without the right to vote or go to school?The last period brings us up to the present with itsmany instances of meritocracy. The postwarfoundation of the welfare state will be examinedin the light of the many challenges to it,especially from the forces promoting inequalitythat coexist with unprecedented opportunities fortalented individuals. We will look at the problemsthis poses for education, wealth, and social well-being. This course is best for students with someprevious exposure to history or the socialsciences.

Gender, Education, andOpportunity in AfricaMary DillardIntermediate—SpringIn modern Africa, equity in education—whetherin relation to gender, ethnicity, race, class, orreligion—remains an important arena of socialand political debate. As formal colonial ruleended on the African continent and more Africannations gained independence, education becamesynonymous with modernity and a leadingindicator of a country’s progress towardsdevelopment. Gender has consistently played apowerful role in determining who would receiveaccess to education. An awareness of thesignificance of both formal and informaleducation has been reflected within the realms ofAfrican politics, popular culture, literature, andfilm. In this class, we will study the history ofeducation in Africa, focusing on a wide variety oftraining, classroom experiences, and socializationpractices. In particular, we will investigate theinfluence of gender in defining access toeducational opportunity. We will begin byquestioning prevailing constructs of gender anddetermine how relevant Western gendercategories have historically been for Africansocieties. By focusing several of our readings oncountries as diverse as Nigeria, Tanzania,

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Ethiopia, and Zimbabwe, students will develop abroad overview of educational policy changes andpractices throughout the African continent.

Women and Gender in theMiddle EastMatthew EllisIntermediate—SpringDebates over the status of Middle Eastern womenhave been at the center of political struggles forcenturies—as well as at the heart of prevailingWestern media narratives about the region—andcontinue to be flash points for controversy in thepresent day. This course will attempt to explorethe origins and evolution of these debates, takinga historical and thematic approach to the livedexperience of women in various Middle Easternsocieties at key moments in the region’s history.Topics to be covered include: the status of womenin the Qur’an and Islamic law, the Ottomanimperial harem, patriarchy and neopatriarchy, therise of the women’s press in the Middle East,women and nationalism, the emergence ofvarious forms of women’s activism and politicalparticipation, the changing nature of the MiddleEastern family, the politics of veiling, Orientalistdiscourse and the gendered politics of colonialismand postcolonialism, women’s performance andfemale celebrity, and women’s autobiography andfiction in the Middle East. Throughout, we willinterrogate the politics of gender, the political andsocial forces that circumscribe Middle Easternwomen’s lives, and the individuals who claimauthority to speak for women. The course willalso briefly examine gender and sexuality ascategories for historical analysis in the modernMiddle East. Previous coursework in eithermodern Middle Eastern history or women’shistory is encouraged but not required.

Women, Culture, and Politicsin US HistoryLyde Cullen SizerIntermediate, Advanced—YearThrough fiction, memoir and cultural criticism,political activism, and popular culture, Americanwomen have expressed their ideas, their desires,their values, and their politics. This course willapproach US history through the words andactions of all kinds of American women from theearly 19th century through the late 20th century.Using both primary sources and histories narrowand broad, we will explore questions of race,class, sexuality, and gender and analyze the ways

in which women have intervened and participatedin the political and cultural world. This is aresearch seminar. Considerable attention will bepaid to the gathering and parsing of archival andother types of primary evidence, careful andtrenchant argumentation, and the development orrefinement of a fluent and graceful expositorywriting style. Open to juniors and above and tosophomores with permission of the instructor.

Women/Gender, Race, andSexuality in Film: History andTheoryKathryn HearstAdvanced—YearThis yearlong seminar analyzes the representationof gender, race, sexuality, and class in cinemafrom its origins to the present. Students developcritical understandings of film, not only as part ofAmerican cultural/social history but alsoas political vehicles for activism and change. Westudy movies as part of historical processes andassess interpretations, often rootedin feminist, sociopolitical, and postcolonialtheories. A variety of film selections will bediscussed: early motion pictures, action/adventure, classical Hollywood, early andcontemporary African American cinema, avant-garde, film noir, second-wave feministfilm, documentary, queer cinema, global cinema,masculine genre, ethnic film, fantasy/horrorgenres.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

Personal Narratives: Identity and History inModern China (p. 13), Kevin LanddeckAsian Studies

Crucible of History: China in World War II,1937-45 (p. 14), Kevin Landdeck AsianStudies

Chinese History II: From the Ming Dynasty toYesterday (p. 13), Kevin Landdeck AsianStudies

International Studies

What kind of global society will evolve in the21st century? Linked by worldwide organizationsand communications, yet divided by histories and

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ethnic identities, people everywhere are involvedin the process of re-evaluation and self-definition.To help students better understand the complexforces that will determine the shape of the 21stcentury, Sarah Lawrence College offers aninterdisciplinary approach to InternationalStudies. Broadly defined, International Studiesinclude the dynamics of interstate relations; theinterplay of cultural, ideological, economic, andreligious factors; and the multifaceted structuresof Asian, African, Latin American, MiddleEastern, and European societies. A variety ofprograms abroad further extends students’curricular options in International Studies. Theexperience of overseas learning, valuable in itself,also encourages more vivid cultural insight andintegration of different scholarly perspectives.The courses offered in International Studies arelisted throughout the catalogue in disciplines asdiverse as anthropology, art history, Asianstudies, economics, environmental science,geography, history, literature, politics, andreligion.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

Migration and Experience (p. 6), DeannaBarenboim Anthropology

Anthropology and Photography (p. 4),Robert R. Desjarlais Anthropology

Workshop in Photoethnographies (p. 7),Robert R. Desjarlais Anthropology

Global Flows and Frictions in Southeast Asiaand Beyond (p. 5), Aurora DonzelliAnthropology

Global Adoptions: An Anthropology ofKinship (p. 7), Mary A. PorterAnthropology

Personal Narratives: Identity and History inModern China (p. 13), Kevin LanddeckAsian Studies

Writing India: TransnationalNarratives (p. 14), Sandra Robinson AsianStudies

Images of India: Text/Photo/Film (p. 15),Sandra Robinson Asian Studies

Industrial Competition, Labor Relations, andSocial Democracy: Controversies,Challenges, and Prospects (p. 31),Jamee K. Moudud Economics

First-Year Studies: Introduction toInternational Development Studies: ThePolitical Ecology of Development (p. 42),Joshua Muldavin Geography

The Geography of Contemporary China: APolitical Ecology of Reform, GlobalIntegration, and Rise toSuperpower (p. 43), Joshua MuldavinGeography

First-Year Studies: Place, Landscape, andIdentity in the Middle East (p. 49),Matthew Ellis History

Popular Culture in the Modern MiddleEast (p. 55), Matthew Ellis History

Women and Gender in the Middle East (p. 57),Matthew Ellis History

Global Africa: Theories and Cultures ofDiaspora (p. 52), Mary Dillard History

Sickness and Health in Africa (p. 55), MaryDillard History

Ideas of Africa: Africa Writes Back (p. 54),Mary Dillard History

Gender, Education, and Opportunity inAfrica (p. 56), Mary Dillard History

Based on a True Story? Latin AmericanHistory Through Film (p. 53), MatildeZimmermann History

The Cuban Revolution(s) from 1898 toToday (p. 56), Matilde ZimmermannHistory

“New” World Studies: Maroons, Rebels, andPirates of the Caribbean (p. 76),Alwin A. D. Jones Literature

“New” World Literatures: Fictions of theYard (p. 77), Alwin A. D. Jones Literature

First-Year Studies: Africa in the InternationalSystem (p. 96), Elke Zuern Politics

Democratization and Inequality (p. 99), ElkeZuern Politics

Global Child Development (p. 109), KimFerguson Psychology

First-Year Studies: Health, Illness, andMedicine in a Multicultural Context: AService Learning Course (p. 101),Linwood J. Lewis Psychology

Islam in Europe and the United States (p. 115),Kristin Zahra Sands Religion

Religion, Ethics, and Conflict (p. 116), KristinZahra Sands Religion

The Political Economy of Pakistan (p. 121),Shahnaz Rouse Sociology

Italian

The study of Italian at Sarah Lawrence Collegeoffers the rigors of language study and the joys ofimmersion in one of the richest cultures of theWest. The course of study consists of classroom,

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conference, and conversational components, allenhanced by the flexible academic structure ofthe College and proximity to New York. In theclassroom, students learn Italian grammar, syntax,and phonology, using sources of everydaycommunication and literary texts. In conferencesessions—especially helpful in customizing studyto each student’s level of fluency—studentspursue reading and writing related to topics thatcompel them. And in conversation meetings,students simply talk with native Italians aboutanything of common interest. Individualconference projects can be as creative and diverseas is appropriate for each student and can includeinterdisciplinary work in the Italian language. Asin other disciplines, the resources of New YorkCity enhance student experience. Operaperformances at the Metropolitan Opera (afterpreparatory readings from libretti), film series andlectures, museums, and internships related toconference work all offer ways to bring Italian tolife. And for bringing students to Italy, SarahLawrence’s study program in Florence maintainsthe small scale and individual attention that is themark of the College, providing an exceptionalopportunity to combine a yearlong academicexperience with the cultural immersion of ahomestay living arrangement. Advanced studentshave the opportunity to spend the secondsemester of their year abroad studying at theUniversity of Catania in Sicily.

The Italian department periodically offerscourses in Literature in Translation as part of theliterature curriculum. Among these courses areImages of Heaven and Hell, The Grand Tour: ALiterary Journey to Italy, and The Three Crowns:Dante, Petrarch, and Boccaccio.

Beginning ItalianJudith P. Serafini-Sauli, TristanaRorandelli, Stefania BenzoniOpen—YearThis course is for students with no previousknowledge of Italian. It aims at giving the studenta complete foundation in the Italian language,with particular attention to the oral and writtencommunication of everyday use and to all aspectsof Italian culture. The course will be conducted inItalian after the first month and will involve thestudy of all the basic structures of thelanguage—phonological, grammatical,syntactical—with practice in conversation,reading, composition, and translation. In additionto the basic Italian textbook and an array ofsupplementary computer and Internet material,the course will also include texts from prose

fiction, poetry, journalistic prose, songs, films,recipe books, and the language of publicity.Conference work is largely based on reading andwriting, and the use of the language is encouragedthrough games and creative composition. Inaddition to class and group conference, the coursealso has a conversation component in regularworkshops with the language assistants.Supplementary activities such as opera andrelevant exhibits in New York City are madeavailable, as possible. By the end of this yearlongcourse, students will attain a basic competence inall aspects of the language. There will be twoyearlong sections of Beginning Italian. The firstsection will be taught by Ms. Serafini-Sauli forthe year. The second section will be taught by Ms.Benzoni in the fall and Ms. Rorandelli in thespring.

Intermediate Italian: ModernItalian ProseTristana RorandelliIntermediate—YearThis intermediate-level course aims at improvingand perfecting the students’ speaking, listening,reading, and writing skills, as well as theirknowledge of Italy’s contemporary culture andliterature. In order to acquire the necessaryknowledge of Italian grammar, idiomaticexpressions, and vocabulary, students will beexposed to present-day Italy through the selectionof specific newspaper articles, music, and cinema,as well as modern Italian literature (i.e., shortstories, poems, and excerpts from literary works)in the original language. Literary works willinclude selections from Alessandro Baricco,Gianni Rodari, Carlo Castellaneta, Clara Sereni,Dino Buzzati, Stefano Benni, Antonio Tabucchi,Niccolò Ammaniti, and Italo Calvino. In order toaddress the students’ own writing skills, writtencompositions will also be assigned and willconstitute an integral part of the course. Thematerials selected for the course, be they aliterary text, a song, video, or grammar exercise,will be accessible at all times to the studentsthrough the course’s “Web Board”; research onthe Web will be central to the course and willoffer the basis for the weekly “Web piece,” ashort paper on a particular topic. Conferencetopics might include the study of a particularauthor, literary text, film, or any other aspect ofItalian society and culture that might be ofinterest to the student. Conversation classes willbe held twice a week with the language assistants.

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Advanced Italian: Fascism,World War II and theResistance in 20th-CenturyItalian Narrative and CinemaTristana RorandelliAdvanced—FallThis course is intended for advanced students ofItalian who want to better their comprehension, aswell as their oral and written skills in thelanguage. This will be achieved by readingliterary works and watching films in the originallanguage, producing written compositions, andin-class discussion of the material. The courseexamines the manner in which crucial historicalevents that occurred during the 20thcentury—specifically the rise and fall of fascism,World War II, and the Resistance—wererepresented within Italian literature and cinema ofthe time, as well as throughout the decadesfollowing the end of the war up to the 1970s.Literary texts will include those authored byIgnazio Silone, Vasco Pratolini, Italo Calvino,Mario Carli, Renata Viganò, Carlo Cassola,Beppe Fenoglio, Elio Vittorini, Alberto Moravia,and Carlo Mazzantini. Films will include fascistpropaganda and documentaries from the IstitutoLuce’s archives, as well as films by RobertoRossellini (his fascist-era war trilogy, as well ashis neorealist films), Vittorio De Sica, LuigiComencini, Paolo and Vittorio Taviani, BernardoBertolucci, Giuliano Montaldo, Ettore Scola,Luchino Visconti, Liliana Cavani, Pier PaoloPasolini, and Federico Fellini. Conference topicsmay include the study of a particular author,literary text, or film that might be of interest tothe student. Conversation classes will be heldwith the language assistants. Literary texts will beavailable for purchase; critical material will beavailable through e-reserve. Open to studentswith advanced proficiency in Italian.

Another course offered in a related discipline thisyear is listed below. A full description of thecourse may be found under the appropriatediscipline.

First-Year Studies: The Three Crowns ofFlorence: Dante, Petrarch, Boccaccio, and theBeginnings of Modern (p. 68), Judith P.Serafini-Sauli

Japanese

The Japanese program includes courses inJapanese language and Japanese literature. Inbeginning and intermediate language courselevels, students develop and deepencommunicative skills in speaking, listening,reading, and writing. Students at all languagecourse levels also meet weekly with a languageassistant for conversation practice eitherindividually or in small groups. The weeklylunchtime Japanese Table is a friendly gatheringfor casual conversation. Field trips to places inthe New York City area—such as the UrasenkeChanoyu Center for a Japanese tea ceremony orMitsuwa Marketplace for a taste of Japanesenoodles or to browse in Sanseidobookstore—bring Japanese language study to life.Students may also study Japanese literature intranslation in courses such as Modern JapaneseLiterature, Spirits and the Supernatural inJapanese Literature, and Reading Oe Kenzaburoand Murakami Haruki. Students with Japaneselanguage proficiency may do readings of primaryJapanese texts for conference work. For studentsinterested in studying abroad in Japan, SarahLawrence offers an exchange program with TsudaWomen’s College in Tokyo. Students have alsoparticipated in other study-abroad programs inTokyo, Kyoto, Osaka, and Nagoya.

Japanese IKuniko KatzOpen—YearThis course is for students with no previousknowledge of Japanese. Students will developbasic communicative skills in listeningcomprehension and speaking, as well as skills inreading and writing (katakana, hiragana, andbasic kanji) in Japanese. While classes will bedevoted primarily to language practice, anunderstanding of Japanese grammar will also beemphasized as an important basis for continuedlanguage learning. Classes will meet three timesweekly, and tutorials with a language assistantwill meet once a week.

Japanese IISayuri I. OyamaIntermediate—YearThis advanced-beginning course is for studentswho have completed Japanese I or its equivalent.Students will continue to develop basic skills inspeaking, listening, reading, and writing whileexpanding their vocabulary and knowledge of

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grammar. At the end of the course, studentsshould be able to handle simple communicativetasks and situations effectively, understand simpledaily conversations, write short essays, readsimple essays, and discuss their content. Classeswill meet three times weekly, and tutorials with alanguage assistant will meet once a week.

Japanese IIIChieko NakaIntermediate—YearThis course is for students who have completedJapanese II or its equivalent. Students willcontinue to develop Japanese proficiency in auraland reading comprehension in addition tospeaking and writing skills. Activities includelistening to and discussing television programsand films; writing and performing dialogues andspeeches; reading essays, newspaper articles, andshort stories; and writing a diary, letters, and shortessays. Classes will meet three times weekly, andtutorials with a language assistant will meet oncea week.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

First-Year Studies: Japanese Literature:Ancient Myths to ContemporaryFiction (p. 68), Sayuri I. Oyama

Japanese Buddhist Art and Literature (p. 114),T. Griffith Foulk Religion

Modern and ClassicalLanguages and Literatures

At Sarah Lawrence College, we recognize thatlanguages are fundamentally modes of being-in-the-world and uniquely reveal the way that weexist as human beings. Far from being amechanical tool, language study encourages self-examination and cross-cultural understanding,offering a vantage point from which to evaluatepersonal and cultural assumptions, prejudices,and certainties. Learning a new language is notabout putting into another verbal system what youwant or know how to say in your own language; itis about learning by listening and reading and bygaining the ability to think in fundamentallydifferent ways.

The College offers six modern and twoclassical languages and literatures. Students maytake French, German, Italian, Japanese, Russian,and Spanish from beginning to advanced levelsthat equally stress the development ofcommunicative skills such as speaking, listeningcomprehension, reading, and writing, as well asthe study of literature written in these languagesin Europe, Africa, Asia, and the Americas. Wealso offer Greek (Ancient) and Latin at thebeginning, intermediate, and advanced levels,emphasizing exploration of ancient texts in theiroriginal historical, political, artistic, and socialcontexts and encouraging assessment of ancientworks on their own terms as a means ofelucidating both timeless and contemporaryhuman issues and concerns.

As is the case for all seminars at SarahLawrence College, our language classes arecapped at 15, and students have unparalleledopportunities to engage with the language in andout of class—including individual and groupconferences, weekly meetings with languageassistants in small groups, language clubs, andlanguage tables. Our proximity to New York Cityoffers terrific opportunities to encounter thecultures and languages that we teach—throughlectures, exhibits, plays, films, operas, and manyother cultural events that are readily available.Conference work in a language class provides anopportunity for students to pursue their ownparticular interest in the language. Studentconference projects are exceptionally diverse,ranging from reading or translation, internships,or work on scholarly or creative writing tolistening to music, watching films, or theextended study of grammar. In Greek (Ancient)and Latin courses, beginning students acquire inone year a solid foundation in grammar, syntax,and vocabulary. Equivalent to three courses atother colleges and universities, one year ofAncient Greek or Latin at Sarah LawrenceCollege empowers students to read ancient textswith precision and increasing facility. At theintermediate and advanced levels, students refinetheir linguistic abilities while analyzing specificancient authors, genres, or periods—often incomparison to later artists, writers, theorists, orcritics.

The interdisciplinary approach across thecurriculum at Sarah Lawrence College also meansthat students can take their study of language toconference work for another class; for example,reading primary texts in the original Spanish for aclass on Borges and math, studying Russianmontage or 20th-century Japanese cinema for a

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class on film history, or performing Germanlieder or Italian opera in voice class or Molière ina theatre class. The language faculty also offerliterature courses in translation, so that studentscan choose to combine literature study withconference work in the original languages. Wealso sponsor an annual journal of translation,Babel, which invites submissions from across theCollege.

Finally, our open curriculum encouragesstudents to plan a semester or an entire yearabroad, and a large percentage of our studentsspend their junior year in non-English-speakingcountries. In addition to our long-establishedprograms in Florence, Catania, Paris, and Cuba,the College has recently initiated study-abroadprograms in Barcelona, Peru, and Tokyo. Thereare also two summer programs--German Studies,Art and Architecture, and Dance in Berlin, andTranslation Studies in Buenos Aires. Our study-abroad programs are usually based on a conceptof “full immersion,” including experiences suchas study at the local university, homestays, andvolunteer work in the country. We also sendstudents to many non-Sarah Lawrence Collegeprograms all over the world.

The following languages are offered:• French• German• Greek (Ancient)• Italian• Japanese• Latin• Russian• Spanish

Latin

The Sarah Lawrence College Classics programemphasizes the study of the languages andliterature of ancient Greece and Rome. Greek andLatin constitute an essential component of anyhumanistic education, enabling students toexamine the foundations of Western culture andexplore timeless questions concerning the natureof the world, the place of human beings in it, andthe components of a life well lived. In studyingthe literature, history, philosophy, and society ofthe ancient Greeks and Romans, students come toappreciate them for themselves, examine thecontinuity between the ancient and modernworlds, and, perhaps, discover “a place tostand”—an objective vantage point for assessingmodern culture.

In their first year of study, students acquireproficiency in vocabulary, grammar and syntax,with the aim of reading accurately and withincreasing insight. Selected passages of ancientworks are read in the original languages almostimmediately. Intermediate and advanced coursesdevelop students’ critical and analytical abilitieswhile exploring ancient works in their literary,historical, and cultural context. Conferenceprojects provide opportunities for specializedwork in areas of interest in classical antiquity.Recent conference projects include close readingsof Homer’s Iliad, Aristophanes’ Clouds, Pindar’sOdes, Plato’s Republic, Cicero’s de Amicitia, thepoetry of Catullus, and Virgil’s Aeneid, as well asstudies of modern theories of myth, Nietzsche’sBirth of Tragedy in connection with the tragediesof Aeschylus, Sophocles, and Euripides, thesocial implications of Roman domesticarchitecture, and a comparison of Euripides’Hippolytus with Racine’s Phèdre.

Greek and Latin will be especially beneficialfor students interested in related disciplines,including religion, philosophy, art history,archaeology, history, political science, English,comparative literature, and medieval studies, aswell as education, law, medicine, and business.Greek and Latin can also prove valuable to allthose who wish to enrich their imagination in thecreative pursuits of writing, dance, music, visualarts, and acting.

Beginning LatinSamuel B. SeigleOpen—YearThis course provides an intensive introduction toLatin grammar, syntax, and vocabulary, with aview to reading the language as soon as possible.Close reading of Vergil’s Aeneid in English willaccompany intensive language study in the fall.By midsemester, students will be translatingauthentic excerpts of Latin poetry and prose.During the spring semester, while continuing todevelop and refine their knowledge of Latingrammar and vocabulary, students will readselections of the Aeneid in Latin.

Intermediate/Advanced Latin:Livy and Ovid: Foundationsand TransformationsEmily Katz AnhaltIntermediate, Advanced—YearWhat happened to Roman intellectual andpolitical life under Rome’s first emperor? Whatcan the literature, history, and politics in the age

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of Augustus teach the citizens of a modernRepublic? This course will examine theextraordinary flowering of literary culturefollowing the collapse of the Roman Republic.We will assess the emergence of a distinctivelyRoman humanitas that still exerts an influence onthe modern world. Students will develop andrefine their Latin reading comprehension skills byreading extended selections of Livy in the fall andOvid in the spring. Selected works of Vergil,Horace, Tibullus, Propertius, Ovid, and Livy willbe read in English.

Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

First-Year Studies: Amid the Tears andLaughter: The Political Art of AncientGreek Tragedy and Comedy (p. 66), EmilyKatz Anhalt Classics, Greek (Ancient)

The Greco-Roman World: Its Origins, Crises,Turning Points, and FinalTransformations (p. 71), Samuel B. SeigleClassics, Greek (Ancient)

Latin American and Latino/aStudies

This program in Latin American and Latino/aStudies (LALS) is devoted to the interdisciplinaryinvestigation of Latin American, Caribbean, andLatino cultures, politics, and histories. Through avariety of disciplines, students will haveopportunities to explore the vibrant cultural life ofLatin American and Caribbean countries, as wellas the experiences of the Latino communities inthe United States. Course offerings will includelanguage, literature, dance, film, music, art, andother cultural expressions as a way to familiarizethe students with a world that is rich inimagination, powerful in social impact, anddefiant of the stereotypes usually imposed uponit. Students will also interrogate the complexpolitical dynamics involved in such processes as(post)colonialism, migration, revolution, socialmovements, citizenship, and the cultural politicsof race, gender, sexuality, and class. The historiesof conquest, colonialism, development, andresistance in the area also require broad inquiryinto the often turbulent and violent realities ofpolitical economic forces.

As this program is concerned with a broadset of border crossings, faculty in LALS are alsocommitted to expanding educational experiencesbeyond Sarah Lawrence College. Accordingly,students are encouraged to study abroad throughSarah Lawrence College programs in Cuba,Argentina, and Peru or with other programs inLatin America. Students will also haveopportunities to explore the borderlands closer toSarah Lawrence College, including Latinocommunities in New York City and WestchesterCounty.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

Migration and Experience (p. 6), DeannaBarenboim Anthropology

Spaces of Exclusion, Places of Belonging (p. 5),Deanna Barenboim Anthropology

Based on a True Story? Latin AmericanHistory Through Film (p. 53), MatildeZimmermann History

The Cuban Revolution(s) from 1898 toToday (p. 56), Matilde ZimmermannHistory

First-Year Studies: Calles y Plaza Antigua:The Country and the City in Literatureand Film (p. 67), Isabel de Sena Literature

“New” World Studies: Maroons, Rebels, andPirates of the Caribbean (p. 76),Alwin A. D. Jones Literature

“New” World Literatures: Fictions of theYard (p. 77), Alwin A. D. Jones Literature

Warriors, Rogues, and Women in Breeches:Adventurous Lives in Early ModernTrans-Atlantic Literature: Literature inTranslation (p. 70), Esther FernándezSpanish

Lesbian, Gay, Bisexual, andTransgender Studies

Lesbian, Gay, Bisexual, and Transgender Studies(LGBT) is an interdisciplinary field that engagesquestions extending across a number of areas ofstudy. Sarah Lawrence College offers students theopportunity to explore a range of theories andissues concerning gender and sexuality acrosscultures, categories, and historical periods. Thiscan be accomplished through seminar coursework and discussion and/or individual conferenceresearch.

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Perverts in Groups: The SocialLife of HomosexualsJulie AbrahamOpen—YearContradictory assumptions about the relations ofhomosexuals to groups have dominated accountsof modern LGBT life. In Western Europe and theUnited States, from the late-19th centuryonwards, queers have been presented asprofoundly isolated persons—sure that they arethe only ones ever to have had such feelings whenthey first realize their deviant desires andimmediately separated by those desires from thefamilies and cultures into which they were born.Yet these isolated individuals were also seen asinseparable, always able to recognize each otherby means of mysterious signs decipherable by noone else. Homosexuals were denounced aspersons who did not contribute to society,homosexuality as the hedonistic choice of self-indulgent individualism over sober social good.Yet all homosexuals were supposed to bestealthily working together, through their web ofconnections to one another, to take over theworld—or the political establishment of theUnited States, for example, or its art world,theatre, or film industries. Such contradictionscan still be seen in the battles that have ragedsince the 1970s, when queers began seekingpublic recognition of their lives within existingsocial institutions, from the military to marriage.LGBT persons have been routinely attacked asthreats (whether to unit cohesion or the family),intent on destroying the groups that they havebeen working to openly join. In this class, we willuse these contradictions as a framework forstudying the complex social roles queers haveoccupied and some of the complex social worldsthat they have created—at different times andplaces and shaped by different understandings ofgender, race, class, ethnicity, andnationality—over the past century and a half. Oursources will include histories, sociological andanthropological studies, the writings of politicalactivists, fiction, and films.

Latin American/Latin@Crossings: LGBTQ Latin@Lives Within and AcrossBordersEdgar Rivera ColonOpen—YearThis course will take as a starting point two factsin need of interpretation from an interdisciplinary

approach to social processes: During the lastdecade, the Latin@ community has become thelargest ethnoracial “minority” in the UnitedStates; and, simultaneously, a number of LatinAmerican countries are on their way to greatersocial inclusion of LGBTQ communities well inadvance of similar struggles in this country. Howdoes one explain these two facts? Are theysomehow related to the specific LGBTQ sexualand gender cultures that have emerged in LatinAmerica and Latin@ communities in the UnitedStates? Moreover, what are the transnationalconnections between these networks of affiliation,identity, and struggle? For example, during the2012 International AIDS Conference inWashington, DC, the Latin American and Latin@Hub in the Global Village hosted conversationsand cultural events between young peopleorganizing support networks and politicalcollectives for HIV-positive youth throughoutLatin America and Latin@s in the United Stateswho were doing similar work. What were thetransnational understandings of LGBTQ cultures,health, and struggles for social justice in theAmericas that informed these conversations?These examples of transnational exchangebetween Latin American and Latin@ LGBTQcommunities are replicated frequently, not only ininternational forums such as the InternationalAIDS Conferences but also via back-and-forthmigration and social media platforms. This coursewill introduce students to Latin@ LGBTQcommunities in the United States and across LatinAmerica, as well as those transnational spacesthat are local and betwixt and between. Part of thecourse materials will delineate the racialized“sexual ethnogenesis” of a number of urban-based Latin@ LGBTQ communities in the UnitedStates via ethnographic data and analysis.Another part of the course will consist of casestudies of different Latin American LGBTQcommunities, using a human-rights approach asour framework and entry point. Along with theseethnographic and human-rights lenses, studentswill engage and analyze representations of thesecommunities found in popular culture, which willinclude graphic novels, community websites,activist blogs, public-service announcements, andfictional, as well as documentary, films. One ofthe main goals of the course is to have studentsdevelop the kind of transnational cultural literacythat Latin@ and Latin American LGBTQcommunities have deployed and refined as theyhave struggled for social recognition and a morejust distribution of the economic and symbolicresources in their respective societies. At the end

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of the course, students will produce a seminarpaper that focuses on a Latin American country oftheir choosing in tandem with a Latin@ LGBTQcommunity in the United States. Along with thiswritten seminar paper, each students will lead anin-class presentation that will include visual and/or creative materials from the popular cultures ofthe national and community sites of theirchoosing. These two final projects will beinformed by students conducting instructor-supervised “field visits” to community-basedorganizations in the New York City metropolitanarea that provide social services to, advocate for,and/or organize Latin@ LGBTQ communities.

Queer Americans: HenryJames, Gertrude Stein, WillaCather, and James BaldwinJulie AbrahamSophomore and above—FallQueer Americans certainly, James, Stein, Cather,and Baldwin each fled “America.” James(1843-1916) and Stein (1874-1946) spent theiradult lives in Europe. Cather (1873-1947) leftNebraska for Greenwich Village after a decade inPittsburgh—with a judge's daughter—along theway. Baldwin (1924-1987) left Harlem forGreenwich Village, then the Village for Paris. Assexual subjects and as writers, these four couldhardly appear more different; yet Stein describedJames as “the first person in literature to find theway to the literary methods of the 20th century,”Cather rewrote James to develop her own subjectsand methods, and Baldwin found in James’swritings frameworks for his own. In the secondhalf of the 19th century and the first half of the20th, James, Stein, and Cather witnessed theemergence of modern understandings ofhomosexuality and made modern literature, eachpushing boundaries always, in subtle or dramaticways. Stein, for example, managed to parlay thestory of her Paris life with Alice B. Toklas into anAmerican bestseller in 1933. In the second half ofthe 20th century, Baldwin began to dismantlemodern understandings of sexuality and ofliterature. Examining the development of theirworks side-by-side will allow us to push theboundaries of lesbian/gay/queer cultural analysesby pursuing different meanings of “queer” and“American” through an extraordinary range ofsubjects and forms. Beginning with James on oldNew York, vulnerability, and ruthlessness, thiscourse will range from Cather’s plantations andpioneers to Stein on art and atom bombs andBaldwin on sex and civil rights. We will read

novels, novellas, stories, essays, and memoirs byJames, Cather, and Baldwin—plus Stein’sportraits, geographical histories, lectures, plays,operas, and autobiographies. Literary and socialforms were inextricable and inseparable from thegender and cross-gender affiliations and the class,race, and ethnic differences that were all urgentmatters for these four. James’s, Stein’s, Cather’sand Baldwin’s lives and works challenge mostconventional assumptions about what itmeant—and what it might mean—to be a queerAmerican. Conference projects may includehistorical and political, as well as literary, studiesthat focus on any period from the mid-19thcentury to the present.

Queer Theory: A HistoryJulie AbrahamSophomore and above—SpringQueer Theory emerged in the United States, intandem with Queer Nation, at the beginning ofthe 1990s as the intellectual framework for a newround in ongoing contests over understandings ofsexuality and gender in Western culture. “Queer”was presented as a radical break withhomosexual, as well as heterosexual, pasts. Queertheorists and activists hoped to reconstruct lesbianand gay politics, intellectual life, and culture;renegotiate differences of gender, race, and classamong lesbians and gay men; and establish newways of thinking about sexuality, newunderstandings of sexual dissidence, and newrelations among sexual dissidents. Nevertheless,Queer Theory had complex sources in theintellectual and political work that had gonebefore. And it has had, predictably, unpredictableeffects on current intellectual and politicalprojects. This class will make the history ofQueer Theory the basis for an intensive study ofcontemporary intellectual and political work onsexuality and gender. We will also be addressingthe fundamental questions raised by the career ofQueer Theory, about the relations betweenpolitical movements and intellectual movements,the politics of intellectual life, and the politics ofthe academy in the United States, in particular, inthis new millenium. For students with abackground in women’s, gender, or LGBTstudies.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

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First-Year Studies: Making Connections:Gender, Sexuality, and Kinship From anAnthropological Perspective (p. 4),Mary A. Porter Anthropology

Global Adoptions: An Anthropology ofKinship (p. 7), Mary A. PorterAnthropology

First-Year Studies: Literature, Culture, andPolitics in US History, 1840s-2000s (p. 50),Lyde Cullen Sizer History

Intersections of Multiple Identities (p. 111),Linwood J. Lewis Psychology

Sex Is Not a Natural Act: Social ScienceExplorations of Human Sexuality (p. 102),Linwood J. Lewis Psychology

Literature

Literature at Sarah Lawrence College is adisciplined and cross-disciplinary study foundedon the belief that reflective attention to a varietyof fictions can lead to deeper insight into thetruths of self and society. Among the goals of thediscipline: to strengthen critical skills; widencultural literacy; refine writing, discussion,speaking, and research skills; and open studentsto engagement with the concerns of otherdisciplines—including history, philosophy,political science, psychology, religion, andanthropology—as they emerge within literature’srich discourse.

Curricular offerings include core Americanand European texts but range widely throughworld literature—African, Asian, and LatinAmerican. Courses may be broadly organizedaround a historical period (for example, theMiddle Ages or the 17th century) or around agenre (comedy, autobiography, the novel), or theymay combine historical and generic concerns(ancient Greek theatre, 20th-century Americanpoetry). Some courses are devoted to the study ofa single author, such as Chaucer or VirginiaWoolf, or to a particular thematic or critical goal:examining ideas of culture since theEnlightenment, exploring postcolonial revisionsto classics of the Western canon, or developing aninclusive approach to American literature thatincludes African American and Native Americantexts along with more traditional works.Throughout the Literature curriculum, meetingwith faculty members in regularly scheduledconferences allows students to individualize theircourse work, to combine it with other disciplines,

where appropriate, and to write with the deepunderstanding that can only result from intense,guided study.

First-Year Studies: Amid theTears and Laughter: ThePolitical Art of Ancient GreekTragedy and ComedyEmily Katz AnhaltFYSTwenty-five hundred years ago, the Greeks begana 200-year experiment in democratic government.Considerably less democratic than the modernUnited States, ancient Athens was alsoconsiderably more democratic. Like otherpolitical systems throughout the world and (untilonly very recently) throughout history, theAthenian democracy excluded women, slaves,and foreigners from political participation. At thesame time, it embodied the ideals andconsequences of direct democracy. Many issuesconfronted by Athenian society during the fifth-century BCE remain powerful questions in ourown time: How do you safeguard democraticliberties against tyrannical violence andintimidation from within and from without? Howdo you balance the needs of the individual withthe needs of the group? How do you promoteindividual achievement that benefits rather thanharms the community as a whole? How do youreconcile the ethical demands of democracy withthe political necessities of foreign policy? What isthe function of “entertainment” in a democraticsociety? We will examine the crucial role oftragedy and comedy in transmitting, challenging,and shaping Athenian values throughout the fifth-century BCE. Above all, we will consider theimplications and insights that these plays continueto offer 21st-century audiences. Students willread works of Aeschylus, Sophocles, Euripides,Aristophanes, and Aristotle in translation.

First-Year Studies:Autobiography inLiterature: Self/Life/WritingBella BrodzkiFYSHow does a self—the most intimate and elusiveof concepts—become a text? What is therelationship between living a life and writingabout it? What assumptions might authors andreaders not share about the ways experience isendowed with symbolic value? This course isintended to introduce students to the

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autobiographical mode in literature. Formodernists and postmodernists particularlyobsessed by problems of identity, self-expression,and social construction, the study ofautobiography is a fascinating enterprise. We willexamine a rich variety of “life stories,”emphasizing both philosophical inquiry andaesthetic innovation, that span from medievaltimes through the 21st century. Special attentionwill be paid to the following patterns and themes:the complex interplay between “truth” and“fiction,” sincerity and artifice, memory andrepresentation; the nature of confessional writing;the use of autobiography as cultural document;the dialectic between word and image(photography, comix); and the role of gender inboth the writing and reading ofautobiographies. Among the authors to beincluded are St. Augustine, Kempe, Rousseau,Franklin, Douglass, Jacobs, Joyce, Stein,Nabokov, Wright, Beauvoir, Sartre, Kingston,Spiegelman, and Bechdel. Students will writeshort, frequent papers on the readings throughoutthe year.

First-Year Studies: Calles yPlaza Antigua: The Countryand the City in Literature andFilmIsabel de SenaFYSThe city has been called voracious, boundless, theden of unbridled lust and greed (La Celestina), aheaven for opportunity, and sometimes safetyfrom prosecution and prejudice. On it, we projectour fantasies, our desires (Atlantis, Eldorado,Axtlán, the Big Apple). Feminized, it can be acitadel (traditional romances), the whore ofBabylon, an entrapment. It’s a labyrinth (Borges),the urban cauldron where immigrants sink orswim (Mad Toy, Biutiful) or where human beingsare dehumanized and churned out of its maws(Los olvidados). It’s the locus of lost illusions anddelusions of grandeur (Abilio Estevez, Ena LuciaPortela), including postwar ones (Juan Marsé). Infilm and prose, it is the terrain, par excellence, ofthe noir genre (Nahum Montt), postmodern city(Generación X), or the tentative locus for themodernista postrevolutionary (in Maples Arce’spoetry, for instance). On the other hand, is thecountry a haven of time-tested virtues(Fuenteovejuna), an appropriate metaphor for thedesert in desperate need of renewal (Flores deotro mundo), or the place where all dreams aredeformed or come crashing down (Ana María

Matute)? Are nature and the city at war with eachother, and can we negotiate our own spacebetween them (Cortázar)? We will explore theseand related themes (like gender, race, class, howspace defines us, how we define space) primarilyin literature and film from the Spanish-speakingworld on both sides of the Atlantic but withfrequent forays into other perspectives, otherplaces—first and foremost among them, NewYork City.

First-Year Studies: ModernMyths of ParisJason EarleFYSThis course will explore the powerful hold thatParis exerted on literature in the 19th and 20thcenturies, the period when the city became aworld capital of artistic, intellectual, and politicallife. Our guiding focus will be on how writersused the geography of Paris—its streets,monuments, markets, and slums—to reflect onthe complexities of modern life, posing it as aplace of revolution and banality, alienation andcommunity, seduction and monstrosity. We willpay particular attention to the ways in which therepresentation of the city allowed writers toquestion the form and function of literature itself.We will begin with the 19th-century Frenchnovelists and poets who made Paris the site ofepic literary struggles, including Honoré deBalzac, Charles Baudelaire, Victor Hugo, andÉmile Zola. We will then see how the cityprovided fertile ground for the aestheticexperimentations of 20th-century literature inworks by Guillaume Apollinaire, André Breton,Louis Aragon, and Georges Perec. Finally, wewill see how Paris is experienced as acosmopolitan and global space in works byexpatriates, immigrants, former colonial subjects,and travelers as varied as Henry James, GertrudeStein, Ernest Hemingway, James Baldwin, JackKerouac, Mehdi Charef, Fatou Diome, andEnrique Vila-Matas. Beyond our focus on closereadings of literary texts, students will have theopportunity to read some theoreticalconsiderations of Paris; we will also watchseveral films where Paris features predominately.

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First-Year Studies inLiteratureDaniel KaiserFYSThe intention of this course is to introduce thestudent to some of the critical approaches that canbe made to a literary text—the questions that canbe asked about language, style, structure, genre,historical background, archetypal pattern, and theconnections that can be made among theseapproaches. The main emphasis of the course,however, will be on the relationship betweenliterature and society. We will consider some ofthe ways in which imaginative works (and theways they are interpreted) reflect problematicsocial realities and also present visions ofalternative social possibility. The course willopen with a study of a few Greek andShakespearean plays, and much of the rest of theyear will be given to readings in a group of 19th-and 20th-century novelists, poets, and dramatistsin an attempt to see how different imaginativestrategies deal with certain recurring themes andproblems. Authors read will include Blake,Austen, Dickens, Dostoevski, Emily Brontë,Melville, Flaubert, James, T. S. Eliot, Kafka,Mann, Brecht, Pynchon, and Morrison.

First-Year Studies: JapaneseLiterature: Ancient Myths toContemporary FictionSayuri I. OyamaFYSFrom the Sun Goddess Amaterasu ruling thePlain of Heaven to a superfrog saving Tokyofrom mass destruction, this course is anintroduction to the richness and diversity ofJapanese literature in English translation. Duringthe fall semester, we will focus on ancient,classical, medieval, and early modern texts(eighth to 19th centuries). Readings will includecreation myths, epic tales of imperial courtiersand samurai warriors, folktales, drama, andpoetry. During the spring semester, we will read20th- and 21st-century writers, includingNatsume Soseki, Kawabata Yasunari, EnchiFumiko, Abe Kobo, Oe Kenzaburo, MurakamiHaruki, and Ogawa Yoko. Films, historical texts,and critical essays will complement these literarytexts to help us sharpen and challenge ourinterpretive approaches.

First-Year Studies: The ThreeCrowns of Florence: Dante,Petrarch, Boccaccio, and theBeginnings of ModernJudith P. Serafini-SauliFYSIn the arc of two generations, between the 13thand 14th centuries, three writers emerged inTuscany who shaped both the Italian languageand Western literature. Their major works,Dante’s Divine Comedy, Petrarch’s Canzoniere,and Boccaccio’s Decameron offered monumentalexamples of epic poetry, lyric poetry, andnarrative prose, respectively, all in Tuscan Italian.This course will offer a careful reading of theseimportant texts. Dante’s Divine Comedy is, inmany ways, a consummation of medievalculture—a prism through which he filtersclassical and medieval civilization and meldsthem in one magnificent and totalizing Christianvision embracing art, literature, philosophy,science, history, and theology. Like all conceptsof heaven and hell, it is a repository for dreams ofecstasy, fantasies of horror, and, ultimately, moralguidance. A generation later, Petrarch putstogether his Canzoniere, a collection of lyricpoems that establish the form and tenor of thesonnet for succeeding centuries but also projectmoral concerns in the more “modern” context ofindividual sensibilities and internal psychology.In the Decameron, Boccaccio (Petrarch’scontemporary) offers 100 delightful shortstories—many amusing, some exemplary, allrooted in the real and practical world of theemerging modern mercantile society thatcharacterized the 14th century. It is a worldviewthat is as totalizing as it is different from that ofDante. Through close reading of these rewardingtexts, we will trace some of the salient ideas ofthe late Middle Ages and consider some of thetransformations that occur in attitudes andesthetics as a more “modern” sensibility emerges.The possibilities for conference projects are vast.In the first semester, they might includeantecedents and analogues of the Divine Comedy,such as the Aeneid, the Odyssey, Platonic myths,or medieval mystical literature, as well as otherworks by Dante, pictorial representations ofheaven and hell, and contemporary films. In thesecond semester, projects might continue thework of the first semester or address courtly lovepoetry, Chaucer, the sonnet, or narrativetraditions.

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First-Year Studies in Historyand Literature: The TwoWorld Wars of the 20thCenturyFredric SmolerFYSThis course will examine World War I and WorldWar II, two vast and savage armed conflicts thatshaped the 20th century. We shall spend a yearstudying these two wars and some of the literaturethat they produced for two reasons: These warswere among the decisive shaping forces of ourcivilization; and war is intrinsically, ifhorrifically, fascinating, calling forth some of thebest, as well as much of the worst, in humanbeings. World War I, generally understood as theghastly collision of the Industrial Revolution witha nationalist state system, ended with thedestruction of three empires. It produced new andstarkly violent regimes, preeminently CommunistRussia, Nazi Germany, and Fascist Italy; and itproduced an immensely influential antiwarliterary response, which has shaped politics downto our own day. World War II destroyed two ofthese polities and gave a long lease on life to thethird of them. It inaugurated the Cold War thatdominated world politics for most of the latterhalf of the 20th century. It doomed the Europeanimperialism that had formally subjected almostthe whole of the non-European world over thepreceding centuries. And it produced the modernUnited States as the world’s first hyperpower.These wars, which made our political and culturalworld and shattered its predecessor, are thusprofoundly worth our understanding. The coursewill begin by describing the world destroyed byWorld War I and then assess the causes, courses,literature, and consequences of both world wars.We shall examine the experience of war forindividuals, states, economies, and societies.These wars transformed everything they touched,and they touched everything. We shall look atthem through the various optics of politicalhistory, literature, film, economic history,military history, cultural history, and socialhistory.

African American Literature:Constructing Racial Selves andOthersAlwin A. D. JonesLecture, Open—YearThis yearlong lecture will examine pivotalmoments and texts in the history of African

American letters, ranging from OlaudahEquiano’s Interesting Narrative (1789) to SaulWilliams’s The Dead Emcee Scrolls (2006).Working our way through a variety of genres(elegy, drama, the captivity narrative, the slavenarrative, the essay, public oratory, speeches,fiction, poetry, drama, polemical prose,autobiography, music, and film), we will explorea number of matters pertinent to literary studies ingeneral, as well as those with specificimplications for African American writing andwriters. We will consider the circumstances oftextual production and reception, ideas andideologies of literary history and culture,aesthetics, authorship, and audience. We willfocus our attention immediately on the emergenceof African American writing under the regime ofchattel slavery and the questions it poses about“race,” “authorship,” “subjectivity,” “self-mastery,” and “freedom.” We will consider thematerial and social conditions under which ourselected texts were edited, published, marketed,and “authenticated.” Our ultimate aim is to situateour selections within the broadest possiblecontexts of their time and ours. We will alsofocus on the changing notions of racialidentification in the 20th and 21st centuries,addressing how the wide array of genres shapeand are shaped by pivotal cultural and politicalmovements such as the “New Negro,” the HarlemRenaissance, Civil Rights, Black Arts/BlackPower, and Womanism, as well as current debatesover matters such as hip hop, same-sexuality,incarceration, and “premature death.” Also, wewill examine how the texts deal with recentquestions about black identities and subjectivitiesthat get funneled through notions of a postraceand/or postethnic (international) society. Someauthors whom we might study include, but are notlimited to, Thomas Jefferson, David Walker,Frederick Douglass, Harriet Wilson, Anna JuliaCooper, Charles Chesnutt, Booker T.Washington, Jean Toomer, W. E. B. Du Bois,Nella Larsen, Langston Hughes, Zora NealHurston, Richard Wright, Ralph Ellison, JamesBaldwin, Lorraine Hansberry, Margaret Walker,Amiri Baraka, Huey Newton, Sonya Sanchez,Carolyn Rodgers, Alice Walker, Toni Morrison,and Audre Lorde.

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Epic Vision and Traditionfrom the Odyssey to Walcott’sOmerosWilliam ShullenbergerLecture, Open—YearThe epic is a monumental literary form and anindex to the depth and richness of a culture andthe ultimate test of a writer’s creative power.Encyclopedic in its inclusiveness, the epic reflectsa culture’s origins and projects its destiny, givingdefinitive form to its vital mythology andproblematically asserting and questioning itsformative values. This course on the emergenceand development of the epic genre developed inthe Western tradition will be organized aroundfour central purposes. First, we will study themajor structural, stylistic, and thematic features ofeach epic. Second, we will consider the culturalsignificance of the epic as the collective or heroicmemory of a people. Third, we will examine howeach bard weaves an inspired, yet troubled, imageof visionary selfhood into the cultural andhistorical themes of the poem. Fourth, we willnotice how the epic form changes shape underchanging cultural and historical circumstancesand measure the degree to which the influence ofepic tradition becomes a resource for literary andcultural power. First term: Homer, Odyssey;Virgil, Aeneid; Dante, Inferno; Milton, ParadiseLost. Second term: Pope, The Rape of the Lock;Wordsworth, The Prelude; Eliot, The WasteLand; Joyce, Ulysses; Walcott, Omeros.

The Forms and Logic ofComedyFredric SmolerLecture, Open—YearComedy is a startlingly various form that operateswith a variety of logics. It can be politicallyconservative or starkly radical, savage or gentle,optimistic or despairing. In this course, we willexplore some comic modes, from philosophicalcomedy to modern film, and examine a fewtheories of comedy. The tentative reading listincludes a Platonic dialogue (the Protagoras),Aristophanes’ Old Comedy, Plautus’ NewComedy, Roman satire, Shakespeare, Molière,Fielding, Sterne, Jane Austen, Stendhal, Dickens,Mark Twain, Ambrose Bierce, Oscar Wilde, P. G.Wodehouse, Kingsley Amis, Joseph Heller,David Lodge, Philip Roth, and TomStoppard—along with some literary theory and

philosophy, cartoons, and film. We may also readRabelais and/or Cervantes. This reading list issubject to revision.

Warriors, Rogues, and Womenin Breeches: AdventurousLives in Early Modern Trans-Atlantic Literature: Literaturein TranslationEsther FernándezLecture, Open—FallThe 16th and 17th centuries were paramount tothe literary legacy of Spanish American worlds,forming successive milestones in artistic andliterary achievements. Fiction and dramaintroduced daring new protagonists, such as wittyrogues, scheming harlots, delusional knights, andwarrior maidens (bending gender and social roles)that would soon enough change the moralimagination and very course of trans-Atlanticcultural history. This lecture course will explorean array of these masterpieces in prose anddrama, both from Spain and across the Americas,retracing adventurous journeys in historical andcross-cultural context. The course will includefilm and stage adaptations and other artisticmanifestations as a way to more fully interrogatethe relationship between the written word andvisual image.

New Media LiteraciesUna ChungLecture, Open—SpringCulture and technology are rapidly coming closertogether in ways that both extend and go beyondAdorno’s analysis of a “culture industry.” Marxistcritical theory provided the foundation for thepolitical analysis of culture and art from the mid-to late-20th century. It may be that today we needto broaden the language of the humanities toinclude informatics, big data, calculation,procedural rhetoric, protocol, interface, derivativewars, multimodal compositing, topology,interactivity, and the financialization of life. Theaim is to focus more precise attention oncontemporary discourses of everyday life, culture,and design in metropolitan hubs globally. At thesame time, fundamental ethical questions, as wellas new political issues, will be raised within theterms of these new literacies. We will begin withkey writings of the Frankfurt School, thencontinue with critical essays by Luhman, Kittler,

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Deleuze, Foucault, Latour, Berardi, Martin,Hayles, Galloway, Manovich, Lury, Chow, Ang,Hansen, and Goodman.

Sex in the MachineUna ChungLecture, Open—SpringThis course will explore feminist and queerperspectives on technology and digital media.What is the relationship between our views ontechnology and our views on bodies? We willmove from existentialist inquiry into the questionof woman, through theories of social constructionof identities and gender performativity, to scienceand technology studies’ investigation ofnonreproductive sexualities revolving around keytropes of cyborg, body modification, prosthetic,and posthuman. We will read critical essays byBeauvoir, Spillers, Parisi, Terranova, Butler,Cheah, Barad, Mahmood, Sedgwick, Clough,Haraway, Pitts, Sobchak, Hayles. We will alsolook at a small selection of literature, film, andart/design that provoke deeper inquiry into ourkey topics.

Romantic Poetry and ItsConsequencesNeil ArditiOpen—YearIn this course, we will read and discuss some ofthe most influential poetry in the Englishlanguage written during the last two centuries.One of the assumptions of the course is thatmodern poetry originates in the Romantic era. Inthe wake of the French Revolution, Wordsworthand Coleridge invented a new kind ofautobiographical poem that largely internalizedthe myths that they inherited. We will trace theimpact of their work on poets from the secondgeneration of Romantics through the earlymodernists, many of whom sought to break withRomanticism but increasingly seem, instead, tohave reinterpreted and extended its legacy. Ourpre-eminent goal will be to appreciate eachpoet’s—indeed, each poem’s—uniquecontribution to the language. Our understandingof literary and historical trends will emerge fromthe close, imaginative reading of texts. Authorswill include: Blake, Wordsworth, Coleridge,Byron, Shelley, Keats, Whitman, Dickinson,Tennyson, Browning, Rossetti, Hardy, Frost,Stevens, Yeats, and T. S. Eliot.

18th-Century Women ofLettersJames HorowitzOpen—YearBy 1817, Jane Austen could boast that novels bywomen had “afforded more extensive andunaffected pleasure than those of any otherliterary corporation in the world.” A mere centuryand a half earlier, printed work by women wasstill a rarity. This course traces the emergence ofprofessional female authorship from the end ofthe Renaissance to the heyday of Romanticism,along the way introducing students to the mostillustrious members of Austen’s “literarycorporation.” Some 18th-century women ofletters remain familiar today (Aphra Behn, MaryWollstonecraft), while many of them deservemore exposure (Eliza Haywood, Sarah Fielding,Frances Burney, Maria Edgeworth). The texts wecover will be as eclectic as the authorsthemselves—from lyric poems to gothic novels,sex comedies to political jeremiads, fantasyliterature to travel writing, autobiographies tocourtship narratives—but the emphasis,especially in the spring, will be on prose fiction.Various theoretical approaches to the history ofwomen’s writing will be considered, but we willprimarily be interested in studying the individualcareers, personalities, and achievements of theseremarkable artists. We will also pay attention tomale authors who, in response to the rise ofprofessional women’s writing, employed complexfemale personae in their own work.

The Greco-Roman World: ItsOrigins, Crises, TurningPoints, and FinalTransformationsSamuel B. SeigleOpen—YearThis course invites the serious student topenetrate the tides of time in order to uncoverwhat really lies behind the making of ancientGreece and Rome from their earliest times to theirfinal transformations. The aimed-for result is amore deeply informed understanding of theirdirect contribution to us; namely, the classicaltradition that still shapes our thinking andexercises our imagination. The methodologiesemployed will be derived as much from the fieldsof anthropology and sociology as from those ofpolitical science, economics, archaeology, andreligious studies. The particular topics pursuedwill be set through joint decision by class

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members and the teacher but anchored always inthe reality of what these two gifted peoplesexperienced—or believed to be their experience.To further this goal, all conferences will be insmall groups, and all papers will be written asjoint productions rather than as individualconclusions. A model for this procedure will beestablished in the first two weeks of the fallsemester through the class’s multidisciplinaryreading, in translation, of important selectionsfrom Homer’s Iliad.

17th-Century EnglishLiterature: Tradition andTransformationWilliam ShullenbergerOpen—YearIn the 17th century in England, the great orderingcoherences of medieval and earlier Renaissancethinking seemed to disintegrate under the warringimpulses of individualism and authority,empiricism and faith, revolutionarytransformation and reinforcement of tradition. Yeteven as the monarchy and the established churchwere challenged and torn apart, the 17th centuryproduced an extraordinary flowering of drama,poetry, and prose that expressed the contradictoryenergies of the period. We will study Englishwriting of the 17th century in a roughlychronological sequence. The first semester willexplore the aesthetics and ideology of the Stuartcourts and the robust and bawdy urban century ofLondon through a reading of masques and playsby Jonson and Shakespeare and theircontemporaries; dramatic experiments in“metaphysical” and moral verse by Donne,Jonson, Herbert, and other poets; variousdevelopments in scientific, philosophical, andmeditative prose by Bacon, Burton, and Browne;and the early poetry of Milton. The secondsemester will be devoted to major writers duringthe periods of the English Revolution and theRestoration of the Stuart monarchy. Our primaryattention will be to the radical politics and thevisionary poetics of Milton, particularly ParadiseLost and Samson Agonistes; but we will alsostudy the work of the cavalier and libertine courtpoets, as well as Andrew Marvell, KatherinePhillips, Aphra Behn, and John Dryden. JohnBunyan’s spiritual allegory Pilgrim’s Progressand Behn’s colonial romance novelOroonoko will provide a retrospect of theimagined and the social worlds that we havetraversed and a prospect of the worlds to come.

Prerequisite: At least one year of college-levelstudy in the humanities or a strong AP course inliterature.

Green RomanticismsFiona WilsonOpen—YearThe British Romantic movement, it has been said,produced the first “full-fledged ecological writersin the Western literary tradition.” To make thisclaim, however, is to provoke a host of volatilequestions. What exactly did Romantics mean by“nature”? What were the aesthetic, scientific, andpolitical implications of so-called GreenRomanticism? Most provocatively, is modernenvironmental thought a continuation of GreenRomanticism or a necessary reaction against it?This yearlong seminar considers such issuesthrough the prism of late 18th and early 19th-century British literature, with additional foraysinto contemporary art, philosophy, and sciencewriting, as well as American transcendentalismand modern responses to the Romantic legacy.Possible areas of discussion may include thefollowing: leveling politics, landscape design,Romantic idealism, colonial exploration andexploitation, astronomy and the visionaryimagination, “peasant poetry,” vegetarianism, thesex life of plants, breastfeeding, ballooning,deism, sublime longings, organic form, gardens,green cities, and the republic of nature—withworks by J. J. Rousseau, Immanuel Kant,Edmund Burke, William Gilpin, John Ruskin,Gilbert White, John Clare, Charlotte Smith,Dorothy and William Wordsworth, S. T.Coleridge, Percy and Mary Shelley, John Keats,Ralph Waldo Emerson, Henry David Thoreau,Herman Melville, Emily Dickinson, John Ruskin,William Morris, Iain Hamilton Finlay, and TomStoppard, among others.

Dostoevsky and the Age ofPositivismMelissa FrazierOpen—Fall“Once it’s proved to you, for example, that youare descended from an ape, there’s no use makinga wry face; just take it for what it is,” theUnderground Man tells us. Lebeziatnikovattempts to educate the prostitute, Sonia, bylending her a copy of G.H. Lewes’s ThePhysiology of Common Life. Ivan Karamazovrejects non-Euclidean geometry, while his brotherDmitri worries that chemistry will displace God:

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“Move over a little, Your Reverence, there’s nohelp for it, chemistry’s coming!” This one-semester course will frame a rich andmultifaceted reading of Notes from Underground,Crime and Punishment, and The BrothersKaramazov with an exploration of Dostoevsky’scomplicated relationship to the newly emergingscience of his day. We will considerDostoevsky’s response in the context of the verymany of his contemporaries also engaged in anew discourse of science, including Dostoevsky’smain ideological opponent, NikolaiChernyshevsky, as well as writers whose morenuanced approach shaped Dostoevsky’s own:Balzac, Poe, Wilkie Collins, and George Eliot inMiddlemarch. Finally, we will read some of thescientists and science writers whose works bothinfluenced and were influenced by 19th-centuryEuropean literature, including Darwin, Comte, theFrench physiologist Claude Bernard, and G.H.Lewes—not just a favorite of the fictionalLebeziatnikov but also the common-law husbandof the real George Eliot.

Acting Up: Theatre andTheatricality in 18th-CenturyEnglandJames HorowitzOpen—FallFrom melodrama to burlesque, farce to musicaltheatre, Restoration and 18th-century Englandhelped to define the modern conventions ofdramatic art and popular entertainment.Beginning with the reign of a king who loved thetheatre and all-too-public extramarital sex(Charles II), the era also raised new and troublingquestions about the nature and potential ofperformance—not only as an aspect of artisticpractice but also as an element of all social andpolitical life. What if all our identities (king andsubject, husband and wife) were not God-givenand prescriptive but, instead, factitious andchangeable—mere roles that we can adopt ordiscard at will? This course considers howauthors from the 1660s to the 1800s imagined thepotential of performance to transform—orsometimes to reinforce—the status quo, with alook ahead to the Hollywood films that inheritedand adapted their legacy. Our emphasis will be ondrama, with a survey of major 18th-centurycomedies, parodies, afterpieces, heroic tragedies,sentimental dramas, and gothic spectacles byplaywrights such as William Wycherley, GeorgeEtherege, John Dryden, Aphra Behn, SusannaCentlivre, John Gay, Henry Fielding, Hannah

Cowley, and Horace Walpole. We will intersperseour dramatic reading with viewings of films thatdemonstrate its influence from directors likePreston Sturges, Billy Wilder, and HalAshby. Some attention will also be paid tonondramatic writing on performance andtheatrical culture, including 18th-century actingmanuals, theatrical memoirs, and a “masqueradenovel” by Eliza Haywood.

Literary LondonFiona WilsonOpen—FallIn Canto Eleven of Don Juan, Byron’s haplesshero stands on a hill outside London,enthusiastically meditating upon the splendidfreedoms of the city before him: “Here laws areall inviolate; none lay / Traps for the traveller;every highway’s clear: / Here—’, he wasinterrupted by a knife, / With,—‘Damn youreyes! Your money or your life!’” Here, onemight add, comic reversal works though thebrilliant compression of real and ideal images ofBritain’s capital city. This course reads London asit appears in 19th-century British literature. Innovels, poems, essays, and plays, we explore thecity as, at once, an origin and object of Englishlanguage print culture. How did Victorian-eraLondoners see their city? How is the density ofurban life represented in the written word?Among the topics we will explore are: the city asfantasy, the city as nightmare; consumerism,crowds, caricatures; the development of literarycriticism; theatre, opium, the street; dandies andbluestockings, streetwalkers and street-sweepers;anarchists; manners and the law; the black city,the gay city; “flash,” Polari, cant, and Cockneyrhyming slang; and, finally, 19th-century Londonin retrospect. Possible authors: William Blake,Ignatius Sancho, Lord Byron, Mary Robinson,Thomas De Quincey, William Hazlitt, WilliamMakepeace Thackeray, Charles Dickens, HenryMayhew, Robert Louis Stevenson, Henry James,Bernard Shaw, Oscar Wilde, Joseph Conrad, andVirginia Woolf.

Lorca’s World: From Granadato New York: Literature inTranslationEsther FernándezOpen—SpringThe artistic and intellectual works of FedericoGarcía Lorca are a key transatlantic source forproblematizing 20th-century Spanish literary and

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cultural history. Mostly known for his poems andplays, Lorca was also a painter, scriptwriter,musician, and “cultural outreach” educator. Hewas an electrifying figure, who created a lyricalworld around his works and his very persona.Lorca spent his childhood and adult life movingbetween Granada and Spain’s capital of Madrid,an orbit punctured only by several travels to LatinAmerica and a 10-month visit to New York Citythat turned into the critical basis for his book ofpoems, Poet in New York. This seminar will takethe participant on a journey across Lorca’s lifeand works, making several passes across hispoetic and dramatic masterpieces in order tobetter comprehend his singular crafting of a worldmade of color dreams, death, denouncement,love, and passion.

Empire of Letters: Mappingthe Arts and the World in theAge of JohnsonJames HorowitzOpen—Spring“Damn Dr. Johnson,” grumbles a character inElizabeth Gaskell’s 1853 novel, Cranford. Bythen Samuel Johnson (1709-84) had beeninspiring strong feelings for more than a century.Aside from compiling the first English dictionaryof note, Johnson was a gifted and hugelyinfluential critic, poet, political commentator,biographer, and novelist—as well as a legendarilypithy conversationalist and a master of theEnglish sentence. His overbearing but strangelylovable personality was preserved for posterity byhis friend and disciple, James Boswell, who in1791 published the greatest of all literarybiographies, The Life of Johnson, which records,among much else, Johnson’s near-blindness,probable Tourette’s Syndrome, and selfless loveof cats. Now, after the tercentenary of his birthand the flood of books commemorating it,Johnson remains perhaps the most familiar modelof a vigorously independent publicintellectual—even with (or perhaps because of)his many eccentricities and contradictions, suchas his hatred of both slavery and the AmericanRevolution. This course will reappraise Johnson’slegacy but will do so within a broad culturalsurvey of the Anglophone world across thesecond half of the 18th century. In addition toJohnson, Boswell, and other titans ofEnlightenment prose like Edward Gibbon, DavidHume, and Adam Smith, we will sampleinternational writing on imperialism and the slavetrade (Olaudah Equiano, the abolitionist poets),

the French and American revolutions (ThomasPaine, Edmund Burke), and women’s rights (thebluestocking circle, Mary Wollstonecraft). Wewill also sample the period’s novels (HoraceWalpole, Tobias Smollett), drama (RichardBrinsley Sheridan), and personal writing (FrancesBurney’s diary, Boswell’s shockingly candidLondon Journal), as well as pay attention toCeltic literature (James Macpherson), visual art(William Hogarth, Joshua Reynolds), and thepoetic innovations that laid the groundwork forRomanticism (Thomas Gray, William Collins).We will also glance at Johnson’s reception andinfluence over the centuries; for instance, in thework of Virginia Woolf.

Small Circle of Friends: ATopic in RenaissanceLiteratureAnn LauingerOpen—SpringThe love poetry of the Renaissance is famous,and justly so. But 16th- and 17th-century writersalso thought a great deal about friendship,fellowship, and community—and about thesettings in which such relationships might thrive.This course looks at some versions of livingtogether—as best friends, in the idyllic setting ofa country house, or in the ideal society—set forthin a variety of texts from classical antiquity andthe Renaissance. What does it mean to call afriend “a second self”? Do men and womenenvision friendship differently? How did thecountry and the city turn into ideologicalopposites? These are some of the questions raisedby our reading: poems by Horace, Juvenal,Martial, Aemilia Lanyer, Katherine Phillips,Spenser, Ben Jonson, and others; essays ofErasmus, Montaigne, and Francis Bacon; ThomasMore’s Utopia; the Abbey of Thélème (fromRabelais’ Gargantua); Shakespeare’s Henry IVand The Tempest.

Abbreviated Wisdom: How theShort Story WorksAngela MogerOpen—SpringClaiming it has an intensity that the novel cannotachieve, John Cheever defined the short story as“the appeasement of pain.” He writes, “In a stuckski lift, a sinking boat, a dentist’s office, or adoctor’s office...at the very point of death, onetells oneself a short story.” While this statement issurely true, it gives an insufficient accounting of

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the disparate roles played by that elliptic,perverse, ambitious genre known as “the shortstory.” That is, if some offer, indeed, a kind ofappeasement (Cheever’s own duplicitousGoodbye, My Brother), just as often theyconstitute an aggressive indictment(O’Connor’s Good Country People) or an implicitmise en question of the reader’s credentials/motives in reading (Hawthorne’s The Minister’sBlack Veil). The very brevity of the form,moreover, permits the short story to make pithycomment on matters political (Gordimer’s TheTrain from Rhodesia) or pointed reflectionconcerning the essential nature of fiction(James’s The Turn of the Screw). In this coursewe will explore the range of potential inherent inthis form and probe its peculiar prosperity atcertain historical moments (both Decadence andWalter Benjamin figure on the agenda).Furthermore, Jacobson’s essay on metaphor andmetonymy will illuminate speculation on whyconsummate practitioners of thenovel—Lawrence, Cather, Gordiner, Balzac, andWharton—have so often resorted to this“condensation.” Open to first-year students only.

The Poetry Book: Text andDesignFiona WilsonOpen—SpringPutting a book of poetry together is a difficult andcomplex task. The poet must consider not onlythe order of the poems but also the internalnarrative of the book as a whole: how itsconstituent parts “speak” to each other; how keythemes and patterns are developed andarticulated; how to begin the book and, evenharder, how to end it. Yet, students oftenencounter poetry primarily through anthologies,with the result that first affiliations arefragmented and obscured. In this class, we takethe opposite tack and explore the book of poetryas an event in itself. We read and discuss booksby English-language poets across twocenturies—from William Blake’s artisanal, hand-tinted works to Frank O’Hara’s portable “lunchpoems.” How have individual writers sought toshape readers’ experiences through the patterningof content? What kinds of creativedecisions—from cover to typeface—affect theappearance of a poetry book? What happenswhen a poet’s work is edited posthumously? Orwhen a book appears in multiple, evolving

versions? What is hypertext poetry, and has itreally abolished the poetry book as traditionallyunderstood?

Eight American PoetsNeil ArditiSophomore and above—YearAmerican poetry has multiple origins and a vastarray of modes and variations. In this course, wewill focus our attention on the trajectories of eightmajor American poetic careers. We will beginwith Whitman and Dickinson, thosefountainheads of the visionary strain in Americanpoetic tradition, before turning to Robert Frost,Wallace Stevens, T. S. Eliot, Hart Crane,Elizabeth Bishop, and John Ashbery. Some of thepoems we will be reading are accessible on asuperficial level and present challenges tointerpretation only on closer inspection; otherpoems—most notably, the poems of Dickinson,Stevens, Eliot, and Crane—present significantchallenges at the most basic level ofinterpretation. The major prerequisite for thiscourse is, therefore, attitudinal: a willingness tograpple with literary difficulty and with passagesof poetry that are, at times, wholly baffling orhighly resistant to paraphrase. We will seek toparaphrase them anyway—or account, as best wecan, for the meanings they create out of themeanings they evade. Our central task will be toappreciate and articulate the unique strengths ofeach of the poems (and poets) that we encounterthrough close, imaginative reading and informedspeculation.

Modernism and FictionDaniel KaiserIntermediate—YearThis course will pick up the history of prosefiction roughly at the point at which the novelstarts to become a self-conscious and problematicliterary form in Flaubert, James, and Conrad.From these writers, we will proceed to the moreradical and complex formal experiments of thegreat “high modernists” of fiction—Mann, Joyce,Proust, and Kafka. In the last part of the course,we will consider the question of what is nowcalled “postmodernism,” both in fiction thatcontinues the experimental tradition ofmodernism while breaking with some of itsassumptions (Beckett and Pynchon) and inimportant recent theorizing about problems ofnarrative and representation. Throughout, we willpay close attention to the social and politicalmeanings of both experimental narrative

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techniques and theories of fiction. Previouscompletion of at least one year of literature orphilosophy is required.

The Making of ModernTheatre: Ibsen and ChekhovJoseph LauingerSophomore and above—YearA study of the originality and influences of Ibsenand Chekhov, the first semester begins with ananalysis of melodrama as the dominant form ofpopular drama in the Industrial Age. This analysisprovides the basis for an appreciation of Ibsen,who took the complacent excitements ofmelodrama and transformed them into theatricalexplosions that undermined every unquestionedpiety of middle-class life. The effect onStrindberg leads to a new way of constructingtheatrical experience. The second semesterfocuses on Chekhov, who in retuning theatricallanguage to the pitches and figures of music,challenges conventional ideas of plot. Finally,Brecht, Lorca, and Beckett introduce questionsabout the very sensations delivered by drama,plumbing its validity and intent.

The Nonfiction Essay: Writingthe Literature of Fact,Journalism, and BeyondNicolaus MillsSophomore and above—YearThis is a writing course that aims to have studentsproduce a series of nonfiction essays that reflectTom Wolfe’s belief that it is “possible to writejournalism that would read like a novel.” Thereading that we do is designed to serve thewriting that we do, which will both include andgo beyond standard journalism. We will read anumber of well-known nonfictionwriters—among them, Tom Wolfe, Joan Didion,John McPhee, and Henry Louis Gates; but thiscourse is not a history of the nonfiction essay.Assignments come with deadlines for drafts,rewrites, and final copy. The assignments are not“writing-class exercises” but, rather, the kinds ofwork that any editor would assign. A warning:This is not a course in “creative nonfiction” orcovert autobiography. Accurate reporting is anon-negotiable starting and finishing point. Thecourse will begin by emphasizing writingtechnique. And as we move on to longerassignments, our focus will be on the role thatresearch, interviews, and legwork play in

completing a story. Students should bring awriting sample to the interview and should not betaking another writing course.

Studies in the 19th-CenturyNovelIlja WachsSophomore and above—YearThis course entails an intensive and close textualencounter with the novelistic worlds of the 19th-century realist tradition. The first fictionaltradition to accept social reality as the ultimatehorizon for human striving, the 19th-centurynovels that we will study are all intensely criticalof the severe limitations to human wholeness andmeaning posed by the new social world they wereconfronting. At the same time that they accept theworld as a setting and boundary for human life,they seek to find grounds for transcending itslimitations. We will explore the tensions in thesenovelists’ works between accepting the world asgiven and seeking to transcend it. At the sametime, we will try to understand why—in spite of acentury and a half of great historical and culturalchange—these novels continue to speak to theissues posed by the human condition with suchbeauty, depth, and wisdom. We will read in theworks of novelists such as Tolstoy, Dostoevsky,Balzac, Stendhal, Eliot, Austen, Dickens, Twain,and Goethe.

“New” World Studies:Maroons, Rebels, and Piratesof the CaribbeanAlwin A. D. JonesIntermediate—FallThis course will introduce students to a vast bodyof diverse literature—life writings,autobiographies, novels, film, poetry, andplays—that focus on an “interstitial” Caribbean,with “interstitial” referring to works that are notonly from the Caribbean but also are about theCaribbean as image and imaginary. Engagingclassics such as Aphra Behns Oroonoko,Shakespeare’s The Tempest, and Bronte’s JaneEyre, alongside more contemporary titles such asJean Rhys’ Wide Sargasso Sea, Aime Cesaire’s ATempest, and Marlon James’ Book of NightWomen, this seminar will primarily explore howliterature worked culturally to construct (anddeconstruct) the New World. In particular, theCaribbean is often imagined as an “other” spaceidentifiable with maroonage, rebellion, andpiracy. Other themes, topics, and concepts that we

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might broach in our text-driven conversationsinclude madness, (im)morality, migration(voluntary and involuntary), gender, race,citizenship, sexuality, old world and new world,voodoo and magic, revolution and rebellion,religion, coloniality, independence, andpostcoloniality. We will also explore literature,film, and music that engage nonspecificarchetypes such as the tragic mulatto, icons/historical figures such as Nanny of the Maroonsand Toussaint L’Overture, the ever-elusivetrickster Anansi, and mythic explorations such asthe “El Dorado” (the Golden City). TOur inquiry,therefore, will remain an interdisciplinary one inwhich writers such as Daniel Defoe, Bronte, andShakespeare can be placed directly inconversation with Jamaica Kincaid, KamauBrathwaite, and Wilson Harris. A portion of ourinquiry might be dedicated to films such as ElDorado and the Pirates of the Caribbean series,which contribute to ongoing contemporaryrepresentations of Caribbean identity. Studentstaking this course are highly encouraged to enrollin the Spring 2014 intermediate seminar titled,“New” World Literatures: Fictions of the Yard.

After Eve: Medieval WomenAnn LauingerSophomore and above—FallIt all began with Eve, so that’s where we start:with Genesis and the elaboration of Eve and theVirgin Mary as the central female figures ofmedieval belief. We will go on to read texts bothby and about women from the earliest years of theMiddle Ages up to the 15th century in order toexplore the many roles that women played inmedieval culture. Misogyny and adoration will beattitudes familiar to anyone who has even acursory acquaintance with the Middle Ages. Butany account of medieval women should alsoinclude norm-defiers like the Valkyries of Norselegend, the professional writer Christine de Pizan,the cross-dressed St. Joan of Arc, and variousfemale experts on love—fleshly, courtly, andmystical. These and additional figures from theperiod will form the focus of the course, withcontexts for our texts provided by readings inhistory and both cultural and literary criticism. Noprevious knowledge of the medieval period isnecessary, though it is welcome. Conferencework may be undertaken either in subjectsbroadly related to the course or in a quiteunrelated topic, depending on the student’sinterests and needs.

The Poetics and Politics ofTranslationBella BrodzkiSophomore and above—SpringTranslation is the process by which meanings areconveyed within the same language, as well asacross different languages, cultures, forms,genres, and modes. The point of departure for thiscourse is that all interpretive acts are acts oftranslation, that the very medium that makestranslation possible—language itself—is alreadya translation. Because difference, “otherness,” orforeignness is a property of language, of everylanguage, perhaps some of the most interestingproblems that we will address revolve around thenotion of “the untranslatable.” What is it thatescapes, resists, or gets inevitably lost intranslation? And, what is gained? How do weunderstand the distinction between literal andfigurative language, and what underlies ourassumptions about the nature of the relationshipbetween the authenticity of the original text orutterance and the derivative character of itstranslation(s)? Although translation is certainly apoetics, it is also the imperfect and yet necessarybasis for all cultural exchange. As subjects in amulticultural, multilingual, and intertextualuniverse, all of us “live in translation”; but weoccupy that space differently, depending on thestatus of our language(s) in changing historical,political, and geographic contexts. How has thehistory of translation theory and practice beeninflected by colonialism and postcolonialism?Our readings will alternate between the work oftheorists and critics who have shaped what wecall Translation Studies and literary texts thatthematize or enact the process of translation,beginning with Genesis and the Tower of Babel.In addition, a workshop component to this course,involving visiting members of the foreign-language faculty and other practitioners oftranslation, will engage students directly in thechallenges of translating. Students mustdemonstrate proficiency in a language other thanEnglish; previous study of literature is alsorequired.

“New” World Literatures:Fictions of the YardAlwin A. D. JonesIntermediate—SpringThis course will introduce students to the variouspermutations of the genre called “Yard Fiction,”generally associated with the writings of

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Caribbean nationals and expatriates of color. Wewill examine mostly novels and novellas, rangingfrom C.L.R. James’s Minty Alley (1939) to JunoDiaz’s Drown (1996). Ideally, we will explore theintersections of race, space, and culture in thesetexts and the contexts that they address. For ourpurposes, “the yard” can be defined as a spacethat is home to mostly people of color who arepredominantly working-class people, employedand unemployed. The yard is usually a building,basically a “tenement,” or group of buildings onthe same street. Subsequently, everything in theselected texts generally occurs in each of thedifferent characters’ “own back yard.” The yard,as a physical space, generally binds thecharacters/people intimately, so they become eachother’s keepers and peepers. We will examinehow these different authors image and utilize thespace of yard and different forms of writing, suchas the vignette style, in order to effect a uniquemode of storytelling, poetics, and politics. Giventhat yard fiction is associated with “urban orurban-like” settings/dwellings, and the courseaims to give a world view of this genre, many ofthe texts include writings that are set in cities andvillages on continental Africa, in London, in theUnited States, and in the Caribbean. Somegeneral themes that are consistent with the genreand which students will be able to examine aregender, race, ethnicity, class, urban space,imperialism, globalization, coloniality (post- andneo-), independence, and culture, along withmusic/calypso and gossip as primary carriers ofnews and information, the role of the voyeur, andplacing and marking territory via insider/outsider.Students are highly encouraged to enroll in thefall course, “New” World Studies: Maroons,Rebels, and Pirates of the Caribbean.

Typology of the NarratorAngela MogerAdvanced—FallAristotle’s idea of narrative as the report of newsbrought from elsewhere is susceptible to theinference that the reporter is a relativelyinconspicuous conduit of the material transmitted,the benign midwife of information. If this stanceis posited as a kind of degree zero for thedefinition of the narrator in fiction, the evolutionof the narrator’s role in the modern novelsignifies a consequential shift in the idea offiction itself reflective, in turn, of profoundchanges in worldview. In this course, we willattempt to deepen our understanding of fictionthrough examination of the disparate functions

assigned to the narrator by a range of “modern”writers. Indeed, in discussing Henry James, PercyLubbock asserts: “The whole intricate question ofmethod in the craft of fiction [depends on] therelation in which the narrator stands to the story.”James, in accordance with Flaubert’s principles,sought to purify the novel of authorialcommentary, to make the author invisible, hisinnovations in perspective and voice recasting therole of the narrator. Flaubert’s “irony ofundecidability,” furthermore, is complicated byfeatures (tone, multiplication of perspective) thatbetray bias and vision. Scrutiny of these traces inFlaubert and in the implementation of thenarrator(s) in Sterne, Ford Madox Ford, Balzac,James and Cather, among others, will necessarilyinvolve consideration of issues fundamental tosuch an investigation; e.g., polyphony,“unreliability,” mimesis and diagesis, and indirectdiscourse.

Mathematics

Whether they had any interest in mathematics inhigh school, students often discover a newappreciation for the field at Sarah LawrenceCollege. In our courses—which reveal theinherent elegance of mathematics as a reflectionof the world and how it works—abstract conceptsliterally come to life. That vitality further emergesas faculty members adapt course content to fitstudent needs, emphasizing the historical contextand philosophical underpinnings behind ideas andtheories. By practicing rigorous logic, creativeproblem solving, and abstract thought in smallseminar discussions, students cultivate habits ofmind that they can apply to every interest. Withwell-developed, rational thinking and problem-solving skills, many students continue theirstudies in mathematics, computer science,philosophy, medicine, law, or business; others gointo a range of careers in fields such as insurance,technology, defense, and industry.

First-Year Studies:Mathematics in Context:Philosophy, Society, Culture,and ConflictDaniel KingFYSMathematics has been an undeniably effectivetool in humanity’s ongoing effort to understandthe nature of the world around us, yet the mantra

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of high-school students is all too familiar: What ismath good for anyway? When am I ever going touse this stuff? What serves to explain the puzzlingincongruity between the indisputable successstory of mathematics and students’ sense of thesubject’s worthlessness? Part of the explanationresides in the observation that all too manymathematics courses are taught in a manner thatentirely removes the subject matter from itsproper historical, social, and culturalcontext—naturally leaving students with thedistinct impression that mathematics is a deadsubject, one utterly devoid of meaningfulness andbeauty. In reality, mathematics is one of theoldest intellectual pursuits, its history afascinating story filled with great drama,extraordinary individuals, and astoundingachievements. This seminar focuses on the roleplayed by mathematics in the emergence ofcivilization and follows their joint evolution overnearly 5,000 years to the 21st century. We willexplore some of the great achievements ofmathematics and examine the full story behindthose glorious achievements. The ever-evolvingrole of mathematics in society and the ever-intertwined threads of mathematics, philosophy,religion, and culture provide the leitmotif of thecourse. Specific topics to be explored include theearly history of mathematics, logic and the notionof proof, the production and consumption of data,the analysis of conflict and strategy, and theconcept of infinity. Readings will be drawn froma wide variety of sources (textbooks, essays,articles, plays, and fictional writings), connectingus to the thoughts and philosophies of a diverseset of scholars; a partial list includes Pythagoras,Euclid, Galileo, René Descartes, Isaac Newton,Immanuel Kant, Lewis Carroll, John VonNeumann, John Nash, Kurt Gödel, BertrandRussell, Jorge Luis Borges, Kenneth Arrow, andTom Stoppard.

An Introduction to StatisticalMethods and AnalysisDaniel KingLecture, Open—SpringAn introduction to the concepts, techniques, andreasoning central to the understanding of data,this lecture course focuses on the fundamentalideas of statistical analysis used to gain insightinto diverse areas of human interest. The use,abuse, and misuse of statistics will be the centralfocus of the course. Topics of exploration willinclude the core statistical topics in the areas ofexperimental study design, sampling theory, data

analysis, and statistical inference. Applicationswill be drawn from current events, business,psychology, politics, medicine, and other areas ofthe natural and social sciences. Statisticalsoftware will be introduced and used extensivelyin this course, but no prior experience with thesoftware is assumed. This seminar is aninvaluable course for anybody planning to pursuegraduate work and/or research in the naturalsciences or social sciences. No college-levelmathematical knowledge is required.

Calculus II: Modeling WithDifferential Equationssarah-marie belcastroOpen—FallAn infectious disease spreads through acommunity: What is the most effective action tostop an epidemic? Populations of fish swell anddecline periodically: Should we change the levelof fishing allowed this year to have a better fishpopulation next year? Foxes snack on rabbits: Inthe long term, will we end up with too manyfoxes or too many rabbits? Calculus can help usanswer these questions. We can make amathematical model of each situation, composedof equations involving derivatives (calleddifferential equations). These models can tell uswhat happens to a system over time which, inturn, gives us predictive power. Additionally, wecan alter models to reflect different scenarios(e.g., instituting a quarantine, changing huntingquotas) and then see how these scenarios playout. The topics of study in Calculus II includepower series, integration, and numericalapproximation, all of which can be applied tosolve differential equations. Our work will bedone both by hand and by computer.Conveniently, learning the basics of constructingand solving differential equations (our first topicof the semester) includes a review of Calculus Iconcepts. Conference work will exploreadditional mathematical topics. This seminar isintended for students planning further study inmathematics or science, medicine, engineering,economics, or any technical field, as well asstudents who seek to enhance their logicalthinking and problem-solving skills. Prerequisite:Calculus I (differential calculus in either a high-school or college setting).

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Calculus I: The Study ofMotion and Changesarah-marie belcastroOpen—SpringCalculus is the study of rates of change offunctions (the derivative), accumulated areasunder curves (the integral), and how these twoideas are (surprisingly!) related. The concepts andtechniques involved apply to medicine,economics, engineering, physics, chemistry,biology, ecology, geology, and many other fields.Such applications appear throughout the course,but we will focus on understanding conceptsdeeply and approach functions from graphical,numeric, symbolic, and descriptive points ofview. Conference work will explore additionalmathematical topics. This seminar is intended forstudents planning further study in mathematics orscience, medicine, engineering, economics, orany technical field, as well as students who seekto enhance their logical thinking and problem-solving skills. Facility with high-school algebraand basic geometry are prerequisites for thiscourse. Prior exposure to trigonometry and/orprecalculus is highly recommended. No previouscalculus experience is necessary or desired.

Discrete Mathematics: AGateway to AdvancedMathematicssarah-marie belcastroIntermediate—FallThis seminar is an introduction to the world ofelegant mathematics, beyond that encountered inhigh school, under the guise of an introductorysurvey course in discrete mathematics. We willtouch on the tips of many icebergs! The subject ofdiscrete mathematics houses the intersection ofmathematics and computer science; it is an activearea of research that includes combinatorics,graph theory, geometry, and optimization. Thetopics in this course are selected to give an idea ofthe types of thinking used in a variety of discretemathematics research areas. Learning the factsand techniques of discrete mathematics isinextricably intertwined with reasoning andcommunicating about discrete mathematics. Thus,at the same time as surveying discretemathematics, this course is an introduction torigorous reasoning and to writing convincingarguments. These skills are necessary in all ofmathematics and computer science and veryapplicable to law and philosophy. Conferencework will explore additional mathematical topics.

The seminar is essential for students planningadvanced study in mathematics and highlyrecommended for students studying computerscience, law, or philosophy or who seek toenhance their logical thinking and problem-solving skills. Prerequisite: Prior study ofCalculus or equivalent preparation.

Topics in Multivariable andVector Calculussarah-marie belcastroIntermediate—SpringCompared to the familiar single-variable territoryof Calculus I and II, multivariable calculus is aforeign land. Imagine, if you will, that instead ofa function taking a single input and producing asingle output, we either use one input and getmultiple outputs (vector functions) or use severalinputs and get one output (multivariablefunctions). And yes, there are even functions thathave several inputs and multiple outputs! In thisnew realm, we will investigate lines and planes,curves and surfaces, and multidimensionalgeneralizations of these objects, with a focus onthose functions that can be visualized in threedimensions. For both vector and multivariablefunctions, we will address the basic questions ofcalculus: How do we measure rates of change?How do we find areas and volumes? How can weinterpret derivatives and integrals bothgeometrically and for practical purposes?Fascinatingly, each of these questions has morethan one answer. We will examine gradients anddirectional derivatives, maxima and minima andsaddle points, double and triple integrals,integrals taken along curves, and more—as timepermits. This seminar is essential for studentsintending to pursue engineering, physics,mathematics, graduate study in economics, orrocket science and is recommended for studentspursuing chemistry or computer science.Prerequisites: Calculus I and Calculus II.

Topology: The Nature ofShape and SpaceDaniel KingAdvanced—FallTopology, a modernized version of geometry, isthe study of the fundamental, underlyingproperties of shapes and spaces. In geometry, weask: How big is it? How long is it? But intopology, we ask: Is it connected? Is it compact?Does it have holes? To a topologist there is nodifference between a square and a circle and no

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difference between a coffee cup and a donutbecause, in each case, one can be transformedsmoothly into the other without breaking ortearing the mathematical essence of the object.This course will serve as an introduction to thisfascinating and important branch of mathematics.Conference work will be allocated to clarifyingcourse ideas and exploring additionalmathematical topics. Successful completion of ayearlong study of Calculus is a prerequisite andcompletion of an intermediate-level course (e.g.,Discrete Mathematics, Linear Algebra,Multivariable Calculus, or Number Theory) isstrongly recommended.

Music

The Music program is structured to integratetheory and practice. Students select a combinationof component courses that together constitute onefull course, called a Music Third. A minimalMusic Third includes four components:1. Individual instruction (instrumental

performance, composition, or voice), thecentral area of study around which the rest ofthe program is planned;

2. Theory and/or history (see requirementsbelow);

3. A performance ensemble (see arearequirements below);

4. Concert attendance/Music Tuesdays (seerequirement below).

The student, in consultation with the faculty,plans the Music program best-suited to his or herneeds and interests. Advanced students may, withfaculty consent, elect to take two-thirds of theircourse study in music.

First-Year Studies:Landmarks of Western MusicMartin GoldrayFYSThis seminar will be both an introduction to andan in-depth exploration of the world of Westernclassical music. The ability to read music is notrequired. We will instead develop a vocabulary,based on careful listening, that we will use toanalyze and describe the forms, textures, andexpressive qualities of the music and of ourexperience of it. During the course of the year, wewill have immersed ourselves in music andaesthetics from the ancient Greeks (the concept ofmusic as sounding number) to the present;

however, the class will not be organized as ahistorical survey but, rather, around topicsdesigned to foster connections among differentperiods. For example, some of the music of theMiddle Ages, the Renaissance, and of J. S. Bachand the postwar modernists seem to shareattitudes about music and its role in intellectualand artistic life. How can these eras illuminateeach other? How does music both reflect andinfluence developments in the other arts, intechnology, and in social structures? Other topicswill include subjectivity and personal expression,the radically simple, and the relationship betweenmusic and text.

Lecture and Seminar

The following lecture and seminar withconferences are offered to the College communityand constitute one-third of a student’sprogram. They may be taken as a component inone of the performing arts third programs (Music,Dance, and Theatre).

Music and/as Language:Ethnomusicology of NorthAmericaJonathan KingLecture, Open—FallIs music a “universal language”? Though it oftenfeels that way, this question is not easy to answer.Employing the tools of musicology and fromlinguistic anthropology, we will examine howmusic is a communicative process that is verymuch like language in some ways and quitedifferent in others. Native American traditionsfrom Canada and the Plains offer a profoundpoint of entry for rich analysis. Mexican balladryoffers a number of concrete case studies of thehistorical vagaries of lyric construction.Linguistic concepts such as referentiality andambiguity will guide our examinations of countrymusic and the blues. “Creolization,” anotherlinguistic concept, will become an especiallysalient metaphor, as we consider the dynamicmusical cultures of syncretic Nuyorican traditionssuch as salsa. Finally, our understanding ofimprovisatory jazz performance traditions willinform our understanding of what it means tocommunicate musically. A powerful case-in-pointis Sarah Lawrence’s own Balinese gamelan,“Chandra Buahna.” Performance as part of thisgroup is a required part of the fall semester(occasional exceptions may be granted by theinstructor), and no musical experience is

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necessary. While these musical styles aresophisticated and the analytical approaches arechallenging, prior experience with music theoryis absolutely not required for this course.

Music and/as Social Identity:Ethnomusicology of theAtlantic CoastsJonathan KingOpen—SpringIt is an intriguingly common concept that music“gives voice” to a culture. How might thiscomplex transfer of value (from social group tosonic phenomena) work, as it seems to expressour identity? Does the process work in the reversedirection? That is to say, does our musicalbehavior affect and change who we will become?In this seminar, we will examine how the activityof musical expression—what some musicologistshave called “musicking”—is used dynamically,generating and maintaining social identities inmany complex and ever-changing social contexts.We will specifically consider the musical culturesof what Paul Gilroy has called the “BlackAtlantic,” including musical practices fromLiberia, Nigeria, Cuba, Puerto Rico, Brazil,Jamaica, London, New Orleans, and New York.A powerful case-in-point is Sarah Lawrence’sown West African Percussion Ensemble, FasoFoli. Performance as part of this group is arequired part of the spring semester (occasionalexceptions may be granted by the instructor), andno musical experience is necessary. While thesemusical styles are sophisticated and theanalytical approaches are challenging, priorexperience with music theory is absolutely notrequired for this course.

Components

Individual Instruction

Arranged by audition with the following membersof the music faculty and affiliate artists:

Composition—Chester Biscardi, PatrickMuchmore, Daniel Wohl, John YannelliGuitar (acoustic), Banjo & Mandolin—WilliamAndersonGuitar (jazz/blues)—Glenn AlexanderBass (jazz/blues)—Kemit DriscollHarpsichord—Carsten SchmidtPiano—Chester Biscardi, Martin Goldray, BariMort, Carsten Schmidt, Jean WentworthPiano (jazz)—Michael Longo

Voice—Hilda Harris, Eddye Pierce-Young,Wayne Sanders, Thomas YoungFlute—Kelli Kathman, Tara Helen O’ConnorOboe—James SmithClarinet—Igor BegelmanSaxophone (jazz and classical)—RobertMagnusonBassoon—James JeterTrumpet—Jon OwensTuba—Andrew BovePercussion—Matt Wilson (drum set)Percussion—Ian Antonio (mallet)Harp—Kirsten AgrestaViolin—Sung Rai SohnViola—Daniel PannerVioloncello—Susannah Chapman, Chris FinckelContrabass—Mark Helias

The Director of the Music program will arrangeall instrumental study with the Affiliate Artistfaculty who teach off campus. In all cases,individual instruction involves consultation withmembers of the faculty and the director of theMusic program. Instructors for instruments notlisted above will also be arranged.

Lessons and AuditionsBeginning lessons are offered only in voice andpiano. A limited number of beginning acousticguitar lessons are offered based on prior musicalexperience. All other instrumentalists areexpected to demonstrate a level of proficiency ontheir instruments. In general, the music facultyencourages students to prepare two excerpts fromtwo contrasting works that demonstrate theirmusical background and technical abilities.Auditions for all instruments and voice, which areheld at the beginning of the first week of classes,are for placement purposes only.

Vocal Auditions, Placement, and JuriesThe voice faculty encourages students to preparetwo contrasting works that demonstrate thestudent’s musical background and innate vocalskills. Vocal auditions enable the faculty to placethe singer in the class most appropriate for his/hercurrent level of vocal production. Students will beplaced in either an individual voice lesson (twohalf-hour lessons per week) or in a studio class(there are four different studio classes as well asthe seminar, Self Discovery Through Singing).Voice juries at the end of the year evaluate eachstudent’s progress.

Piano Auditions and PlacementThe piano faculty encourages students to preparetwo contrasting works that demonstrate the

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student’s musical background and keyboardtechnique. Piano auditions enable the faculty toplace the student with the appropriate teacher ineither an individual piano lesson or in theKeyboard Lab, given his/her current level ofpreparation.

Acoustic and Jazz Guitar Auditions andPlacementThe guitar faculty encourages students to preparetwo contrasting works that demonstrate thestudent’s musical background, guitar technique,and, for jazz and blues, improvisational ability.Guitar auditions enable the faculty to place theguitarist with the appropriate teacher in either anindividual guitar lesson or in the Guitar Class.

Composition LessonsThe student who is interested in individualinstruction in composition must demonstrate anappropriate background.

Theory and Composition Program

Theory I, Theory II, and Advanced Theory,including their historical studies corollaries, makeup a required theory sequence that must befollowed by all music students unless they provetheir proficiency in a given area; entry level willbe determined by a diagnostic exam that will beadministered right after the Music OrientationMeeting, which takes place during the first day ofregistration.

Theory I: Materials of MusicPatrick Muchmore, Daniel WohlComponentIn this introductory course, we will studyelements of music such as pitch, rhythm,intensity, and timbre; we will see how theseelements combine in various musical structuresand how those structures communicate. Studieswill include notation and ear training, as well astheoretical exercises, rudimentary analyses, andthe study of repertoire from various eras ofWestern music. This course meets twice eachweek (two 90-minute sessions). Beginning musicstudents in Theory I are not required to take anensemble; ensemble participation is optional.This course is a prerequisite to the Theory II:Basic Tonal Theory and Composition andAdvanced Theory sequence.

Theory II: Basic Tonal Theoryand CompositionPatrick Muchmore, Daniel WohlComponentAs a skill-building course in the language of tonalmusic, this course covers diatonic harmony andvoice leading, elementary counterpoint, andsimple forms. Students will develop anunderstanding through part writing, analysis,composition, and aural skills. The materials ofthis course are prerequisite to any AdvancedTheory course. Survey of Western Music isrequired for all students taking Theory II whohave not had a similar history course.

At least one of the following Advanced Theorycourses is required after Theory II.

With Advanced Theory student are required totake either a year-long seminar or two semester-long seminars in music history, which includeJazz History, Music of the Baroque (Spring),Mozart and Beethoven: Music from 1720-1810(Fall), Debussy and the French School (Spring),Music and/as Language: Ethnomusicology ofNorth America (Fall), and Music and/as SocialIdentity: Ethnomusicology of the Atlantic Coasts(Spring).

Advanced Theory: AdvancedTonal Theory and AnalysisCarsten SchmidtComponentThis course will focus on the analysis of tonalmusic, with a particular emphasis on chromaticharmony. Our goal will be to quickly develop abasic understanding and skill in this area and thento refine them in the analysis of completemovements and works. Our repertoire will rangefrom Bach to Brahms, and we will try toincorporate music that class participants might bestudying in their lessons or ensembles. Successfulcompletion of the required theory sequence or anequivalent background is a prerequisite for thisclass.

Advanced Theory: ContinuoPlayingCarsten SchmidtComponentThis course will offer an introduction to the art ofcontinuo playing. We will begin by developing abasic ability of how to translate the notationalsymbols of figured bass into sound and then

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proceed to refine that skill in view of the variousstyles of different eras, countries, and genres.This course is also designed to prepare studentsfor participation in the Baroque segment of theSLC Orchestra Projects. A good basic commandof the keyboard and some theory background areprerequisites. Permission of the instructor isrequired.

Advanced Theory: JazzTheory and HarmonyGlenn AlexanderComponentThis course will study the building blocks andconcepts of jazz theory, harmony, and rhythm.This will include the study of the standard modesand scales, as well as the use of melodic andharmonic minor scales and their respective modalsystems. It will include the study and applicationof diminished and augmented scales and their rolein harmonic progression, particularly thediminished chord as a parental structure. An in-depth study will be given to harmony andharmonic progression through analysis andmemorization of triads, extensions, andalterations, as well as substitute chords, re-harmonization, and back cycling. We will look atpolytonality and the superposition of varioushybrid chords over different bass tones and otherharmonic structures. We will study and apply allof the above to their characteristic and stylisticgenres, including bebop, modal, free, andprogressive jazz. The study of rhythm, which ispossibly the single most important aspect of jazz,will be a primary focus, as well. We will also usecomposition as a way to absorb and trulyunderstand the concepts discussed. Prerequisite:Theory II: Basic Tonal Theory and Composition

Advanced Theory: 20th-Century TheoreticalApproaches: Post-Tonal andRock MusicPatrick MuchmoreComponentThis course will be an examination of varioustheoretical approaches to music of the 20thcentury—including post-tonal, serial, textural,minimalist, and pop/rock music. Our primary textwill be Joseph Straus’s Introduction to Post-Tonal Theory; but we will also explore otherrelevant texts, including scores and recordings ofthe works themselves. This course will includestudy of the music of Schoenberg, Webern, Pink

Floyd, Ligeti, Bartók, Reich, Radiohead, NineInch Nails, Corigliano, and Del Tredici, amongothers. Open to students who have successfullycompleted Theory II: Basic Tonal Theory andComposition.

Intermediate and AdvancedAural SkillsCarsten SchmidtComponentThis course is dedicated to helping studentsdevelop their fluency with theoretical materialsthrough dictation and sight-singing practice.Initially, we may focus on individual parameterssuch as pitches, rhythms, and harmonicprogressions, but the ultimate goal of the courseis to be able to perceive all of those in anintegrated way. Permission of the instructor isrequired.

Sight Reading forInstrumentalistsSungrai SohnComponentThis course is open to all instrumentalists who areinterested in developing techniques to improvetheir sight-reading skills. Groups from duets toquintets will be formed according to level andwill meet once a week. A sight-reading“performance” will be held at the end of eachsemester.

20th-Century CompositionalTechniquesDaniel WohlComponentThis is a workshop in the art of composition witha focus on 20th-century techniques. We willdiscuss recent compositional techniques andphilosophies, as well as issues in orchestrationand notation. We will explore significant worksby a wide variety of major 20th-centurycomposers such as Bartók, Berio, Cage, Carter,Debussy, Ligeti, and Stravinsky, as well as recentcompositions by established and emergingcomposers across the world. These will serve asmodels for original student compositions. It isexpected that the students will develop a fluencyin using either Finale or Sibelius. Prerequisite:Theory I: Materials of Music or its equivalent.

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Music Technology CoursesStudio for Electronic Music and ExperimentalSound

Introduction to ElectronicMusic and Music TechnologyJohn A. YannelliComponentThe Sarah Lawrence Electronic Music Studio is astate-of-the art facility dedicated to the instructionand development of electronic musiccomposition. The studio contains the latest indigital audio hardware and software for synthesis,recording, and signal processing, along with a fullcomplement of vintage analog synthesizers andtape machines. Beginning students will start withan introduction to the equipment, basic acoustics,and principles of studio recording, signalprocessing, and a historical overview of themedium. Once students have acquired a certainlevel of proficiency with the equipment andmaterial—usually by the second semester—focuswill be on preparing compositions that will beheard in concerts of electronic music, studentcomposers’ concerts, and music workshops.Permission of the instructor is required.

MIDI: Sequencing, Recording,and Mastering ElectronicMusicJohn A. YannelliComponentThis course will focus on creating electronicmusic primarily using software-based digitalaudio workstations. Materials covered willinclude MIDI, ProTools, Digital Performer,Logic, Reason, Ableton Live, MaxMsp, Traction,and elements of Sibelius and Finale (as connectedto media scoring). Class assignments will focuson composing individual works and/or creatingmusic and designing sound for various mediasuch as film, dance, and interactive performanceart. Students in this course may also choose toevolve collaborative projects with students fromthose areas. Projects will be presented in class fordiscussion and critique. Permission of theinstructor is required.

Studio Composition and MusicTechnologyJohn A. YannelliComponentThis component is open to advanced studentswho have successfully completed Studiofor Electronic Music and Experimental Sound andare at or beyond the Advanced Theory level.Students work on individual projects involvingaspects of music technology including, butnot limited to, works for electro-acousticinstruments (live and/or pre-recorded), worksinvolving interactive performance media, laptopensembles, Disklavier, and improvised orthrough-composed works. Open to a limitednumber of students; permission of the instructoris required.

Music History Classes

Survey of Western MusicChester BiscardiComponentThis course is a chronological survey of Westernmusic from the Middle Ages to the present. It isdesigned to acquaint the student with significantcompositions of the Western musical tradition, aswell as to explore the cyclical nature of musicthat mirrors philosophical and theoretical ideas inAncient Greece and how that cycle appears every300 years: the Ars nova of the 14th century, Lenuove musiche of the 17th century, and the NewMusic of the 20th century and beyond. The courseinvolves participation in listening, reading, anddiscussion, including occasional quizzes aboutand/or written summaries of historical periods.This component is required for all students takingTheory II: Basic Tonal Theory and Compositionand is also open to students who have completedthe theory sequence.

Jazz HistoryGlenn AlexanderComponentJazz music of all styles and periods will belistened to, analyzed, and discussed. Emphasiswill be placed on instrumental styles andperformance techniques that have evolved in theperformance of jazz. Skills in listening to andenjoying some of the finer points of the musicwill be enhanced by the study of elements such asform, phrasing, instrumentation, instrumentaltechnique, and style. Special emphasis will beplaced on the development of modern jazz and its

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relationship to older styles. Some topics: JellyRoll Morton, King Oliver, Louis Armstrong,roots and development of the Big Band sound,Fletcher Henderson, Count Basie, DukeEllington, lineage of pianists, horn players,evolution of the rhythm section, Art Tatum, BudPowell, Bill Evans, Thelonius Monk, MilesDavis, John Coltrane, Charlie Parker, be-bop,cool jazz, jazz of the ’60s and ’70s, fusion andjazz rock, jazz of the ’80s, and modern trends.The crossover of jazz into other styles of modernmusic such as rock and R&B will be discussed, aswill be the influence that modern concert musicand world music has had on jazz styles. This is atwo-semester class; however, it will be possible toenter in the second semester. This is one of themusic history component courses required for allAdvanced Theory students.

Music of the BaroqueCarsten SchmidtComponentThis course will offer an introduction to thealways beautiful, often extravagant, andoccasionally bewildering world of Baroquemusic. In our study, we will examine a broadrange of seminal works that illustrate the manyand significant inventions and innovations of the17th and early 18th centuries, including those inthe genre of opera as well as liturgical, orchestral,keyboard, and chamber music. Even though ourmain focus will be on analytical listening, we willalso pay close attention to how these works relateto their political, literary, religious, and artisticenvironment.

Mozart and Beethoven: MusicFrom 1720-1810Jean WentworthFallThe classical style especially manifest in themusic of the “divine” Mozart is bothcomplemented and sharply opposed by hisyounger contemporary, Beethoven, and their liveswere scarcely more distant from each other thanwas the Enlightenment from the events of 1789and the world of Napoleon. We will touch on thesource of the classical manner in the reactions ofminor figures such as Sammartini, Quantz, andthe Bach sons to the learned style of J. S. Bachand then explore the operatic style that madeMozart possible. His mature works will then beset alongside both the more genteel early periodand the combative and partly romantic middle

style of Beethoven. Readings in cultural historywill be joined by biographical and music-scorestudy. Some experience in music theory isnecessary and general historical interest isdesirable for enrollment in this course. This isone of the music history component courses isrequired for all Advanced Theory students.

Debussy and the French SchoolJean WentworthSpringDebussy’s influence on today’s music isincalculable. He has been called the only“universal” French composer and is very likelyalso the greatest. This course will deal with theambience of the Second Empire, from whichDebussy emerged, and with his relationships tothe impressionist, symbolist, and decadentaesthetics. Allowing for earlier influences,including the contradictory effects of Wagner, wewill explore Debussy’s revolutionary musicallanguage in detail, with many references to olderand younger contemporaries such as Massenet,Saint-Saëns, Franck, Satie, Ravel, and the groupknown as Les Six. For approach andqualifications, see Mozart and Beethoven: Musicfrom 1720 to 1810. This is one of the componentcourses required for all Advanced Theorystudents.

Music and/as Language:Ethnomusicology of NorthAmericaJonathan KingFallSee course description under Lecture andSeminar.

Music and/as Social Identity:Ethnomusicology of theAtlantic CoastsJonathan KingSpringSee course description under Lecture andSeminar.

Performance Ensembles andClasses

All performance courses listed below are open toall members of the Sarah Lawrence communitywith permission of the instructor.

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Beginning music students in Theory I are notrequired to take an ensemble; ensembleparticipation is optional.

Ensemble Auditions

Auditions for all ensembles will take place at thebeginning of the first week of classes.

Choral ensembles include the following:

Women’s Vocal EnsemblePatrick RomanoComponentRepertoire may include both accompanied and acappella works from the Renaissance to thepresent that were specifically composed forwomen’s chorus. The ensemble will performwinter and spring concerts. Women’s VocalEnsemble meets twice a week. Students arerequired to attend either the Monday or theWednesday rehearsal; they are welcome but notrequired to attend both. All students are welcometo be a member of this ensemble; auditions arenot necessary.

Chamber ChoirPatrick RomanoComponentEarly madrigals and motets and contemporaryworks especially suited to a small number ofvoices will form the body of this group’srepertoire. The ensemble will perform winter andspring concerts. Chamber Choir meets once aweek. Students may qualify for membership in theChamber Choir by audition.

Jazz Studies include the following ensemblesand classes:

The Blues EnsembleGlenn AlexanderComponentThis performance ensemble is geared towardlearning and performing various traditional, aswell as hybrid, styles of blues music. The blues,like jazz, is purely an American art form.Students will learn and investigate Delta Blues,performing songs by Robert Johnson, CharliePatton, Skip James, and others; Texas CountryBlues by originators such as Blind LemonJefferson; and Chicago Blues, beginning with BigBill Broonzy and moving up through Howlin’Wolf and Buddy Guy. Students will also learnsongs and stylings by Muddy Waters, Albert

King, and B.B. King and about how theyinfluenced modern blues men such as JohnnyWinter and Stevie Ray Vaughn and pioneerrockers such as Jeff Beck, Eric Clapton, JimmyPage, and Jimi Hendrix. Audition required.

Jazz ColloquiumGlenn AlexanderComponentThis ensemble will meet weekly to rehearse andperform a wide variety of modern jazz music andother related styles. Repertoire in the past hasincluded works by composers Thelonius Monk,Duke Ellington, Miles Davis, and HerbieHancock, as well as some rock, Motown, andblues. All instruments are welcome. Auditionrequired.

Jazz Performance andImprovisation WorkshopGlenn AlexanderComponentThis class, intended for all instrumentalists, willprovide a “hands-on” study of topics relating tothe performance of jazz music. The class willmeet as an ensemble, but the focus will not be onrehearsing repertoire and giving concerts. Instead,students will focus on improving jazz playing byapplying the topic at hand directly to instruments;immediate feedback on the performance will begiven. The workshop environment will allowstudents to experiment with new techniques asthey develop their sound. Topics include jazzchord/scale theory; extensions of traditional tonalharmony; altered chords; modes; scales;improvising on chord changes; analyzing a chordprogression or tune; analysis of form;performance and style study, including swing,Latin, jazz-rock, and ballade styles; and ensembletechnique. The format can be adapted to varyinginstrumentation and levels of proficiency.Placement audition required.

Jazz Vocal EnsembleGlenn AlexanderComponentNo longer do vocalists need to share valuabletime with those wanting to focus primarily oninstrumental jazz and vice versa. This ensemblewill be dedicated to providing a performance-oriented environment for the aspiring jazzvocalist. We will mostly concentrate on pickingmaterial from the standard jazz repertoire.Vocalists will get an opportunity to work on

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arrangements, interpretation, delivery, phrasing,and intonation in a realistic situation with a liverhythm section and soloists. They will learn howto work with, give direction to, and get what theyneed from the rhythm section. It will provide anenvironment to learn to hear forms and changesand also work on vocal improvisation if they sochoose. This will not only give students anopportunity to work on singing solo or leadvocals but also to work with other vocalists insinging backup or harmony vocals for and witheach other. It will also serve as a greatopportunity for instrumentalists to learn the trueart of accompanying the jazz vocalist, which willprove to be a valuable experience in preparing fora career as a professional musician. Auditionrequired.

Vocal Studies include the following courses:

Jazz Vocal SeminarThomas YoungComponentThis seminar is an exploration of the relationshipamong melody, harmony, rhythm, text, and styleand how these elements may be combined andmanipulated to create meaning and beauty. Asignificant level of vocal development will beexpected and required. Audition required.

Self-Discovery ThroughSingingEddye Pierce-YoungComponentThis course encourages an exploration of thestudent’s vocal ability and potential. Each singerdevelops his/her technique through repertoire andvocal exercises geared to individual ability andspecific voice type. At the core of instruction isthe required weekly “practice sheet.” Thisbecomes the tool for “self-discovery.” Eachsemester ends with a class performance in recitalformat.

Seminar in Vocal PerformanceHilda Harris, Wayne SandersComponentVoice students will gain performance experienceby singing repertoire selected in cooperation withthe studio instructors. Students will becomeacquainted with a broader vocal literatureperspective by singing in several languages andexploring several historical music periods.Interpretation, diction, and stage deportment will

be stressed. During the course of their studies andwith permission of their instructor, all MusicThirds in voice are required to take Seminar inVocal Performance for two semesters.

So This Is Opera?Eddye Pierce-Young, Wayne SandersComponentThis course is an introduction to opera through anopera workshop experience that explorescombining drama and music to create a story. It isopen to students in the performing arts (music,dance, and theatre), as well as to the Collegecommunity at large. Weekly class attendance ismandatory. Audition required.

Studio ClassHilda Harris, Wayne Sanders, EddyePierce-Young, Thomas YoungComponentThe Studio Class is a beginning course in basicvocal technique. Each student’s vocal needs aremet within the structure and content of the class.Placement audition required.

World Music ensembles and courses include thefollowing:

African Classics of the Post-Colonial EraAndrew Algire, Jonathan KingFallFrom highlife and jújù in Nigeria, to soukous andmakossa in Congo and Cameroon, to the soundsof Manding music in Guinea and “SwingingAddis” in Ethiopia, the decades following WorldWar II saw an explosion of musical creativity thatblossomed across sub-Saharan Africa. Syncreticstyles merging African aesthetics with European,Caribbean, and American influences andinstruments resulted in vibrant new musicalgenres that harken back to traditional Africansources while exploring bold and original musicalforms. As European powers formally withdrewfrom their former colonies, newly inspiredAfrican musicians took advantage of broadenedartistic resources and created vital, contemporarymusical expressions. This performance coursewill explore a wide range of African musicalstyles that emerged in the second half of the 20thcentury. We will undertake a broad musicalhistory, considering prominent groups andindividual musicians during this time period andperform tightly structured arrangements of some

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of their most effective and influential pieces.There will be some opportunities for genre-appropriate improvisation and soloing. A widerange of instruments will be welcome, includingstrings, horns, guitars, keyboards, drums andvarious other percussion instruments. Basicfacility on one's musical instrument is expected,but prior experience with African musicalaesthetics is not assumed or required.

Bluegrass PerformanceEnsembleJonathan KingSpringBluegrass music is a 20th century amalgam ofpopular and traditional music styles thatcoalesced in the 1940s in the American Southeast,emphasizing vocal performance and instrumentalimprovisation. This ensemble will highlight,through performance, many of the influences andtraditions that bluegrass comprises, includingballads, breakdowns, “brother duets,” gospelquartets, Irish-style medleys, “modal”instrumentals, “old-time” country, popular song,and rhythm and blues, among many possibleothers. Though experienced players will haveplenty of opportunities to improvise, participantsneed not have played bluegrass before. Theensemble should include fiddle, 5-string banjo,steel string acoustic guitar, mandolin, resophonicguitar (Dobro®), upright (double) bass.

West African PercussionEnsemble: Faso FoliAndrew Algire, Jonathan KingSpringFaso Foli, a Malinke phrase that translates looselyas “playing to my father's home,” is the name ofour West African performance ensemble. In thisclass, we will develop the ability to playexpressive melodies and intricate polyrhythms ina group context, as we recreate the celebratedmusical legacy of the West African MandeEmpire. These traditions have been kept alive andvital through creative interpretation andinnovation in Africa, the United States and inother parts of the world. Correspondingly, ourrepertoire will reflect a wide range of expressivepractices both ancient in origin and dynamic incontemporary performance. The instruments weplay—balafons, dun dun drums, and djembe handdrums—were constructed for the College in 2006,handcrafted by master builders in Guinea.Relevant instrumental techniques will be taught in

the class, and no previous experience withAfrican musical practice is assumed; anyinterested student may join.

Other ensembles and classes:

Chamber MusicSungrai SohnComponentVarious chamber groups—from quartets orquintets to violin and piano duos—are formedeach year depending on the number and variety ofqualified instrumentalists who apply. There areweekly coaching sessions. Groups will have anopportunity to perform in a chamber musicconcert at the end of each semester.

Chamber Music ImprovisationJohn A. YannelliComponentThis is an experimental performing ensemble thatexplores a variety of musical stylesand techniques, including free improvisation,improvisational conducting, and various otherchance-based methods. The ensemble is open toall instruments (acoustic and electric), voice,electronic synthesizers, and laptop computers.Students must be able to demonstrate level ofproficiency on their chosen instrument.Composer-performers, dancers, and actors arealso welcome. Performance opportunities willinclude: concerts, collaboration with otherprograms such as dance, theatre, film, andperformance art, as well as community outreach.Open to a limited number of students; auditionrequired.

ConductingMartin GoldrayComponentThis is a course in the basics of conducting forqualified students. Completion of Theory II: BasicTonal Theory and Composition and permission ofthe instructor are required.

Guitar ClassWilliam Anderson, Glenn AlexanderComponentThis course is for beginning acoustic or electricguitar students by recommendation of the faculty.

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Guitar EnsembleWilliam AndersonComponentThis class offers informal performanceopportunities on a weekly basis as a way ofexploring guitar solo, duo, and ensemblerepertoire. The course will seek to improve sight-reading abilities and foster a thorough knowledgeof the guitar literature. It is recommended forstudents interested in classical guitar. Permissionof the instructor is required.

Keyboard LabChester Biscardi, Bari MortComponentThis course is designed to accommodatebeginning piano students who take the KeyboardLab as the core of their Music Third. Instructiontakes place in a group setting, with eightkeyboard stations and one master station.Students will be introduced to elementarykeyboard technique and simple piano pieces.Placement is arranged by the piano faculty.

Orchestra ProjectsMartin Goldray, Carsten Schmidt,Sungrai Sohn, John A. YannelliComponentThroughout the year students will have theopportunity to experience and participate in abroad range of musical styles from the Baroque tosymphonic and contemporary repertory, includingimprovisation and experimental music. The SarahLawrence Orchestra is open to all students, aswell as to members of the College andWestchester communities, by audition. Thiscourse is required for all instrumentalists takinga Music Third.

Senior RecitalSpringThis component offers students the opportunity toshare with the larger College community theresults of their sustained work in performancestudy. During the semester of their recital,students will receive additional coaching by theirprincipal teachers. Audition required.

Violin Master ClassSungrai SohnComponentViolin Master Class meets weekly and involvesboth playing and discussion. Each student is

required to prepare a solo piece. An accompanistwill be present before and during each class torehearse and perform with students. Each masterclass is organized as a series of individual lessonsthat address recurrent performance problems,including discussions concerning technical andmusical issues (basic and advanced), as well asperformance practices. All students will receivecopies of the works being performed.

Required Concert Attendance/Music TuesdaysComponent

Concert Attendance/MusicTuesdays RequirementThe music faculty wants students to have accessto a variety of musical experiences. Therefore, allMusic Thirds are required to attend all MusicTuesday events and three music department-sponsored concerts on campus per semester,including concerts (the required number ofconcerts varies from semester to semester)presented by music faculty and outsideprofessionals that are part of the Concert Series.

Music Tuesdays consist of various programs thatinclude student/faculty town meetings, concertpresentations, guest artists’ lectures andperformances, master classes, and collaborationswith other departments and performing artsprograms. Meetings, which take place inReisinger Concert Hall on selected Tuesdaysfrom 1:30-3 p.m., are open to the community.Schedule to be announced each semester.

Master Classes and Workshops

Master ClassMusic Faculty, Guest ArtistsComponentMaster Class is a series of concerts, instrumentaland vocal seminars, and lecture demonstrationspertaining to music history, world music,improvisation, jazz, composition, and musictechnology. Master classes take place onWednesdays from 12:30-1:30 p.m. in eitherReisinger Concert Hall or Marshall Field House,Room 1. They are open to the Collegecommunity.

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Music WorkshopJean WentworthComponentApproximately twice monthly, music workshopsare held in which a student or student ensemble,with consent of the individual teacher, mayparticipate as performer(s). The Collegecommunity is welcome to attend. Since the onlylimitation is that the composition(s) should bewell prepared, these workshops serve asimportant opportunities for students at all levelsto share their playing, singing, or composingwork with others and to have a significant way totrace their own development.

Music Courses in Rotation NotOffered in 2013-2014

• Awareness Through Movement® forMusicians

• Baroque Ensemble• Character Development for Singers• Diction for Singers• Evolution of a Performance• Gamelan Angklung Chandra Buana• Keyboard Literature• Orchestration• Saxophone Ensemble

Philosophy

At Sarah Lawrence College, the study ofphilosophy retains a centrality, helping studentssynthesize their educational experience with thediscipline’s many connections to other humanitiesand to social science. Through conference work,students also find numerous ways to connect thestudy of philosophy with their interests in the artsand natural sciences. Stressing the great traditionof classical and contemporary philosophy, theCollege offers three types of philosophy courses:those organized around thematic topics, such asPhilosophy of Mind, Theories of Human Nature,and Ethics; those organized historically, such asMoral Philosophy from Plato to Nietzsche, TheMaking of the Modern Mind, and 20th-CenturyPhilosophy; and those that study the “systems” ofphilosophers such as Kant, Nietzsche, andWittgenstein. Philosophy faculty use the latesttechnology in their teaching, including Webboards for posting course material and promotingdiscussion. Yearlong courses make extensivetextual work possible, enabling students to

establish in-depth relationships with the thoughtof the great philosophers and to “do philosophy”to some degree—particularly valuable to studentspreparing for graduate work in philosophy.Conference work often consists of studentsthinking through and writing on singlephilosophic and literary works, ranging fromGreek tragedy, comedy, or epic to Plato,Aristotle, Aquinas, Machiavelli, Descartes,Shakespeare, Hobbes, Locke, Rousseau, Hume,Kant, Hegel, Marx, Nietzsche, or Heidegger.

Political PhilosophyMichael DavisLecture, Open—YearAll political action aims at preservation orchange—change for the better, preservation toavoid something worse. All political action,therefore, requires some thought of better orworse, and so good and bad. Political philosophyis the ongoing attempt to raise and answerquestions about the collective good—and alwayssome form of the quest for understanding thenature of the best possible political regime. Wewill examine various answers that have beengiven to the question of what is the best regime,taking some care not to assume that we haveprogressed beyond the thought of the past simplybecause it is past. Readings will include works ofAristophanes, Plato, Aristotle, Machiavelli,Hobbes, Locke, Swift, Rousseau, Hegel, Marx,and Nietzsche.

Philosophy and Literature:The Prince and the PoetCharlie Gustafson-BarretOpen—YearWhy is it that asking what we are seems always tobegin with recognizing what we are not? Thiscourse will explore the aesthetics of alienation toexamine whether detachment is the necessarycondition for an inquiry into human nature and tothink through how philosophy and literature differin their treatment of this detachment. From theworldly wanderings of Odysseus to the mentalanguish of Raskolnikov, from Socratesquestioning the Homeric tradition to Nietzschequestioning Socrates, we will explore the contextof isolation as the appropriate background againstwhich a human being’s outline may be drawn.And we will see how the aesthetics of this contextevolve—from the ancient model of a prince apartfrom his people to the modern trope of a pariahapart from his peers. We will look at a number ofevocative pairings, including: the Odyssey and

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Ion; Hamlet and The Prince; Goethe’s Faust PartOne and Discourse on the Method; TheMisanthrope and The Reveries of a SolitaryWalker; Crime and Punishment and Beyond Goodand Evil. And we will ask what it means aboutthe nature of self-reflection that, before we canreflect, the self must first stand apart.

20th-Century PhilosophyAlex PriouOpen—FallIn this course, we will consider the developmentof 20th-century philosophy out of Nietzsche’sresponse to 19th-century philosophy and thehistory of philosophy as a whole in his final work,Twilight of the Idols. Topics to be discussedinclude the increasing focus on problems oflanguage and metaphysics in Heidegger andWittgenstein; the relationship of art, history, andpolitics in Heidegger and Benjamin; and thequestion of intentionality and the unconscious astaken up by Freud. The central aim will be forstudents to gain an appreciation of how thephilosophic questioning of Nietzsche has fosteredthe rich variety of contemporary philosophicinterests. Readings: Nietzsche, Twilight of theIdols (selections); Heidegger, Basic Writings(selections); Wittgenstein, The Blue Book; Freud,Civilization and its Discontents; and WalterBenjamin, The Work of Art in the Age of ItsTechnological Reproducability and OtherWritings (selections).

Aesthetic Theory: MoralImagination and PoliticalFreedomAngelia MeansOpen—SpringTaking Kant as a point of departure, this coursewill begin with (and periodically reinvestigate)the “Critique of Aesthetic Judgment,” the firstmajor division of The Critique of Judgment(1790). We will focus on the following topics:(1) the tie between freedom and imagination; (2)the degree to which subjective taste and universalvalidity are reconciled in modern aestheticsensibility and then, potentially, serve as a modelfor intersubjective dialogue; and (3) thepossibility that the type of judgment associatedwith “original” artwork—i.e., reflective judgmentor judgment of a particular work, case, orexample that cannot be subsumed by determinantconcepts—is not only evidence of individualgenius (as Kant proposes) but necessary to

“disclose” the full content of moral-juridicalnorms. We will read analytic philosophers (PaulGuyer and Hannah Ginsborg) but will concentrateon the continental tradition, namely HannahArendt, Albrecht Wellmer, Juergen Habermas,and Maria Pia Lara. Throughout, we willinvestigate critics of Kant’s aesthetics, mostnotably Nietzsche and Adorno. We will also readshorter pieces by Hegel, Heiddeger, Benjamin,and Agamben. Finally, we will consider a varietyof artworks, ranging from literature and film tovisual and performance art. The list may include:Aeschylus, Brecht, Joseph Conrad, Primo Levi,salonnieres, Claude Lanzmann’s Shoah, ArielDorfman’s play Death and the Maiden andPolanski’s film version, Andy Warhol, KaraWalker, Glen Ligon, Robert Mapplethrope,Andrea Fraser, Kader Attia, Andrew Moore,Marcelo Brodsky, the performance artists PussyRiot, the Occupy Museum movement, andReckoning With Torture Project.

Knowledge and Power: Platoand NietzscheMarina VitkinOpen—SpringThe relationship between knowledge and powerhas been a central concern throughout theWestern philosophical tradition. In this seminar,we will study two key texts of the tradition:Plato’s Republic in the fall semester andNietzsche’s Beyond Good and Evil in the spring.While aiming to grasp each text as a whole and inall of its complexity, we will pay special attentionto its understanding of the nature of knowledge,as well as to its conception of how life in societyis best organized. In this way, fundamentalbranches of philosophical inquiry—metaphysics,epistemology, and political philosophy—will beilluminated by way of their history. Plato’sexamination of knowledge and power led him tohold that they must be fused in a society, whileNietzsche undertook a radical subversion of thetradition—aiming to reveal that knowledge ispower in a different guise. We are still living outthe complex consequences, both intellectual andpolitical, of Nietzsche’s subversive project. Asthe course unfolds, the extraordinary breadth anddepth of the two philosophers’ questioning andthe diversity of their responses will lead us toreflect on the structure of philosophical thinkingand its continuing importance in shaping theculture and politics of our present.

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Language and ReligiousExperienceNancy BakerSophomore and above—YearIn this course, we will consider what languagetells us about the nature of religious experience,as well as what religious experience tells us aboutthe nature of language. Particular attention will bepaid to the idea that certain religious experiencesare said to be “beyond the limits of language.”The word used to describe this in the case ofWestern mysticism is “apophatic.” Interestingly,many Western mystics wrote at great length abouttheir experiences—but by using various literarydevices to “unsay” what they had just said. TheZen koan tradition is also apophatic in some sensebut uses what appears to be paradox to “unsay”what is being said. We will look at the uses oflanguage in these two traditions, with attention toa distinction between what Wittgenstein called“describing” and “expressing”—a distinction alsofound in the work of the great Zen philosophermystic, Eihei Dogen. We will also consider thenature of prayer and mantra, the Biblical notionthat God “speaks,” the uses of metaphor andanalogy in religious discourse, the connectionbetween language and creation, and the Westernnotion of the “Logos” or “Word,” all of whichcan be topics for conference work. Readings willbe from Herrigel, Buber, Panikkar, Plotinus,Sells, Heidegger, and Wittgenstein, among others.

Kant’s Awakening FromDogmatic SlumberAbraham AndersonIntermediate—FallIn his Prolegomena to Any Future Metaphysics,Kant says, “I freely confess that it was theobjection of David Hume that first, many yearsago, interrupted my dogmatic slumber.” Kantclearly intended this declaration as a clue to themeaning of his Critique of Pure Reason and hiswhole philosophy, but what did he mean by it?We shall investigate this question by readingselections from the early writings of Kant; fromthe Metaphysics of Alexander Baumgarten, aprime example of dogmatic metaphysics, whichKant used to teach his classes in metaphysics;from Hume’s Enquiry Concerning the HumanUnderstanding; from the Prolegomena; and, iftime permits, from the Critique itself.

Ancient Philosophy (Plato)Michael DavisIntermediate—FallThis course will be devoted to a careful readingof a small number of texts from a major figure inancient philosophy. The goal of the course istwofold. First, it is designed to acquaint studentswith one of the seminal figures of our tradition inmore than a superficial way. In doing that, it willforce us to slow our usual pace of reading, to readalmost painfully carefully, with a view tounderstanding the thinker as he wrote and as heunderstood himself and not as a stage in anhistorical development. Second, the course willintroduce and encourage this kind of carefulreading. The text for Fall 2013 will be Plato’sLaches.

The Music of Philosophy:Nietzsche’s Birth of TragedyMichael DavisIntermediate—SpringThis course will be devoted to a careful readingof The Birth of Tragedy Out of the Spirit ofMusic. Nietzsche claims that tragedy, formed as aunique combination of Apollinian and Dionysiandrives, and in its connection to music represents amore fundamental mode of being in the worldthan the tradition of rationalism that originateswith Socrates, grows into the tradition of Westernphilosophy, and culminates in the optimism ofmodern science so powerful in his (and our)century. Nietzsche means to offer an alternativeto reason understood in this way—a Dionysianphilosophy, the image of which is a “music-making Socrates.” We will read this textsometimes painfully slowly and carefully, with aview to understanding what it means forNietzsche to seek the truth of tragedy in a bookthat, on the surface at least, seems to be an attackon truth seeking—what it means that he can speakthe words, “This book should have sung and notspoken.”

Issues in 19th-CenturyGerman PhilosophyMarina VitkinIntermediate—SpringOne of philosophy’s abiding preoccupations is thenature of human knowledge. This will be thefocus of our seminar, as we study Hegel’sPhenomenology of Spirit in the fall and, in thespring, turn to one among the following laterthinkers: Kierkegaard, Marx, Zilberman,

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Heidegger. The Phenomenology is anextraordinary, difficult, immensely exciting, anddeeply influential text. We will examine both theauthority and the problems that Hegel’sphilosophical construction posed for hissuccessors. One important reason to studyHegel’s thought is its pervasive influence on thehorizon of contemporary debates on issues ofknowledge and diversity insofar as these debateshave been lastingly defined by Hegel’s heirs andcritics. In our reading of the Phenomenology andthe texts that follow, we will aim not only tograsp the significance and the rich legacy ofHegel’s philosophical enterprise, but also toarticulate the ways in which the plurality ofphilosophical constructions is itself a problem forphilosophical reflection on the nature of humanknowledge.

Physics

Physics—the study of matter and energy, timeand space, and their interactions andinterconnections—is often regarded as the mostfundamental of the natural sciences. Anunderstanding of physics is essential for anunderstanding of many aspects of chemistry,which in turn provides a foundation forunderstanding a variety of biological processes.Physics also plays an important role in mostbranches of engineering, and the field ofastronomy essentially is physics applied on thelargest of scales. As science has progressed overthe last century or so, the boundaries between thedifferent scientific disciplines have becomeblurred, and new interdisciplinary fields such aschemical physics, biophysics, and engineeringphysics have arisen. For these reasons, andbecause of the excellent training in criticalthinking and problem solving provided by thestudy of physics, this subject represents anindispensable gateway to the other naturalsciences and a valuable component of a liberalarts education.

AstronomyScott CalvinOpen—YearOn the first night, we will look up and see thestars. By the last, we will know what makes themshine, how they came to be, and their ultimatefates. In between, we will survey the universe andhumankind’s investigations of it—from ancientnavigation to modern cosmology. In addition to

the stars themselves, we will learn about solar-system objects such as planets, asteroids, moons,and comets; the comparative astronomy ofdifferent eras and cultures; the properties,lifetimes, and deaths of galaxies, nebulae, andblack holes; and theories and evidence concerningthe origin, evolution, and fate of the universe. Inaddition to readings and examination ofmultimedia material, students will conductastronomical observation and experiments, at firstwith an astrolabe, then a simple telescope, andfinally with the most powerful telescopes on andaround the Earth. Comet ISON, a potential GreatComet appearing in the fall, will receive specialattention! Emphasis will be placed on modes ofscientific communication so that each student willkeep a notebook, participate in debates, presentposters, write papers, give oral presentations, andparticipate in the peer review process. Studentswill also experience famous astronomical debatesthrough role-play. Conference projects may bededicated to critically examining some topic inastronomy, conducting astronomical observation,or investigating the relationships betweenastronomy and other aspects of society andculture.

Steampunk PhysicsScott CalvinOpen—Fall“Love the machine, hate the factory.” That’s acentral motto of steampunk, the literary, social,and fashion movement that re-imagines theVictorian era as a time of creative technology andpersonal independence. But if you’re going tolove the machine—really love it—then you needto know how it works. In this class, our gearsaren’t just glued on; and our airships really fly.We will use vintage sources to learn about thescience and technology of the time (topics includeoptics, mechanical advantage, energy sources,and buoyancy) and then use that knowledge tocreate wonderful inventions of our own devising.Appropriate attire will be de rigueur on certainclass days, but fake British accents should bechecked at the door.

Introduction to Mechanics(General Physics WithoutCalculus)Daniel JohnsonOpen—FallThis course covers introductory classicalmechanics, including dynamics, kinematics,

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momentum, energy, and gravity. Studentsconsidering careers in architecture or the healthsciences, as well as those interested in physics forphysics’ sake, should take either this course orClassical Mechanics. Emphasis will be placed onscientific skills, including problem solving,development of physical intuition, computationalskills, scientific communication, use oftechnology, and development and execution ofexperiments. Seminars will incorporatediscussion, exploratory, and problem-solvingactivities. In addition, the class will meet weeklyto conduct laboratory work. A background incalculus is not required. This course or equivalentis required to take Introduction toElectromagnetism, Light, and Modern Physics(General Physics Without Calculus) in the spring.An optional course-within-a-course, preparingstudents for the MCAT, will be available forpremed students and will count as part of theirconference work.

Classical Mechanics (Calculus-Based General Physics)Anthony SchultzOpen—FallThe science of classical mechanics forms thebasis upon which all physical science is built.This course is devoted to studying the motion ofmassive bodies in line with the foundationalprinciples put forth in Newton's Principia (1687).We begin by discussing measurement and thevariable motion of bodies. Next, we will look atthe causes of changing motion, namely forces,and various ways of representing them and theiraction. Finally, we will cover the dynamics ofmany-body systems and their thermodynamicproperties. Emphasis will be on mathematicalproblem solving, conceptual understanding, andeffective communication using the standardmodes of scientific publishing. A weeklylaboratory session will also be conducted.Permission of the instructor is required. Studentsmust have completed one year of calculus.

Modern PhysicsScott CalvinIntermediate—SpringThis course covers the major developments thatcomprise “modern” physics—the break from theclassical, Newtonian models covered in theintroductory study of mechanics andelectromagnetism. Topics to be covered includeEinstein’s special theory of relativity, wave-

particle duality, Schrodinger’s equation, modernmodels of the atom, tunneling, nuclear physicsand radioactivity, the structure of matter, and—iftime permits—an introduction to particle physics.Emphasis will be on mathematical models andproblem solving in addition to conceptualunderstanding. Seminars will include a mixture ofdiscussion and mathematical problem solving.Students must have completed one year ofcalculus-based physics or have permission of theinstructor.

Introduction toElectromagnetism, Light, andModern Physics (GeneralPhysics Without Calculus)Daniel JohnsonIntermediate—SpringThis course covers the topics ofelectromagnetism, optics, special relativity, andquantum mechanics. Emphasis will be placed onscientific skills, including problem solving,development of physical intuition, computationalskills, scientific communication, use oftechnology, and development and execution ofexperiments. Seminars will incorporatediscussion, exploratory, and problem-solvingactivities. In addition, the class will meet weeklyto conduct laboratory work. Calculus is not arequirement for this course. An optional course-within-a-course, preparing students for theMCAT, will be available for premed students andwill count as part of their conference work.Students should have had at least one semester ofphysics (mechanics).

Electromagnetism and Light(Calculus-Based GeneralPhysics)Anthony SchultzIntermediate—SpringThis course covers topics in classical physics. Webegin by discussing fields—specifically, theelectric field. What causes it? What does it looklike? What does it do? We then use ourknowledge of electric fields to understand currentflow and simple circuits. From there, we discussmagnets and magnetic fields. Again, we’ll coverhow magnetic fields are formed, what they looklike, and what they do. After talking aboutelectricity and magnetism separately, we willbring them together—electromagnetism—and seehow they relate to light. We’ll talk about lightfrom both macroscopic and microscopic points of

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view, as well as optical devices such as cameras,microscopes, telescopes, and the eye. Emphasiswill be on mathematical problem solving, as wellas on conceptual understanding. A weeklylaboratory session will also be conducted. Anoptional course-within-a-course, preparingstudents for the MCAT, will be available forpremed students and will count as part of theirconference work. Students must have completedClassical Mechanics (Calculus-Based GeneralPhysics) or equivalent.

Politics

The study of politics at Sarah Lawrence Collegeencompasses past and present thinking, politicaland interdisciplinary influences, and theoreticaland hands-on learning. The goal: a deepunderstanding of the political forces that shapesociety. How is power structured and exercised?What can be accomplished through well-orderedinstitutions? And how do conditions that producefreedom compare with those that contribute totyranny? Questions such as these serve asspringboards for stimulating inquiry. Rather thanlimit ourselves to the main subdisciplines ofpolitical science, we create seminars aroundtoday’s issues—such as feminism, internationaljustice, immigration, and poverty—and analyzethese issues through the lens of past philosophiesand events. We don’t stop at artificial boundaries.Our courses often draw from other disciplines ortexts, especially when looking at complexsituations. Because we see an importantconnection between political thought and politicalaction, we encourage students to participate inservice learning. This engagement helps themapply and augment their studies and leads manytoward politically active roles in the United Statesand around the world.

First-Year Studies: Africa inthe International SystemElke ZuernFYSInvestigations of the politics, economics, andsocieties of sub-Saharan Africa often,unfortunately, present African states and theirpopulations in isolation from the internationalsystem. This course investigates the politics ofAfrican states and their populations as part ofworld politics from colonialism to formaldemocracy in order to explore the myriadconnections between advanced industrial states

such as the United States and geographicallydistant and economically less-developed Africanstates. We will engage in a rigorous examinationof the politics and economics of colonial andpostcolonial rule and then move to a focus on thegenesis and impact of recent economic andpolitical transitions. Key questions include: Howare postcolonial African states distinctive fromother postcolonial states? In what ways arepostcolonial states linked to their formercolonizers? How do ethnicity, class, and genderidentities play into contemporary politics? Whatrole have Western states played in the presence orabsence of democracy in African states? How dothe politics of patronage affect processes ofpolitical and economic change? What impacthave international financial institutions played inaggravating or alleviating conditions of poverty?What choices and trade-offs do Africa’spostcolonial leaders and citizens face, and whatrole do African states and their citizens play inthe international community? This course will notinvestigate the experiences of all Africancountries but will address these questions bydrawing upon the experiences of a number ofstates, including: Ghana, Senegal, Nigeria, Zaire/Democratic Republic of the Congo, Kenya,Zimbabwe, Mozambique, and South Africa. Wewill draw upon a variety of methodological anddisciplinary approaches to gain a deeperunderstanding of the complexities ofcontemporary African politics as they areembedded in and affect international politics.

The Legitimacy of Modernity?Basic Texts in Social TheoryDavid PeritzLecture, Open—YearSocial theory is a distinctly modern tradition ofdiscourse, centered on explaining social order insocieties that are too large, fluid, and complex torely on tradition or self-conscious politicalregulation alone. Instead, a series of theoristswhose works gave rise to the modern socialsciences explore the sources of social order instructures, many of which work “behind thebacks” or independently from the intention ofthose whose interaction they integrate. Themarket economy, the legal and administrativestate, the firm and the professions, highlydifferentiated political and civil cultures, a varietyof disciplinary techniques inscribed in diversemundane practices—one by one, these theoristslabored to unmask the often hidden sources ofsocial order. Moreover, this understanding of

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social order has evolved side-by-side withevaluations ranging from those that view Westernmodernity as achieving the apex of humanfreedom and individuality to those that see it asinsinuating a uniquely thorough and invidioussystem of domination. This class will introducemany of the foundational texts and authors in thesocial sciences, including Adam Smith, Alexis deTocqueville, Karl Marx, Emile Durkheim, MaxWeber, Sigmund Freud, Michel Foucault, JurgenHabermas, and Frantz Fanon. In this way, it willalso cover various schools of social explanation,including: Marxism, structuralism,poststructuralism, postcolonial studies, andfeminism. The thread connecting these disparateauthors and approaches will be the issue of theworth or legitimacy of Western modernity. Whichof the institutions that structured the process ofmodernization are worth defending or reforming?Which should be rejected outright? Or should wereject them all and embrace a new, postmodernsocial epoch? In answering these questions inclass and in group conferences, we will grappleboth with classical texts and with the implicationsof different approaches for contemporary socialanalysis.

Reagan, Thatcher, and thePolitics of the ’80sSamuel AbramsOpen—FallWith the events and personalities of the 1980snow well over two decades in the past, politicalscientists and historians have begun to criticallyand systematically examine the leaders, theinstitutions, and the political culture and events ofthe era. This course will explore the sociopoliticalstate of the United States and Britain and the stateof international relations and diplomacy from1979 to 1992. While impossible to summarize,the 1980s were an era of immense politicalchange and inflection with the end of the ColdWar and the rise of free-market thinking; thepolitical sphere was dominated by the ideas ofPresident Ronald Reagan and Britain’s PrimeMinister Margaret Thatcher. Culturally, the musicscene was transformed by punk and the birth ofhip-hop; and everyday lives of those in the Westwere radically altered by a host of technologicaldevelopments—from the Sony Walkman and theATM to the appearance of MTV and the firstpersonal computers. In the United States, thedecade opened with an enormous anti-nuclearprotest in New York’s Central Park and closedwith mass demonstrations against the

government’s slow response to the AIDS crisis.This course will investigate these social andeconomic trends as they relate to political culturein both the United States and Britain. We willalso explore how the 1980s ushered in a new eraof conservative politics and postmodern ideas,which created a complex and increasinglymaterial world. We will examine the personal anddomestic lives of President Reagan and PrimeMinster Thatcher and then look into their uniqueworking relationship on the global stage, as wellas probe into their domestic stateside matters. Forinstance, we will look at President Reagan’sbipartisan work to fundamentally change the taxstructure in the United States and examine how hemanaged unions and the air traffic control strikethat changed the way Americans perceive unions.We will also look at Speaker of the House TipO’Neill and attempt to make sense of O’Neill asboth a foil and a domestic leader at the time.Finally, we will consider the global politicalmilieu in which Reagan and Thatcher operatedand look at the Cold War and the struggles thatthey both faced to bring democracy to the globe.

A Newly Re-Enchanted World:Secularism, Religion, and theLimits of Modern SocietyDavid PeritzOpen—FallFor the last 300 years, many of the world’s mostenlightened thinkers have predicted the beginningof humanity’s first ‘disenchanted’ epoch: a worldfrom which God and organized religionwithdrew, leaving us alone to understand naturescientifically and to create meaning for ourselves.At the dawn of the 21st century, we witness arather different reality: a major religiousresurgence in societies throughout the world.Internationally, religion has replaced ideology asthe most important axis of conflict. At home,controversies between religion and science roilour politics, with even some secular criticsclaiming that “scienticism” is its own kind offundamentalism. Meanwhile, fundamentalismproper—forms of faith that deny that sacred textsare always subject to human interpretation—isproving to be among the most popular anddynamic sources of religious faith. This coursetackles issues emerging in the new field ofpostsecular studies, which starts byacknowledging that traditional forms ofreligiosity often play an important role in the civillife of advanced modern societies. The coursewill focus on the Abrahamic faiths (Judaism,

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Christianity, and Islam) and modern andcontemporary issues, especially: (1) thepersistence of religion as a main source ofpractical belief (especially in “secular” societies);(2) religion’s reemergence as a major axis ofinternational and cross-cultural conflict(specifically the clash between Judeo-Christianand Islamic faiths); and (3) “secularism and itsdiscontents” within modern, Western liberalsocieties. The course will focus on the followingquestions: On the one hand, are religiousworldviews and rituals unrivalled in the ability tocreate a sense of meaning, purpose, andbelonging in the world? If so, where doesreligion’s unique power come from, and what arethe obstacles to transferring it onto secular cultureand philosophies? On the other hand, taking intoaccount postsecular insights, can we still salvagethe “secular” project of taming fundamentalistpolitical theologies and the messianic zeal anddisastrous certitudes that they can generate? Is itpossible for persons who subscribe to differentreligions or hold widely varying attitudes (fromthe deeply religious to the aggressively secular) tonevertheless understand one another, engage inmeaningful political and ethical discourse, reachsome basic understanding about how to livetogether, and embrace tolerance and the idea of anonsectarian state? To address these questions,we will read about religion, including theologicaland philosophical texts, and then turn to worksthat consider the persistence of religion and itssocial and political implications from theperspectives of the sociology of religion, politicaltheory, and cultural studies.

Democracy and DiversityDavid PeritzOpen—FallDoes democracy work only in homogeneoussocieties that overcome by assimilating sources ofdifference and diversity? Only in this way, it haslong been maintained, can a people be sufficientlysimilar to form shared political understandingsand projects. Absent commonality, democracydeteriorates into the tyranny of the majority or awar of all against all. But we are at the far end ofa dramatic shift in democratic politics:Democratic societies are increasinglymulticultural and diverse, while citizens indemocratic societies are less willing to “forget”their ethnic, religious, gender, sexual, cultural,racial, and other differences in order to integrateinto a dominant national culture. These develop-ments raise some basic questions. Is it possible to

achieve sufficient agreement on fundamentalpolitical issues in a deeply diverse society? Canthe character of political community or the nationbe reconceived and reformed? If not, isdemocracy doomed? Or might it be possible toreform democracy to render it compatible withconditions of diversity? If so, does the democraticclaim to legitimacy also need to be transformed?This course will explore these questions in anumber of ways. We will study exemplaryhistorical statements of the ideal of democracy toget our bearings from conceptions developedwithout attention to deep and abiding differences.We examine the nature of social and culturaldiversity, looking at several dimensions that tendto cut across one another in contemporarypolitics: religion, value, class, gender, sexuality,race, ethnicity, and culture. In addressing theseissues, we draw on methodologies and disciplinesranging from sociology and anthropology toethnic studies and philosophy. We then bringthese themes together by surveying a number ofrecent attempts to (re)articulate the relevance ofspecific identities to political engagement and thegeneral ideal of democracy in light of experienceswith increased diversity. Here the disciplinaryfocus is on reading sustained selections fromrecent works in political philosophy, while thesubstantive focus is on issues of race and culture.

The Politics of GlobalAusterityYekaterina OziashviliOpen—SpringSince the 1980s, it has become increasinglycommon among economists and policymakers topresent austerity policies as the only way to bringeconomies out of recession and maintaineconomic growth and prosperity. Policies ofausterity have been enthusiastically praised as apanacea for economic development and stabilityor grudgingly accepted as a necessary evil.“Softer” alternatives are dismissed as Utopian,unrealistic, and foolish. What explains austerity’shegemonic status as a solution to all economicproblems? What impact do the austerityprinciples have on state and popular sovereigntyand on economic international and intranationalinequality? In this class, we will trace theintellectual history of austerity. We will thenexamine the role that international organizationssuch as the IMF and World Bank play inpromoting and enforcing the principles ofausterity. We will also examine the effect that theage of austerity has had on the welfare state and

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the “race to the bottom.” Finally, we will look at aglobal backlash against austerity and ask: what'snext?

International Relations:Conflict and Cooperation inGlobal PoliticsJanet ReillyOpen—SpringKenneth Waltz famously wrote, “Wars occurbecause there is nothing to prevent them.” Is thistrue? If so, what is to blame? Is it human natureor the anarchical structure of the internationalsystem that leads to conflict, and how are today’sconflicts different from those of the past? Is worldpeace possible? We will investigate thesequestions, analyzing contemporary internationalpolitics through various theoretical lenses. In anincreasingly interconnected and interdependentworld, international peace and security are notonly military concerns but also economic, humanrights, and environmental protection issues. Is theUnited States, with its superior military, theworld’s most powerful state? Or is it China, dueto its growing economy? On what basis andthrough what mechanisms do nongovernmentalorganizations, such as Human Rights Watch andGreenpeace, and transnational social movementsfor women’s and indigenous people’s rightschallenge states’ sovereignty and influence theiractions? Beginning with an examination of thehistorical development of the moderninternational system, we will explore differenttheories and approaches to the study ofinternational relations and discuss sources anduses of power in the global arena. Applying thevarious theoretical perspectives, we willinvestigate the evolving nature of violence,including terrorism, that spills across borders, thegrowing gap between the world’s rich and poor,the role of international law in global politics, andthe ethics of humanitarian intervention.

Presidential Leadership andDecision Making: Lincoln,Truman, Eisenhower,Kennedy, Johnson, andObamaSamuel AbramsIntermediate—YearThe president is the most prominent actor in theAmerican government, and developing anunderstanding of how and why political leaders

make the choices that they do is the goal of thiscourse. Presidents must make countless decisionswhile in office and, as Edwards and Wayneexplain, “Executive officials look to [thepresidency] for direction, coordination, andgeneral guidance in the implementation ofpolicy…Congress looks to it for establishingpriorities, exerting influence…the heads offoreign governments look to it for articulatingpositions, conducting diplomacy, and flexingmuscle; the general public looks to itfor…solving problems and exercising symbolicand moral leadership….” This course willexamine and analyze the development andmodern practice of presidential leadership in theUnited States by studying the evolution of themodern presidency, which includes the process ofpresidential selection and the structure of thepresidency as an institution. The course will thenreflect on the ways in which presidents makedecisions and seek to shape foreign, economic,and domestic policy. This will be based on avariety of literatures, ranging from socialpsychology to organizational behavior. We willlook at the psychology and character of presidentsin this section of the course. Finally, the coursewill explore the relationship of the presidency toother major government institutions andorganized interests. We will pay particularattention to a particular set of presidents: Lincoln,Truman, Eisenhower, Kennedy, Johnson, andObama. Prior course work in American politicsand history is required.

Democratization andInequalityElke ZuernIntermediate—FallThe last three decades have seen significantgrowth in the number of democracies around theworld. As more countries become democratic,increasing numbers of citizens are formallyendowed with political equality. US presidentsfrom Bill Clinton to George W. Bush and BarackObama have praised the advance of democracy asa key factor in promoting peace both between andwithin states. This course will investigate andcompare processes of democratization fromEurope to Latin America and parts of Africa,Asia, and the Middle East. We will exploreindividual cases of democratization to considerthe influence of domestic, as well as foreign,actors and political, as well as economic,conditions. Key questions include: To what extentdo similar processes bring about democratic

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transitions in different regions and moments intime? What role have various forms of violenceplayed in transitions to democracy? We will alsoexplore the domestic and transnational effects ofthe growing number of new democracies. Whatimpact does a transition to democracy have uponthe political influence of ordinary citizens, uponthe openness of government institutions, andupon the processes of rule? In what ways doespolitical equality empower citizens? Dotransitions to democracy bring about fundamentalpolicy shifts to better meet the needs of themajority? Do citizens of new democraciesperceive their democratic government as the bestpossible regime? Throughout this course, studentswill investigate the relationship betweendemocracy and different forms of inequality.

A Newly Re-Enchanted World:Religion, Secularism, and theLimits of Modern SocietyDavid PeritzIntermediate—SpringFor the last 300 years, many of the world’s mostenlightened thinkers have predicted the beginningof humanity’s first “disenchanted” epoch inwhich God and organized religion withdraw fromthe world, leaving us alone to understand naturescientifically and to create morality and meaningfor ourselves. At the dawn of the 21st century, wewitness a rather different reality, a major religiousresurgence in societies throughout the world.Internationally, religion has replaced ideology asthe most important axis of conflict. At home,controversies between religion and science roilour politics. Meanwhile, fundamentalism—formsof faith that deny that sacred texts are alwayssubject to human interpretation—is provingamong the most popular and dynamic sources ofreligious faith. This course tackles issuesemerging in the new, multidisciplinary field ofpostsecular studies, which starts byacknowledging that traditional forms ofreligiosity often play an important role in modernsocieties. The course will focus on Abrahamicfaiths (Judaism, Christianity, and Islam) andmodern and contemporary issues, especially: (1)the persistence of religion as a main source ofpractical belief (particularly in “secular”societies); (2) religion’s re-emergence as a majoraxis of international and cross-cultural conflict(specifically the clash between Judeo-Christianand Islamic faiths); and (3) “secularism and itsdiscontents” within modern, Western liberalsocieties.

Making Parties and Policy in aPolarized EraSamuel AbramsAdvanced—SpringDespite frequent pleas from President Obama fornational social and political unity and the rise ofgroups like “No Labels,” the seemingly never-ending sociopolitical polarization appears to bethe new norm in American political life. To manypoliticians, pundits, and people alike, the socialand political scene in the United States in the 21stcentury appears to be one of turmoil,disagreement, division, and instability. Weregularly hear about a polarized and deadlockedpolitical class; we read about increasing class andreligious differences—from the alleged dividesbetween Wall Street and Main Street to those whoare secular and those who are religious; and weoften see disturbing images from the so-called“Tea Party” rallies and Occupy Wall Streetdemonstrations. This seminar will explore thepuzzle of how to move on from this divided state.While the course will briefly examine the veracityof these recent impressions of the Americansociopolitical scene, we will center our course onthe question: Is policymaking forever deadlocked,or can real political progress be made? Moreover,what are the social and policy implications ofpolarization? How does President Obama governin this political epoch, and are the political partiesrepresenting the will of the people? What aboutthe 2014 elections? What are we to make of thefrequent calls for change and for healingAmerica’s divisions? This seminar seeks toexamine these questions and deeper aspects ofAmerican political culture today. After reviewingsome basics of the political economy, we willstudy American political cultures from a varietyof vantage points; and a number of differentstories will emerge. We will cover a lot ofground—from America’s founding to today. Wewill look at numerous aspects of American socialand political life—from examining the masses,political elites, Congress, and policymakingcommunities to social movements, the media, andAmerica’s position in a global community—allwith a focus on policy and moving the countryforward. This course will be driven by data, notdogma. We will use modern political economyapproaches based in logic and evidence to findanswers to contemporary public policy problemsand questions of polarization. We will treat thismaterial as social scientists—not as ideologues.Prior course work in American history and thesocial sciences is required.

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Psychology

Psychology—one of the largest programs at SarahLawrence College—offers students a broad arrayof courses at all levels, covering areas fromexperimental to social and developmentalpsychology. In small seminars, students readprimary sources and explore issues throughdiscussion and research, often making importantconnections between psychology and other fields.

Using the College’s resources—including anew Child Study Lab and a computer psychologylaboratory—students design and conductexperiments, analyze data, and post results. At thecampus Early Childhood Center, students havethe opportunity to explore firsthand thedevelopment of young children by carrying outfieldwork in classrooms for children ages twothrough six and/or by carrying out research in theChild Study Lab located in the same building.The lab has a room dedicated to conductingresearch, complete with one-way mirror andvideo and audio equipment. An adjacent roomprovides space and equipment for students toview and transcribe videotapes, as well as toanalyze the outcome of their research projects.These facilities provide a range of opportunitiesfor conference work in psychology.

Fieldwork placements with organizations inNew York City and Westchester County, as wellas in the College’s own Early Childhood Center,expand the opportunities for students to combinetheir theoretical studies with direct experiencebeginning in their first year. Sarah LawrenceCollege prepares students well for graduateprograms in psychology, education, or socialwork; some enter the College’s Art of Teachingprogram as undergraduates and receive a BA/MSEd after only five years of study.

First-Year Studies: Synapse toSelf: Neuroscience of Self-IdentityAdam BrownFYSIt has long been believed that “you are what youremember.” Autobiographical memories arecentral to how we construct self-identity andexperience a sense of self-continuity. They figureprominently in every aspect of our lives: earliestchildhood recollections, developmentalmilestones and achievements, personal loss andpublic tragedy, and the breakdown of thesememories across the lifespan. Conversely, self-identity plays a key role in how memories are

selectively encoded, retrieved, or forgotten.Although these complex relations are far frombeing understood, neuropsychology andneuroscience research are illuminating the neuralregions and networks underlying autobiographicalmemories and self-related processing. In thiscourse, we will examine neuropsychologicalresearch by looking at how the loss ofautobiographical memory impacts the integrity ofidentity such as in cases of amnesia andAlzheimer’s disease. We will also discuss howdifferent memory systems support self-continuityand the capacity to “mentally time travel” back tothe past and into the imagined future. We willexamine how shifts in self-identity alter theaccessibility of our memories and, in turn, oursocial and emotional functioning. Emphasis willalso be placed on autobiographical memory andself-identity disturbances associated with mentalillness and the way in which neuropsychologistsand neuroscientists study these changes followingtherapeutic interventions. Students will develop afoundation in experimental methods for studyingmemory and self-identity and will have theopportunity to carry out original qualitative andquantitative research.

First-Year Studies: Health,Illness, and Medicine in aMulticultural Context: AService Learning CourseLinwood J. LewisFYSWhat is the difference between disease andillness? Do people in different cultures manifestthe same illness similarly? Has the biomedicalmodel resulted in better health for all? Why dowomen get sicker but men die quicker? Thiscourse offers an overview of theoretical andresearch issues in the psychological study ofhealth and illness within a cultural context. Wewill examine theoretical perspectives in thepsychology of health, health cognition, illnessprevention, stress, and coping with illness. Wewill also examine the interrelationship betweenhumans and the natural and built environment. Alifespan approach examining child, adolescent,and adult issues will provide additional insight.Issues of sexuality, gender, race, and ethnicity area central focus, as well. This class is appropriatefor those interested in a variety of health careersor in public health. Conference work may rangefrom empirical research to bibliographic researchin this area. The community partnership/servicelearning component is an important part of this

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class; we will work with local agencies topromote healthy and adaptive person-environment interactions within our community.

The Changing Self: Narrativesof Personal TransformationSean AkermanLecture, Open—FallThis course will introduce students to the theoryand practice of narrative psychology by lookingto a number of narratives to consider questionsabout structure and transformation in a life.Today, personal narratives are increasinglyaccepted as a useful inroad to understandingone’s sense of self and identity. Over the courseof the semester, we will explore how narrativeshave come to play a role in psychology, thepower dynamics and ethics of writing aboutanother person, and the value of a narrative inunderstanding a life. We will read psychoanalyticcase studies, phenomenological case studies,ethnographies, autobiographical accounts, andcontemporary narrative work in psychology.Many of the topics in the course will deal withmajor life transformation, such as creativity,violence, illness, the sublime, and addiction.These topics will allow us to ask: What is therelationship between major life change and thenarratives that we create about those changes?Coursework will include essays, exams, anddiscussion questions. By the end of this course,students will be well-versed in narrativepsychology and able to take a critical approach toquestions of transformation.

Sex Is Not a Natural Act:Social Science Explorations ofHuman SexualityLinwood J. LewisLecture, Open—FallWhen is sex NOT a natural act? Every time ahuman engages in sexual activity. In sex, what isdone by whom, with whom, where, when, why,and with what can have relatively little to do withbiology. In theory, human sexuality poses asignificant challenge. The study of its disparateelements (biological, social, and individual/psychological) is inherently an interdisciplinaryundertaking. Anthropologists to zoologists all addsomething to our understanding of sexualbehaviors and meanings. In this class, we willstudy sexualities in social contexts across thelifespan, from infancy to old age. Within eachperiod, we will examine biological, social, and

psychological factors that inform the experienceof sexuality and the construction of sexualidentities for individuals. We will also examinebroader aspects of sexuality, such as sexualhealth, and explore possible connections betweenrace, ethnicity, and sexuality.

Psychology of ReligiousExperienceSean AkermanLecture, Open—SpringHow do humans understand the relationshipbetween their immediate world and what liesbeyond it? What are the ways in which privatelives become embedded in wider fields ofmeaning? Ever since William James publishedThe Varieties of Religious Experience in 1902,questions about the nature of religious experiencehave circulated through the centers and marginsof psychology. For James, religious experiencewas not limited to mere belief or church practices;it was felt in everyday life. Similarly, we willtreat religiosity as a domain of experience thatcalls attention to the limits of language, to howwe understand the world, and to the makeup ofidentity. During the semester, we will take adescriptive and interpretive approach to study thetopics of mysticism, conversion, healing, theapocalypse, literalism, and much more, as weexplore how humans make meaning and kinshipand construct new ways of being in-the-world.We will read from classic and contemporarypsychologists of religion, anthropologists, andcritical theorists, as well as autobiographicalaccounts, to create an interdisciplinaryperspective. By the end of this lecture, studentswill be well-versed in a variety of descriptive andinterpretive methods and will be able to thinkcritically about what religious experience means.Coursework will include essays, response papers,and presentations.

Trauma, Loss, and ResilienceAdam BrownLecture, Open—SpringHow people remember and respond to stress andtrauma has garnered much attention andcontroversy in the field of psychology. Thesedebates have reached well beyond therapists'offices and academic departments, figuringprominently in the media, policy debates, andjudicial decisions. Through a review of theory,research, and clinical case reports, this courseaims to provide a nuanced examination of

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traumatic stress research. The course will beginwith a historical exploration of how the mental-health community has defined and treated traumaover the past century, including the socioculturalforces that shaped these definitions andinterventions. We will also delve into morecurrent issues involving trauma, specifically post-traumatic stress disorder (PTSD). Readings willsurvey a range of topics, drawing on cognitive,developmental, neuroscientific, andpsychoanalytic perspectives. We will discuss andquestion: What are the impacts of stress andtrauma across the lifespan? How is traumaprocessed cognitively, and what brain regions areinvolved in trauma-related distress? What is theimpact of trauma and loss on mental and physicalhealth? What is an appropriate response totrauma, and who decides? Are there outcomes tostress and trauma other than distress? Is memoryfor trauma special? Are horrific experiencesindelibly fixed in a victim’s memory, or does themind protect itself by banishing traumaticmemories from consciousness? How do thoseworking in the field of traumatic stress cope withsecondary exposure? Why are some people ableto experience repeated exposure to traumawithout significant impairment? Conference workwill offer students the opportunity to applyongoing issues in trauma and resilience researchto a wide range of disciplines, including science,law, medicine, art, media, politics, and ethics.

Poverty in America:Integrating Theory, Research,Policy, and PracticeKim FergusonOpen—YearOne-fifth of all American children live in poverty.Why? And what can be done about it? In thiscourse, we will take an ecological andpsychobiological approach to poverty in Americaand its relationship to public policy, with a focuson child poverty. We will discuss how physicaland psychosocial environments differ for poorand nonpoor children and their families in bothrural and urban contexts, specifically ruralUpstate New York and urban Yonkers. We willexplore how these differences affect mental andphysical health and motor, cognitive, language,and socioemotional development. We will alsodiscuss individual and environmental protectivefactors that buffer some children from the adverseeffects of poverty, as well as the impacts of publicpolicy on poor children and their families,including recent welfare, health, and educational

policy reforms in the United States. Topics willinclude environmental chaos, cumulative risk andits relationship to chronic stress, and unequalaccess to health-care services. This course willalso serve as an introduction to the methodologiesof community-based and participatory actionresearch within the context of a service-learningcourse. Students will be expected to participate ina community partnership addressing issuesrelated to poverty as part of their conferencework. In the first semester, we will discuss thenature of these research and practicemethodologies, and students will develop aproposal for community-based work inpartnership with their community organization. Inthe second semester, students will implement andevaluate this project. A previous course in thesocial sciences is recommended.

Framing the Body: TheIntersection of Psychology andMedicineSean AkermanOpen—FallThis seminar will explore the ways in which thebody exists at the intersection of our stories andexperiences. Drawing upon phenomenology andnarrative psychology, we will investigate therelationships between pain and language, illnessand healing, and doctors and patients, as well asthe myriad ways in which culture, identity, age,and health frame our daily experiences of livingwithin our bodies. In the past two decades, thebody has received an enormous amount oftheoretical attention in the social sciences. Why isthat so? How can inquiries into issues about thebody help us rethink traditional questions askedby psychologists? Key topics in the course willinclude: physical trauma and its aftermath, thepower of the medical profession, bodymodification, the varieties of healing, andperformance. The readings will encompass thework of psychologists, patients, doctors,memoirists, philosophers, dancers, and others.Coursework will include essays, response papers,and presentations.

Parents and Peers inChildren’s LivesCarl BarenboimOpen—FallIn this course, we will study the psychologicalgrowth of the child from birth throughadolescence, focusing especially on the social

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lives of children. We will begin by reading aboutsome of the major theories that have shaped ourthinking concerning children, includingpsychoanalytic (Freud and Erikson), behaviorist(Skinner), and cognitive-developmental (Piaget).We will apply those theories to the “real world”of children’s lives, examining the key issues ofparent-child relations and children’s friendships.Our study of parent-child relations will includethe question of what makes a “good” parent(known as “parenting styles”), as well as theeffects of divorce, single parenting, and stepparenting on the subsequent development ofchildren. Our investigation of children’sfriendships will include the exploration of its keyfunctions for children’s psychological well-being,the difficulties for children without friends, andthe power of the peer group to shape a child’ssense of self. Conference work may include directexperience with children, including fieldwork atthe Early Childhood Center or other venues.

The Developing Child:Perspectives from Experience,Observation, and TheoryJan DruckerOpen—FallThis course introduces students to the study ofhow children develop by considering theperspectives on the process afforded by theexperience of one’s own life, careful observationof children in natural settings, and readings indevelopmental psychology. All students willcarry out fieldwork at the Early Childhood Centerand learn to observe the language and thought,play, social interaction, and evolving personalitiesof the preschool children with whom theywork—taking into account the immediate contextof their observations and the broader culturalcontexts in which development is occurring.Readings for the seminar will be drawn fromprimary and secondary theoretical and researchsources. Each student will carry out a conferenceproject related to an aspect of development, oftenone connected to the fieldwork experience. Allstudents must have at least one, and preferablytwo, full mornings or afternoons each week freefor fieldwork.

Narrative NeuropsychologyElizabeth JohnstonOpen—Fall“The self is an incredibly ingenious novelist.”—Richard Powers

Narrative neuropsychology explores notions ofmind, memory, sensory perception, language,consciousness, and mind-body interactionsthrough study of cases of the breakdown,hyperdevelopment, or recovery of mentalfunction. In this course, we will draw upon amixture of neuropsychological case studies,scientific research papers, novels, and memoirs toinvestigate conditions such as agnosia, amnesia,synesthesia, aphasia, autism, and other alterationsin consciousness that arise from brain damage orvariations in brain development. Narrative refersto the narrative accounts of neurologists but alsoto the view of the human brain as primarily astoryteller. A third sense of the term narrative willbe invoked in our reading of current fiction andmemoirs that incorporate neuropsychologicalmaterial. This course is designed for studentsinterested in the intersections of science and art.

The Psychology of Women andGender: From Social Structureto LivesWen LiuOpen—FallThis course examines the category of genderwithin and beyond the discipline of psychologyand aims to familiarize students with majortheoretical perspectives on gender, includingsocial constructionism, feminism, Marxism, queertheories, critical race theories, and variouspsychological traditions. The course also drawsfrom empirical research on gender in the UnitedStates and abroad that emphasizes theintersections of race, ethnicity, class, sexualorientation, ability, and immigration in women'sexperiences and identities. We will explore howgender and gendered practices have been studiedin relation to macrosocial processes such aspatriarchy, colonialism, capitalism, andglobalization—but also how they form meaningsin the physical and psychological lives ofindividuals. We will look at how gender isembedded in contested relations of power indiverse communities and how feminists andpsychologists have explored the possibilities forchange within and beyond academia.

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Understanding Addiction:Psychological andNeuropsychologicalApproachesDavid SivesindOpen—FallAddiction: a formal award by a magistrate of athing or person to another person, as the awardof a debtor to his creditor; a surrender to amaster. —Roman law

Evidence of addiction has been presentthroughout history. Explanations foraddiction—spiritual, emotional, biological—havespanned the ages and remain controversial today.This course will explore the study of addictionfrom historical roots to contemporary theory.Competing theories of substance abuse/addictionwill be examined with a focus on the individualbut also with regard to cultural and societalconcerns. This course presents a framework forunderstanding models of substance use andaddiction with a critical view of controversies andevidence for each, including neuropsychologicaladvances in the study of addiction. Students willbe asked to think critically and constructivelyabout the topic, eschewing dogma of any oneapproach to the treatment and understanding ofsubstance abuse. Readings range frompsychology and medicine to the arts, ethics, andthe press. Conference work might build from anacademic exploration of substance-use theory(moral, developmental, dynamic, motivational) toa broader conceptualization of cultural, ethical,and cross-discipline understandings.

Life in Context: FundamentalConcepts in EnvironmentalPsychologyCollette SosnowyOpen—FallThis course will provide an introduction to theinterdisciplinary social science of environmentalpsychology, which places human experience inthe social, cultural, historical, political, physical,and nonphysical contexts that shape ourindividual and collective world views. Key topicswill include framing the concepts of space, place,and environment; the social production of nature;public and private space; children, youth, andenvironments; neighborhood and community;therapeutic and restorative spaces; the builtenvironment; and the digital environment. By theend of the semester, students will have a

fundamental understanding of the field and beable to apply an interdisciplinary and spatial lensto the study of human experience. In addition to abroad range of readings from the social sciences,human geography, and urban studies, studentswill present an “environmental autobiography,”make several field trips, and maintain a journalthroughout the semester that will be used todevelop essays. This course lends itself to a widerange of conference work with an emphasis onengaging with the world, including participatoryresearch, ethnographies, and visual andmultimedia projects.

Home and Other Figments:Immigration, Exile, andUprootednessSean AkermanOpen—SpringThe unique experience of uprootedness providesan opportunity to ask questions about home,identity, and the transmission of the past. In thiscourse, we will look to several populationsaround the world that have been displaced as wesurvey the theoretical and narrative literatureabout exile and immigration. How does onereconfigure his or her identity after forced orvoluntary migration? What are the effects ofdisplacement on the children of the displaced?How is cultural heritage preserved in transit? Aswe ask these questions, we will reflect upon whatpsychological methods are used to understandsuch complexities. We will inquire into therelationships between epistemology and method,between language and experience, and betweenresearchers and participants. Course readings willbe drawn from classic and contemporary researchon various diasporas, reflecting a critical eyetowards how research may conceptualize, frame,and understand the experiences of exile,immigration, and uprootedness. By the end of thecourse, students will have a broad understandingof numerous displaced populations, of thepsychological processes at work, and of theresearch that has shaped the discipline'sunderstanding of these phenomena.

Perspectives on ChildDevelopmentCharlotte L. DoyleOpen—SpringA noted psychologist once said, “What you seedepends on how you look.” Our subject is theworlds of childhood; and in this class, we try out

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the lenses of different psychological theories tohighlight different aspects of those worlds. Freud,Erikson, Bowlby, and Stern provide differingperspectives on emotional development. Skinner,Bandura, Piaget, and Vygotsky present variousapproaches to the problems of learning andcognition. Chess and her colleagues take up theissues of temperament and its interaction withexperience. Chomsky and others deal with thedevelopment of language. We will read thetheorists closely for their answers but also fortheir questions, asking which aspects ofchildhood each theory throws into focus. We willalso examine some systematic studies thatdevelopmental psychologists have carried out toconfirm, test, and critique various theories:studies of mother-infant relationships, thedevelopment of cognition and language, and theemergence of intersubjectivity. In several of thesedomains, studies done in cultures other than ourown cast light on the question of universalityversus cultural specificity in development. Directobservation is an important complement totheoretical readings. In this class, all students willdo fieldwork at the Early Childhood Center. Attimes, we will draw on student observations tosupport or critique theoretical concepts as part ofthe seminar. The fieldwork will also provide thebasis for developing conference work. Ideally,conference projects combine the interests of thestudent, some library reading, and some aspect offieldwork observation. Among the many diverseprojects students have designed in the past aretopics such as children’s friendships, themeanings of block building, and how youngchildren use language.

Telling One’s Story:Narratives of Development andLife ExperienceJan DruckerOpen—SpringThere are many ways in which people narratetheir life experience, from storytelling ineveryday contexts to brief memoirs,autobiography, fiction, psychotherapy, andresearch interview responses. This seminar willexamine examples from all of these forms oftelling one’s story, beginning with an overview ofthe role of memory and construction/reconstruction in formulating experience. Inreading and discussing some of the methods thatpsychologists use to study the process ofdevelopment and the ways people experiencetheir lives, we will consider the effect of context

and purpose on the way an experience is narrated.We will draw on observational methodologies,ethnography, narrative research, and clinical casestudies, as well as various forms of narratingone’s experience for oneself and its role in thedevelopment of sense of self. Class reading willinclude many kinds of accounts, and class paperswill include a range of ways of discussing thethemes of the course. Conference work may buildon any narrative methods studied, includingobservational or autobiographical approaches,and may include material derived from fieldwork/community service in an appropriate setting, ifdesired.

Attachment Across the LifeCycle: How RelationshipsShape Us from Infancy toOlder AdulthoodMeghan JablonskiOpen—SpringAttachment theory has become a widely acceptedcornerstone of early human development.Pioneered by John Bowlby and expanded by latertheorists and researchers, attachment theoryemphasizes the role of infant and early childhoodbonds with caregivers, usually parents, on socialand emotional development. As study ofattachment theory has advanced, interest inattachment throughout adolescence and adulthoodhas increased. No longer confined to attachmentsestablished during infancy and early childhood,understanding how important relationships shapeus during adolescence, adulthood, and olderadulthood are growing areas of interest. Emergingstudies of attachment in neuropsychologicaldevelopment, adoption, queer families, spiritualidentification, social affiliation, and parentinggive us new insights into how the fulfillment ordeprivation of important relationships throughoutlife impact development and well-being. Thiscourse explores the historical and cross-theoretical roots of attachment theory, followsadvances and refinements in attachment theoryand research, and looks at attachment beyondchildhood through adolescence, adulthood, andolder adulthood. Readings include classicalattachment theory, as well as contemporaryattachment research, developmentalpsychopathology, feminist critique, identitytheory, social psychology, neuropsychology,object relations, and psychoanalytic literature.Film and relevant case studies will be includedfor reflection and class discussion. Conferencework may include fieldwork at the Early

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Childhood Center or other settings such as youth/adolescent programs or older adult communitycenters.

Principles of Psychology:Brains, Minds, and BodiesElizabeth JohnstonOpen—SpringWhen William James published The Principles ofPsychology in 1890, he described it scathingly asa “loathsome, distended, tumefied, bloated,dropsical mass” that proved that he was anincompetent and that psychology was not ascience. More than 100 years later, it is one of themost quoted and influential psychological texts.In Principles, James set out his views on a rangeof subjects that continue to capture the interest ofcontemporary psychologists and neuroscientists,such as attention, memory, the senses, the self,consciousness, habit, time perception, andemotion. We will read some of James’s writingsin conjunction with contemporary texts that drawinspiration from his work and discuss them inlight of current neuroscientific studies of thebrain, mind, and body.

Psychology and Social Change:A Critical Social PsychologyPerspectiveWen LiuOpen—SpringWhat does psychology have to do with socialchange and social justice? This course exploresthe history, theories, methods, and practices ofsocial psychology from the legacy of liberationpsychology to the work of contemporary criticalpsychologists. The course will introduceinterdisciplinary frameworks to understandsocial psychological constructs, including: self,consciousness, identity, power, social group,social structure, human agency, and socialmovements. With an emphasis on the intersectionof psychology and social change, students willbe familiarized with theories and scientificmethods that examine issues of social (in)justiceand encouraged to further investigate, from asocial psychological lens, sociopolitical topicsrelated to race, gender, class, sexuality, andnation.

You Are What You Tweet:Identity and Social MediaCollette SosnowyOpen—SpringOnline social media has provided new venuesthrough which to share our thoughts, interests,and ideas—and tell the stories of our lives.Through posts, tweets, status updates, images,and videos, we immerse ourselves in the digitalworld and dissolve the boundaries between onlineand offline. How do we choose to presentourselves online? Are they accuraterepresentations? How are the stories we tellonline different from the ones we tell in person orwrite down? In addition, this course will examinewhat has been described as the “publicly-privateand privately-public” nature of social media.With so many aspects of our lives made public,do we risk exposing ourselves? Is there such athing as privacy online? Course readings will bedrawn from both academic literature and popularjournalism, with a focus on concepts of identity,self-presentation, social relationships, andprivacy. Conference work will be closelyintegrated in the coursework; frequent onlineactivity, including a multi-platform portfolio, willbe a major component of the class.

The Talking Cure: TheRestoration of FreedomMarvin FrankelSophomore and above—YearOver the past century, the concepts of “wisdom”and “ignorance” have been replaced by “health”and “illness.” Vanity has been replaced bynarcissism and pretensions by insecurities. Weconsult psychologists and psychiatrists rather thanphilosophers in the hope of living “the good life.”We become cured rather than educated. The cureis presumably accomplished through a series ofconversations between patient and doctor, butthese are not ordinary conversations. Moreover,the relationship between one psychologist andpatient is vastly different from the relationship ofanother psychologist and client. Despite morethan a century of practice, there remains littleagreement among these practitioners of “health”regarding what the content of these conversationsshould be or the proper roles of doctor andpatient. Consequently, the patient who sees apsychoanalyst has a very different kind ofexperience from a patient who seeks the help of aperson-centered therapist or a behaviorallyoriented psychotherapist. This course will

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examine the rules of conversation that governvarious psychotherapeutic relationships andcompare those rules with those that govern otherkinds of relationships, such as those betweenfriends, teachers and students, and familymembers.

Moral DevelopmentCarl BarenboimIntermediate—FallFor thousands of years, philosophers havestruggled with the questions surrounding the issueof morality. Over the past 100 years,psychologists have joined the fray. While manytheories exist, a unifying theme centers upon thenotion that childhood is the crucible in whichmorality is formed and forged. In this course, wewill explore the major theories dealing with threeaspects of the development of morality: moralthought, or reasoning (e.g., Piaget, Kohlberg);moral feelings (psychoanalytic approaches,including Freud, and the modern work on theimportance of empathy, including the ideas ofHoffman); and moral actions, or behavior(behaviorism, social-learning theory). In addition,we will investigate the possible relations amongthese three aspects of moral development.Throughout the course, we will connect moraldevelopment theory to the results of researchinvestigations into this crucial aspect of childdevelopment. Conference work may includedirect experience with children or adolescentseither in the form of detailed observations ordirect interaction (interviews, etc.).

The Neurobiology of MentalHealthAdam BrownIntermediate—FallMental illness is a major public health issue. TheWorld Health Organization (WHO) estimates thatanxiety and depression will globally represent thesecond-largest illness burden by 2020, placinggreat challenges on individuals, families, andsociety. To meet these challenges, psychologistsand other mental-health professionals have beenincreasingly integrating theories and techniquesfrom neuroscience with the study and treatmentof psychological disorders. Such efforts have ledto what is now being referred to as the field of“clinical neuroscience,” aimed at identifying theneurobiological foundations underlyingpsychological disorders. These approachesconsider how genetics, hormones, and neural

processes impact behavior and emotionalfunctioning. Importantly, interactions betweenbiology and culture, developmental stages andenvironment, will be considered. This course willbegin with a historical overview of the growingfield of clinical neuroscience. Then, foundationsin neuroanatomy, neurochemistry, andneurodevelopment will be reviewed beforeapproaching the neurobiological components ofpsychological disorders and interventions.Particular attention will be paid to schizophrenia,depression, post-traumatic stress disorder, drugabuse, and obsessive-compulsive disorder.Additionally, readings will cover brain researchbelieved to promote resilience against theemergence of mental illness, such as adaptivecoping strategies, hunger regulation, and theinteraction between psychological andimmunological functioning.

Personality DevelopmentJan DruckerIntermediate—FallA century ago, Sigmund Freud postulated acomplex theory of the development of the person.While some aspects of his theory have come intoquestion, many of the basic principles ofpsychoanalytic theory have become part of ourcommon culture and worldview. This course willexplore developmental and clinical conceptsabout how personality comes to be throughreading and discussion of the work of keycontributors to psychoanalytic developmentaltheory since Freud. We will trace the evolution ofwhat Pine has called the “four psychologies ofpsychoanalysis”—drive, ego, object, and self-psychologies—as well as the integrative“relational perspective”; and we will consider theissues they raise about children’s developmentinto individuals with unique personalities withinbroad, shared developmental patterns in a givenculture. Readings will include the work of AnnaFreud, Erik Erikson, Margaret Mahler, DanielStern, Steven Mitchell, Nancy Chodorow, andGeorge Vaillant. Throughout the semester, wewill return to such fundamental themes as thecomplex interaction of nature and nurture, theunanswered questions about the development ofpersonal style, and the cultural dimensions ofpersonality development. Fieldwork at the EarlyChildhood Center or other appropriate setting isrequired, although conference projects may centeron aspects of that experience or not, depending on

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the individual student’s interest. For graduatestudents and for juniors and seniors withpermission of the instructor.

Global Child DevelopmentKim FergusonIntermediate—FallThe majority of the world’s children live in theglobal South, yet less than 10% of developmentalscience research has studied communities thataccount for 90% of the world’s population. Thereis thus a desperate need to better understand childand adolescent development outside of the UnitedStates and Western Europe. In this course, wewill begin to do this by exploring what iscurrently known about children’s health,nutrition, and motor, cognitive, language, social,and emotional development across the globe.Where the research is limited, we will consider ifand when research in the global North can beinformative regarding child development in theglobal South. As we do this, we will discussvarious bioecocultural approaches to better mapout the connections between multiple factors atmultiple levels impacting children’sdevelopmental outcomes. Such holistic,multidisciplinary approaches will lay afoundation for sustainable, context-appropriate,community-based projects to better understandand reduce the aversive effects of multipleenvironmental risk factors on the development ofchildren across the globe. These approaches willalso help us understand and build upon theopportunities afforded by different contexts.Readings will be drawn from both classic andcontemporary research in developmental andcultural psychology, psychobiology,anthropology, sociology, and public health, with acritical eye toward understanding both theusefulness and the limitations of this research inlight of the populations studied and themethodologies employed. We will also read theliterary work of both classic and contemporaryauthors from the global South to betterunderstand these contexts. Conference work willprovide the opportunity for students to focus on aparticular context of young children’s lives ingreater detail. This may include fieldwork at theEarly Childhood Center or in another setting withchildren.

Individualism and/or DiversityReconsideredMarvin FrankelSophomore and above—Fall“Sticks and stones may break your bones, butnames will never harm you.” Can anything befurther from the truth? This course will examinehow reputation in all its guises shadows our lives.Do we not dispense praise and blame to controlthe lives of others? Can we deny that pride andshame represent the rewards and punishments thatwe employ to imprison ourselves? Can we inhabita world that goes beyond pride and shame? Forexample, consider the following tale: Alexanderthe Great allegedly came across the philosopherDiogenes, clothed in rags and taking a sunbathwhile reclining on the street. According to oneversion of this tale, Alexander asked Diogenes ifthere were anything he desired. If there were, thencertainly Alexander would grant his wish.Diogenes waved his hand and replied: “Stand outof my light.” Addressing his troops, Alexanderexclaimed, “If I were not Alexander the Great, Iwould like to be Diogenes.” What of you, dearstudent?

Art and Visual PerceptionElizabeth JohnstonIntermediate—Fall“Seeing comes before words. The child looks andrecognizes before it can speak.”—John Berger

Psychologists and neuroscientists have long beeninterested in measuring and explaining thephenomena of visual perception. In this course,we will study how the visual brain encodes basicaspects of perception such as color, form, depth,motion, shape, and space and how they areorganized into coherent percepts or gestalts. Ourmain goal will be to explore how the study ofvisual neuroscience and art can inform each other.One of our guides in these explorations will bethe groundbreaking gestalt psychologist RudolfArnheim, who was a pioneer in the psychology ofart. The more recent and equally innovative textby neuroscientist Eric Kandel, The Age of Insight,will provide our entry into the subject ofneuroaesthetics. Throughout our visual journey,we will seek connections between perceptualphenomena and what is known about brainprocessing of visual information. This is a coursefor people who enjoy reflecting on why we seethings as we do. It should hold particular interestfor students of the visual arts who are curiousabout scientific explanations of the phenomena

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that they explore in their art, as well as forstudents of the brain who want to study anapplication of visual neuroscience.

Theories of DevelopmentBarbara SchecterIntermediate—Fall“There’s nothing so practical as a good theory,”suggested Kurt Lewin almost 100 years ago.Since then, the competing theoretical models ofFreud, Skinner, Piaget, Vygotsky, and others haveshaped the field of developmental psychology andhave been used by parents and educators todetermine child-care practice and education. Inthis course, we will study the classictheories—psychoanalytic, behaviorist, andcognitive-developmental—as they were originallyformulated and in light of subsequent critiquesand revisions. Questions we will considerinclude: Are there patterns in our emotional,thinking, or social lives that can be seen asuniversal, or are these always culture-specific?Can life experiences be conceptualized in a seriesof stages? How else can we understand changeover time? We will use theoretical perspectives aslenses through which to view different aspects ofexperience: the origins of wishes and desires,early parent-child attachments, intersubjectivityin the emergence of self, symbolic andimaginative thinking, the role of play in learning.For conference work, students will be encouragedto do fieldwork at the Early Childhood Center orin another setting with children, as one goal of thecourse is to bridge theory and practice. Forgraduate students and for seniors with permissionof the instructor.

Pathways of Development:Psychopathology and OtherChallenges to theDevelopmental ProcessJan DruckerIntermediate—SpringThis course addresses the multiple factors thatplay a role in shaping a child’s development,particularly as those factors may result in what wethink of as psychopathology. Starting with aconsideration of what the terms “normality” and“pathology” may refer to in our culture, we willread about and discuss a variety of situations thatillustrate different interactions of inborn,environmental, and experiential influences ondeveloping lives. For example, we will readtheory and case material addressing congenital

conditions such as deafness and life events suchas acute trauma and abuse, as well as the range ofless clear-cut circumstances and complexinteractions of variables that have an impact ongrowth and adaptation in childhood andadolescence. In discussing readings drawn fromclinical and developmental psychology, memoir,and research studies, we will examine a numberof the current conversations and controversiesabout assessment, diagnostic/labeling, earlyintervention, use of psychoactive medications,and treatment modalities. Students will berequired to engage in fieldwork at the EarlyChildhood Center or elsewhere and may choosewhether to focus conference projects on aspectsof that experience. For graduate students and forjuniors and seniors by permission of theinstructor.

Language Research SeminarKim FergusonIntermediate—Spring“The baby, assailed by eye, ear, nose, skin, andentrails at once, feels it all as one greatblooming, buzzing confusion.” —William James(1890)

The acquisition of our first language is “doubtlessthe greatest intellectual feat any of us is everrequired to perform” (Bloomfield), yet this featwas essentially accomplished by the time wewere three years old—and we likely have nomemory of it. Furthermore, human languagefundamentally influences human ecology, culture,and evolution. Thus, many contemporaryresearchers in the interdisciplinary field ofpsycholinguistics argue that our language abilitiesare a large part of what makes us uniquelyhuman. Are we, in fact, the only species with truelanguage? And how would we begin to answerthis question? In this course, we will attempt toanswer this and other key questions in the broadfield of language development through both ourdiscussions of current and contemporary researchand theory and the development of new researchin this field. Current “hot” research topics includewhether bilingual children have better controlover what they pay attention to than monolingualchildren do (attention and language); whetherlanguage influences thought; whether languageacquisition is biologically programmed; and whychildren learn language better from an adult inperson than the same adult on television. Over thecourse of the semester, you will have theopportunity to design an independent research

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project that investigates one of these keyquestions or another question of interest to you inthe broad area of language development. In doingthis, you will learn how to outline the rationalefor a research project, develop an effectiveresearch methodology, collect data, analyze thedata, interpret your results, and communicateyour findings in a persuasive yet objectivemanner. This course thus serves as anintroduction to research methods, with a specificfocus on research methods in psycholinguistics,through your own research. Topics will includeexperimental research design, case studies,observational techniques, survey development,and hypothesis testing. To help you design andimplement your own research, we will discussyour conference research projects in classthroughout the semester; you will obtain feedbackfrom your colleagues on your questions, methods,analyses of the data, and interpretation of theresults. This project could include fieldwork atthe Early Childhood Center or in another settingwith children. Previous course work inpsychology or permission of the instructor isrequired.

The Empathic AttitudeMarvin FrankelSophomore and above—Spring“It is when we try to grapple with another man’sintimate need that we perceive howincomprehensible, wavering, and misty are thebeings that share with us the sight of the stars andthe warmth of the sun.” —Joseph Conrad

“We mark with light in the memory the fewinterviews we have had, in the dreary years ofroutine and of sin, with souls that made our soul’swiser; that spoke what we thought; that told uswhat we knew; that gave us leave to be whatwe…were.” —Emerson, Divinity SchoolAddress, 1838

After graphically describing her predicament toher cousin Molly, Sarah asked: “So, do youunderstand?” “Yes, I do, I certainly do,” hercousin replied. “You do?” Sarah asked again.“Most emphatically, I do.” “Then you agree withme?” “Oh no.” “You sympathize with me then?”“No, I don’t.” “Then you at least see it from mypoint of view.” “Hardly.” “Then what do youunderstand?” “You are simply a fool!” “Howdare you judge me?” “If I see it from your pointof view, I shall only be a different kind of judge.My dear Sarah, don’t you see that there is noescaping judgment?”

For Conrad, the other is so shrouded in mists thatour empathic understanding must necessarily fallshort. For Emerson, an empathic rapport is rarebut possible. As for Sarah and Molly, what canwe say? Do they completely fail to understandeach other, or do they understand each other onlytoo well? Indeed, what do we mean byunderstanding in this context? Too often,understanding is confused with agreement or theabsence of judgment. This course will examinewhat an empathic understanding entails and thefunction of empathy in defining areas of conflictas well as the resolution of conflict. In brief, theempathic attitude requires us to enjoy andappreciate the differences between ourselves andothers even as we attempt to bridge thosedifferences.

Mindfulness: Neuroscientificand Psychological PerspectivesElizabeth JohnstonIntermediate—SpringMindfulness can be described as nonjudgmentalattention to experiences in the present moment.For thousands of years, mindfulness has beencultivated through the practice of meditation.More recently developments in neuroimagingtechnologies have allowed scientists to explorethe brain changes that result from the pursuit ofthis ancient practice, laying the foundations of thenew field of contemplative neuroscience. Studyof the neurology of mindfulness meditationprovides a useful lens for study of the brain ingeneral, because so many aspects ofpsychological functioning are affected by thepractice. Some of the topics that we will addressare attention, perception, emotion and itsregulation, mental imaging, habit, andconsciousness. This is a good course for thoseinterested in scientific study of the mind.

Intersections of MultipleIdentitiesLinwood J. LewisIntermediate—SpringWhat is the connection between race, sexuality,and gender within an American multicultural andmulti-ethnic society? Is there a coherent, distinct,and continuous self existing within ourpostmodern, -paradigmatic, -etc. contexts? Howis the sexual/racial/gendered implicated in thecreation of this self-identity? Is there principleddynamic or developmental change in our conceptsof self, whether as human beings, sexual beings,

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and/or racial/ethnic beings? We will explorepossible answers to these questions and more.This class explores the construction of race,ethnicity, and sexualities within psychology; howthese constructs implicitly and explicitly informpsychological inquiry; and the effects of theseconstructs on the psychology of the individual.This class regularly moves beyond psychology totake a broader, social-science perspective on theissue of intersectionality. Students who havestudied race/ethnicity, gender or sexuality in atleast one other class would be best prepared totake this class.

Play in Developmental andCultural ContextBarbara SchecterIntermediate—Spring“For many years the conviction has grown uponme that civilization arises and unfolds in and asplay.” —Huizinga, Homo Ludens

Many adults look back fondly on their memoriesof childhood play and the rich imaginary worldscreated. Yet, play in our current sociopoliticalclimate is threatened by the many demands of ourover-regimented lives and standardized goals ofeducation. In this course, we will look closely atthe amazing complexity of those playworlds andat the many aspects of children’s experiencesthrough play. Observing and reading about playoffer the opportunity to understand children’sthinking, communicating, problem solving,nascent storytelling, and emotional andimaginative lives. We will also consider thevariations in play within different family andcultural contexts, as well as play’s relationship toscientific and aesthetic activities of adult life.Other topics will include therapeutic uses of play,importance of play for early literacy, and thecurrent efforts underway to train “playworkers” toguide play in new adventure playgrounds.Students will be encouraged to choose a contextin which to observe and/or participate in playeither at our Early Childhood Center or in othersettings with children or adults. Previous coursework in psychology is required.

Public Policy

Sarah Lawrence College’s Public Policy programaddresses the most pressing public policy issuesof our time, including promoting peace,

protecting the environment, providing educationand health services, and safeguarding human andworkers’ rights. Supported by the College’sOffice of Community Partnerships, studentspartner with unions, community organizations,and legal groups in the New York City area as arequired element of their coursework, gainingdirect experience that they can relate totheoretical issues. Students also participate ininternational fieldwork, including at a laborresearch exchange in Cuba, a health-care workerconference in the Dominican Republic, acommunity organizing project to help establish amedical clinic for residents of the impoverishedcommunity of Lebrón in the Dominican Republic,and a study trip to the US/Mexico border area ofEl Paso/Juarez. This combination of study anddirect experience exposes students to variousapproaches to problems and builds an enduringcommitment to activism in many forms.

Visual Social ScienceRoy GermanoAdvanced—SpringRecent advances in digital videotechnologies—high-definition video cameras,nonlinear editing software, and cloudcomputing—have changed how peopleeverywhere share and consume information,market products, and bring attention to causesthey care about. But can these tools alsochange—even improve—how social scientists doresearch and disseminate their findings? Is itpossible, in other words, to do visual socialscience? And if so, what do we gain and lose inthe process of using video to express socialscientific research? Students explore these issuesby reading texts on the philosophy of socialscience, documentary film, and visualethnography. We will also view a selection ofnonfiction films to explore ideas about how toprovide sophisticated, social scientificexplanation of phenomena using the medium ofdigital video as a narrative tool. Students willproduce a short work of visual social science.Prior video production training and experience isrequired.

Education Policy and theStructuring of CitizenshipUjju AggarwalOpen—SpringThis seminar invites students to examine how wecan think about policy in relationship tocitizenship. Specifically, we will focus on

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education policy in the United States post-Brownv. Board of Education. Historically, publiceducation has been a key site through whichcitizenship, rights, and freedom have beenimagined and fought for. We will use educationpolicy to critically examine how citizenship andinequality have been structured materially andideologically in the post-Brown period. Forexample, one primary way that inequality ineducation is understood focuses on the role ofpersonal responsibility, hard work, andperseverance. More generally, this narrativereferences the aspirations, values, and practices ofpoor and working-class young people of colorand their families, the postracial power ofbootstraps, and the promise of a particular type offreedom but with no guarantees. As such, publiceducation in the United States is a contradictorysite that is at once equal and yet not equal, theguarantor of the freedom to make one’s ownfuture as well as the institution through whichfutures are differentially prescribed. Together, wewill examine these contradictions. We will alsouse education as a way to think throughcitizenship more generally and specifically inrelationship to contemporary claims that are madeto postracialism, democracy, and equality in theUnited States.

Policy and Social ChangeUjju AggarwalOpen—FallWhat are the ways we can interpret, understand,and analyze policy? How have social justicemovements understood and engaged policy as atool for social change? What can we consider tobe policy? Who is involved in crafting policy?And to what ends? What are the consequences ofpolicy? In this seminar course, students willdevelop a set of tools to analyze policy inrelationship to social justice principles andmovements. In particular, we will develop ourability to assess the politics, histories, andpotential impacts embedded in policies.

Immigration andTransnationalismRoy GermanoOpen—FallGlobal migration flows have reachedunprecedented levels. Immigrants now accountfor one out of every eight people living in theUnited States, the largest share in almost acentury. Many rural communities in countries like

Mexico, on the other hand, have been all butdeserted by young adults, with those who remainbehind supported by the increasingly massivesums of money that migrants send home. What isdriving trends like these, and what are theirpolitical and economic implications? Why dopeople migrate? What is the relationship betweenemigration, transnationalism, and humandevelopment in poor countries? How domigrants’ remittances affect “who gets what,when, and how” in impoverished communities?To what extent can the United States controlimmigration? How do U.S. immigration policyand anti-immigrant sentiment affect immigrantintegration and inclusion in American society?This seminar provides an introduction to thepolitical economy of global migration, exploringthe topic from the perspective of both migrant-sending and migrant-receiving countries.

Courses in Public Policy will be offered in thefall 2013 and spring 2014 semesters.

Religion

Religious traditions identify themselves with anddraw sustenance from the texts that they holdsacred. In Sarah Lawrence College religioncourses, these texts command and hold ourattention. As students explore the sacred text of aparticular religion, whether studying Buddhism,early Christianity, or the origins of Islam, theygain insight into the social and historical contextof its creation. Using critical, hermeneutical, andintellectual historical approaches, they enter intothe writings in such depth as to touch what mightbe the foundation of that religion. In addition,work with contemporary texts (such as those byreligious activists on the Internet) gives studentsinsight into what most moves and motivatesreligious groups today. The College’s religioncourses provide an important complement tocourses in Asian studies and history.

First-Year Studies: TheEmergence of ChristianityCameron C. AfzalFYSThere is, perhaps, no one who has not heard thename of a seemingly obscure carpenter’s sonexecuted by the Romans around 33 CE. Why?The religion we call Christianity has shaped theWestern world for at least 1,500 years. In this

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course, we will study the origins of this tradition.As we study the origins of this movement, wewill also explore Judaism in the strange andfertile Second Temple period (515 BCE-70 CE).We will encounter the learned societies of holymen like the Pharisees and the Qumran sectarians,as well as the freedom fighters/terrorists calledthe Zealots. Our main source will be the NewTestament of the Christian Bible, although thiswill be supplemented by other primary materials.Excerpts from the Dead Sea Scrolls, rabbinicliterature, and Hellenistic texts from this periodprovide the cultural backdrop in whichChristianity has its roots. We will learn about thespread of the new movement of “Christians,” as itwas called by its detractors in Antioch. How didthis movement, which began among the Jews ofthe Eastern Mediterranean, come to be whollyassociated with Gentiles by the end of the secondcentury? Who became Christian? Why were theyhated so much by the greater Greco-Romansociety? What did they believe? How did theybehave? What are the origins of “Christian anti-Semitism”? What kind of social world, with itssenses of hierarchy and gender relations, did thesepeople envision for themselves?

First-Year Studies: TheBuddhist Philosophy ofEmptinessT. Griffith FoulkFYSThe concept of a “thing”—a distinct entity thatexists in and of itself whether or not humanbeings attach a name to it—is nothing but a usefulfiction. In the final analysis, there are no suchthings as “things.” This, in a nutshell, is thestartling proposition advanced by the Buddhistdoctrine of sunyata or “emptiness,” as theSanskrit term is usually translated. Oftenmisconstrued by critics as a form of nihilism(“nothing exists”), idealism (“it is all in themind”), or skepticism (“we cannot know anythingwith certainty”), the emptiness doctrine is betterinterpreted as a radical critique of thefundamental conceptual categories that wehabitually use to talk about and make sense of theworld. This course has several specific aims. Thefirst is to impart a clear, accurate understandingof the emptiness doctrine, as it developed in thecontext of Buddhist intellectual history and foundexpression in various genres of classical Buddhistliterature. The second is to engage in seriouscriticism and debate concerning the “truth” of thedoctrine: Is it merely an article of Buddhist faith,

or does it also stand up to the standards of logicalconsistency and empirical verification that havebeen established in Western traditions ofphilosophy and science? The third aim of thecourse is to explore ways in which the emptinessdoctrine, if taken seriously as a critique of themechanisms and inherent limitations of humanknowledge, might impact a variety ofcontemporary academic disciplines. Moregenerally, the course is designed to help first-yearstudents gain the kind of advanced analytical,research, and writing skills that will serve themwell in whatever areas of academic study theymay pursue in the future. Both in class and inconference work, students will be encouraged toapply the Buddhist doctrine of emptiness increative ways to whatever fields in thehumanities, social sciences, or sciences thatinterest them.

Japanese Buddhist Art andLiteratureT. Griffith FoulkOpen—YearThe religion of Buddhism, first imported fromKorea and China in the sixth century CE, has hada huge impact on every aspect of Japanese culturefrom ancient times to the present. Thesponsorship of monks and monasteries belongingto different schools of Buddhism has been amajor factor throughout the history of Japan instruggles for political and economic power,resulting in an outpouring of related art andarchitecture. In the eighth century, the EmperorShomu constructed a massive bronze buddhaimage in the capital city of Nara in an attempt toconsolidate the fledgling imperial system(modeled on that of China) by mobilizing hisfollowers in an awesome display of wealth andpower. Throughout the Heian period (794-1185),courtiers and landowning aristocrats patronizedthe Tendai and Shingon schools of Buddhismwith their elaborate Tantric rites for worldlybenefits, and Buddhist ideas informed the poetrywriting that was a favorite pastime of the elites.The Kamakura period (1185-1333) was usheredin by samurai warlords, who seized power andsponsored an entirely new style of monasticinstitution imported from China, under the nameof “Zen,” to legitimize their rule and foster anelite artistic culture based on that of theConfucian literati. Around the same time,Buddhism filtered down to the common peoplewho, by faith in the saving power of AmidaBuddha, were assured of rebirth in his Pure Land

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(paradise). That faith, spread via paintings andfolktales, led to peasant revolts and helped toproduce yet another wave of temple building on agrand scale. During the Edo period (1603-1868),every family in Japan was required to patronize aBuddhist temple and its mortuary rites, and thereligion reached its apogee of cultural influence.The Meiji period (1868-1912) saw a severepersecution of Buddhism, as Japan rushed tomodernize on the Western model; but it bouncedback in a number of new cultural formulations(e.g., as Japan’s only native tradition of “fineart”) and has survived to the present. In themodern period, Japanese novels, films, andanimated cartoons have continued to be informedby Buddhist themes. This course focuses on theBuddhist art and architecture of Japan and onvarious genres of Japanese literature that havepromoted or been influenced by Buddhist beliefsand practices. Subjects covered include: paintingsand sculptures of buddhas, bodhisattvas, andmonks; styles of monastery architecture producedin different historical periods; ink painting andcalligraphy; tea ceremony; landscape gardens;Noh theatre; martial arts; classical poetry;folklore and popular narratives; sutra literature;and doctrinal treatises produced by the monkfounders of various schools of Buddhism. Noprior knowledge of Japanese is required; allreadings are in English or English translations ofprimary texts. The course is designed, however,to accommodate students with establishedinterests in things Japanese, including those whowish to continue their Japanese language study atan advanced (fourth year or higher) level. Suchlanguage study will be organized on an individualbasis in the context of conference work.

Islam in Europe and theUnited StatesKristin Zahra SandsOpen—YearIn this course, we will study Muslims who havelived and are living in the West, as well as non-Muslim Western representations of Islam. WhileIslam is often viewed as a foreign and even alienreligion to Europe and the United States, itspresence in the West has been substantial eversince the Muslim conquest of Spain in the eighthcentury. We will begin by examining the culturalinteractions that occurred in Spain during thenearly 800 years of Muslim rule, exploring suchareas as literature, philosophy, architecture, andpolitical theories on religious diversity. Lookingat Islam in the imagination of Europeans, we will

read about medieval depictions of the prophetMuhammad as the demonic figure Mahound andthe sexual and mystical exoticism located in thetranslations of the Arabian Nights and PersianSufi poetry that began in the 18th century.Moving across the Atlantic, we will study thecomplex and distinctive history of AfricanAmerican Islam, from the first Muslim slavesbrought to America in the 16th century to theestablishment of the Nation of Islam andcontemporary African American Muslims. OtherMuslims in America and in Europe today areprimarily immigrants or the descendents ofimmigrants from the Middle East and Asia.Through the essays, literature, art, and music ofthese Muslim communities, we will examine thechallenges arising from European and Americanmulticulturalism and the post-9/11 politicalenvironment. These self-representations will becompared with representations of Islam andMuslims in the news media, books, and films.Issues such as the prohibition on veiling in Frenchschools will be used to discuss minority beliefsand practices and assimilation into Westernsecular societies.

Readings in the Hebrew Bible:GenesisCameron C. AfzalOpen—FallThe Book of Genesis in the Hebrew Bible hasremained as the mythological foundation ofWestern culture. Genesis has informed Jewish,Christian, and Muslim theology. If that weren’tenough, Genesis contains a great and memorablecycle of stories from Adam and Eve, Noah andthe Flood, Abraham, Isaac, and Jacob, just toname a few. These stories permeate our literature,our art, indeed our sense of identity. The narrativeitself is the beginning of a greater epic ofliberation, including the rest of “the five books ofMoses.” What is this book? How was it written?Who wrote it, and for whom? Who preserved it?How do we read it so that its ancient perspective,its social and historical context, is not lost? Inorder to recover this ancient context, we will alsoread contemporary writings such as TheBabylonian Creation story, as well as the Epic ofGilgamesh. This course may be taken inconjunction with The Wisdom Tradition (spring)as a yearlong seminar.

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Modern Jewish ThoughtJonathan SchorschOpen—FallIn this course, we will examine some of the majorstatements in Jewish thought from the 19thcentury into the 21st. What happens to Judaism inmodernity? What is Jewishness? What have Jewsthought about themselves, their past, and theirplace in the world? Class exploration will revolvearound a varied sampling of texts from a widevariety of positions and movements: rationalist,mystical, secularist, conservative, postmodern.Our readings will bring us to the borders ofclassical text and modern interpretation; religion,philosophy and politics; belonging and resisting.Though no knowledge of Hebrew is required,some familiarity with Judaism and Jewish historywill obviously enhance participation in thecourse.

Readings in the Hebrew Bible:The Wisdom TraditionCameron C. AfzalOpen—SpringThe question of theodicy is most acute in times ofsocial and political crisis. Theodicy refers to theproblem of evil in the context of a religion atwhose foundation is a monotheistic belief in God.In the Bible, the Book of Deuteronomy promisesIsrael that adherence to the Torah will lead to agood life. This belief system was severelychallenged by the loss of Israel in the Babylonianinvasion of 587BCE. The destruction of theTemple by the Babylonians and the subsequentexile of the Israelites engendered a rich andcomplex body of literature. Jewish scribes wrotebooks of wisdom intended to guide Israel into theuncharted waters that their God had presumablytaken them. To this end, we will read books likeProverbs, Job, Ecclesiastes, and Ben-Sira with aview to understanding how these works addressedtheological issues of their day. This course maybe taken in conjunction with Readings in Genesis(fall) as a yearlong seminar.

Religion, Ethics, and ConflictKristin Zahra SandsIntermediate—YearReligion’s role in starting, perpetuating, oraccelerating conflict in the world has been thefocus of a large number of academic and policy-driven analyses in recent decades. Much lessbroadly publicized, but just as extensivelystudied, has been its role in conflict resolution,

social activism, and faith-based initiatives indomestic and foreign policies. The different rolesthat religion plays in contemporary public lifesometimes support and sometimes challengesecular liberal notions such as the separation ofchurch and state, universal human rights, andhumanitarian actions and interventions. In thiscourse, we will explore religious and secularjustifications for the use of force and violence,definitions of individual and communal rights andresponsibilities, universalist versuscommunitarian theologies and ideologies, and thedevelopment of contemporary politicaltheologies. We will also look at how religion istalked about by public intellectuals, with someonelike the late Christopher Hitchens arguing that“Religion poisons everything” and othersspeaking of “militant atheism” and “aggressivesecularism.” We’ll examine the religious contentin recent statements and speeches by worldleaders. Readings will include discussions of“postsecularism” and critiques of “religiousilliteracy” in education, journalism, the military,and foreign policy.

The HolocaustGlenn DynnerSophomore and above—SpringThe Holocaust raises fundamental questionsabout the nature of our civilization. How was itthat a policy of genocide could be initiated andcarried out in one of the most advanced andsophisticated countries of Europe? To what extentdid residents of the countries in which massmurder occurred, especially in Eastern Europe,facilitate or obstruct this ghastly project? Andfinally, what were the various reactions of thevarious victims of this lethal assault by one of thegreat powers of Europe? In this course, we willattempt to explain how these events unfolded,beginning with the evolution of anti-Semiticideology and violence. At the same time, we willattempt to go beyond the “mind of the Nazi” andconfront the perspectives of victims andbystanders. How victims chose to live out theirlast years and respond to the impendingcatastrophe (through diary writing, poetry,mysticism, violence, hiding, etc.) is reflected inmemoirs, literature, and sermons. The crucial butneglected phenomenon of bystanders—non-Jewswho stood by while their neighbors weremethodically annihilated—has been the subject ofseveral important recent studies. We shallinevitably be compelled to make moraljudgments, but these will be of value only if they

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are informed by a fuller understanding of theperspectives of various actors in this dark chapterof European history.

Russian

The goal of the Russian language classes at SarahLawrence College is to teach students to speak,comprehend, read, and write a fascinatinglanguage with a logic very different from that ofEnglish. Oral proficiency is the focus of the first-year class, culminating in end-of-semesterprojects where students write and film skits insmall groups. In the second-year course, readingis also emphasized—and we include short storiesand poetry, as well as texts paired with films.Topics, texts, and authors covered in theadvanced class vary widely, and student input isstrongly encouraged; past syllabi have includedworks by authors such as Pushkin, Gogol,Tolstoy, Tsvetaeva, Bulgakov, and Pelevin, aswell as films. Student work in class andconference is also supplemented by weeklymeetings with the language assistant and by avariety of extracurricular activities, including aweekly Russian table, Russian opera at theMetropolitan Opera in New York City, andexcursions to Brighton Beach, Brooklyn’s “LittleOdessa.”

Students of Russian are strongly encouragedto spend a semester or, ideally, a year abroad.Sarah Lawrence students regularly attend avariety of programs, including: MiddleburyCollege’s School in Russia, with sites in Moscow,Irkutsk, and Yaroslavl; Bard College’s program atthe Smolny Institute in St. Petersburg; theMoscow Art Theater School Semester throughConnecticut College; ACTR in Moscow, St.Petersburg, or Vladimir; and CIEE.

The Russian department also offers coursestaught in translation as part of the literaturecurriculum. Recent literature courses include: TheLiteratures of Russian and African AmericanSoul: Pushkin and Blackness, Serfs and Slaves,Black Americans and Red Russia; Dostoevskyand the West; The 19th-Century Russian Novel;and Intertextuality in the 20th-Century RussianNovel. Students of Russian also pursue theirinterest in Russia and Eastern Europe moregenerally in many other areas of the College.Conference work always may be directed towardthe student’s field of interest; courses focusingeither entirely or in part on Russia and/or Eastern

Europe are regularly offered in a number ofdisciplines, including history, film history, dancehistory, and philosophy.

Beginning RussianMelissa FrazierOpen—YearAt the end of this course, students will know thefundamentals of Russian grammar and will beable to use them to read, write, and, mostespecially, speak Russian on an elementary level.Successful language learning involves bothcreativity and a certain amount of rote learning;memorization gives the student the basis to thenextrapolate, improvise, and have fun with thelanguage. This course will lay equal emphasis onboth. Our four hours of class each week will bespent actively using what we know in pair andgroup activities, dialogues, discussions, etc.Twice-weekly, written homework—serving bothto reinforce old and to introduce newmaterial—will be required. At the end of eachsemester, we will formalize—through small-group video projects—the principle of rigorousbut creative communication that underlies all ofour work. Students are required to attend weeklyconversation classes with the Russian assistant;attendance at Russian table is stronglyencouraged.

Intermediate RussianNatalia DizenkoIntermediate—YearAt the end of this course, students should feel thatthey have a fairly sophisticated grasp of Russianand the ability to communicate in Russian in anysituation. After the first year of studying thelanguage, students have learned the bulk ofRussian grammar; this course will emphasizegrammar review, vocabulary accumulation, andregular oral practice. Class time will center on thespoken language, and students will be expected toparticipate actively in discussions based on newvocabulary. Regular written homework will berequired, along with weekly conversation classeswith the Russian assistant; attendance at Russiantable is strongly encouraged. Conference workwill focus on the written language, and studentswill be asked to read short texts by the author(s)of their choice with the aim of appreciating a verydifferent culture and/or literature while learningto read independently, accurately, and with aslittle recourse to the dictionary as possible.Prerequisite: one year of college Russian or theequivalent.

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Another course offered in a related discipline thisyear is listed below. A full description of thecourse may be found under the appropriatediscipline.

Dostoevsky and the Age of Positivism (p. 72),Melissa Frazier Literature

Science and Mathematics

Science is a dynamic process by which we seek toimprove our understanding of ourselves and theworld around us. We use the language andmethods of science and mathematics on a dailybasis. Science and mathematics nurture a specialkind of creativity by enhancing our abilities to askconcise, meaningful questions and to designstrategies to answer those questions. Suchapproaches teach us to think and work in newways and to uncover and evaluate facts and placethem in the context of modern society andeveryday life. The division of Science andMathematics offers classes in a variety ofdisciplines, including biology, chemistry,computer science, mathematics, and physics.Studies in each of these disciplines are offered atall levels, ranging from open courses to advancedseminars and individual laboratory researchprojects.

Qualified students have the option ofenrolling in a Science Third program. In theScience Third, students register for the seminarcomponent of two science/mathematics coursessimultaneously, comprising one-third of theircurriculum. Because Science Third students willstill be able to take two additional nonsciencecourses each semester, this option is anopportunity for well-prepared or advancedstudents to study multiple science courses withoutlimiting their options in other disciplines. Formore details and information, please contact thefaculty group.

Pre-Health Program

Students interested in pursuing further studies inmedicine or other health-related fields may takeadvantage of the Pre-Health program, whichprepares students academically for medicalschool and assists in meeting the demands ofadmission to individual medical or graduateprograms. Students supplement required coursesin biology, chemistry, and physics with additionalcourses offered by the division as part of their

preparation for the MCATs and postgraduateeducation. Conference work provides studentswith additional opportunities to organize originalresearch projects, pursue independent learning,and critically examine professionalliterature—skills fundamental to future success inmedical and graduate schools. Students in theprogram have significant contact with the pre-health adviser, as well as with other facultymembers in the division, through conferences,course work, and independent research.Therefore, faculty members with a thorough andpersonal knowledge of the individual studentwrite letters of recommendation. The pre-healthadviser and faculty members also serve asresources for information regarding applicationprocedures, research and volunteer opportunitieswithin the community, structuring of class work,MCAT preparation, and practice interviews.

See separate entries for specific coursedescriptions in biology, chemistry, computerscience, mathematics, and physics.

Social Science

The Social Science program is designed to enrichand systematize the understanding we have of ourown experiences in relation to broader societalforces. The social sciences begin from thepremise that no matter how much we might wishto, we can never detach ourselves entirely fromthe social institutions and processes that are thecontext for our individual thoughts and actions.Thus, the purpose of the social science curriculumis to contribute to our empowerment by helpingus understand the many ways in which people’slives—values, goals, relationships, andbeliefs—are affected by and have an impact onthe social world. Most importantly, we can learnto contextualize our experiences in relation tothose of others whose personal, social, andcultural circumstances differ from our own. Anability to think critically about our socialenvironment can enhance our experience ofwhatever else we may choose to study or do.

In relation to the humanities, the socialsciences offer empirical and theoreticalperspectives that complement those of history,philosophy, and religion. In relation to literatureand the creative arts, they provide a context for afuller understanding of the works that we studyand create. In relation to the natural sciences, theyhelp us analyze the economic, social, and politicalimplications of modern technological advances

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and our complex interaction with the physical andbiological environment. Finally, the socialsciences disciplines give us access to theinformation and analytical tools that we musthave in order to evaluate and formulatealternative public policies and to activelycontribute to intellectual and public life.

For full descriptions, see anthropology;economics; environmental studies; politics; publicpolicy; science, technology, and society; andsociology.

Sociology

Class, power, and inequality; law and society(including drugs, crime and “deviance”); race,ethnicity, and gender issues; and ways ofseeing—these are among the topics addressed bySarah Lawrence College students and professorsin sociology courses. Increasingly, social issuesneed to be—and are—examined in relation todevelopments in global politics and economics.Students investigate the ways in which socialstructures and institutions affect individualexperience and shape competing definitions ofsocial situations, issues, and identities. Coursestend to emphasize the relationship between thequalitative and the quantitative, betweentheoretical and applied practice, and thecomplexities of social relations rather than relyingon simplistic interpretations, while encouragingstudent research in diverse areas. Throughreading, writing, and discussion, students areencouraged to develop a multidimensional andnuanced understanding of social forces. Manystudents in sociology have enriched theirtheoretical and empirical work by linking itthematically with study in other disciplines—andthrough fieldwork.

First-Year Studies:Understanding Mass Media:Theories and Methods ofSociological AnalysisSarah WilcoxFYSThe mass media profoundly shape everydayreality. We become aware of the world beyondour immediate experience through mediarepresentations and virtual social networks.Representations do not simply conveyinformation but also structure our understandingof society, the meaning of social categories, and

our sense of self. This course will provide anintroduction to theories of media and society,including the media as a component withincapitalist economies, as a public sphere indemocratic societies, and as a form of culture. Wewill explore how the media make meaning andhow social identities are reflected and constructedthrough media products. We will consider the roleof audiences as recipients of media messages andas active participants in the use of media ineveryday life. And we will examine newinformation technologies—including blogs,forums, wikis, and Web sites—to investigatewhether they change the relationships betweenindividuals and media institutions, between mediaprofessionals and the public, between experts andlay people, or between governments and citizens.Our readings on social theories about the mediawill be paired with empirical examples fromstudies of newspapers, television, movies, radio,magazines, advertising, and the Internet. Studentswill learn methods of media analysis—includingnarrative analysis, genre theory, content analysis,framing, and semiotics—and apply them incollaborative projects and conference work.Although it will include interdisciplinary content,the class will be rigorous and is likely to appeal tostudents with an interest in studying and applyingtheories and methods from the social sciences.

Marginality and PenalizationFanon HowellLecture, Open—FallMarginalization is a characteristic trait of cities inthe first world, and penalization has beenresponsive to new forms of urban developmentsince the 1980s. Marginality refers to theexclusion of certain populations from a socialmainstream because of cultural differences (race,ethnicity, religion), social roles (women, elderly,adolescents), and/or their location in the socialstructure (political, economic, socialpowerlessness). By definition, penalizationsubjects a person or entity to legal sanctions andpunishment and/or imposes an unfairdisadvantage. This lecture examines these topicsin urban areas of, particularly, the United Statesand Europe via the texts and critics of one theirmost prominent sociologists: Loïc Wacquant.Wacquant’s recent work on marginality andpenalization presents new, debatable arguments.The course looks closely at these works andspecial journal issues compiled in response tothem. We will introduce the problems—racial andcultural encapsulation, migration and

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immigration, education, health care, jobs,housing, globalization, poverty—and scrutinizethe debates, e.g., the role of the state, differencesin the way marginality is constructed, its impacton social mobility, new penal policies and theirconnection to urban renewal, the decline of thesocial welfare state, punishing the poor, theoutsourcing of work, and forms of resistance.

Cities and UrbanizationFanon HowellLecture, Open—SpringWhat is the object of study for urban sociologists?The very concept of “urban” is a geographical,political, and cultural constellation, but whatconstitutes the limits of the city? This lectureexamines the historical constitution of urbansociology and surveys the development of citiesas sites for the study of social affairs, institutions,and innovations. We will explore core approachesto the study of the city—the ecological approach,subcultural approach, political economyapproach, and postmodern identity-basedapproaches—and seek to understand their relationto one another, as well as how they address suchurban issues as suburbia, consumption, ghettoes,globalization, immigration, race, crime, andgentrification. The group conference portion ofthe course reviews select methods of qualitativesocial research in pursuit of a greaterunderstanding of how one conducts research in/ofthe city. We will emphasize study design andfieldwork while exploring technicalities of thecase study, ethnography, interviews, discourseanalysis, and action research.

Sociology of EducationFanon HowellOpen—FallThis seminar introduces students to sociologicaltheory, methods, and research on the topic ofschooling in the United States and abroad. Usingboth classical and contemporary readings, we willexamine the reciprocity between and amongschools, individuals, and societies and traverseconversations on the purpose and promise ofschooling in response to industrialization,urbanization, and globalization. Topics addressedinclude the influence of politics, policy, andeconomics on the field of education; inequalityand the factors of race, ethnicity, class, gender,and sexuality; culture and youth behavior;schools’ organizational environment; anddifferent techniques of reform: accountability,autonomy, community engagement, charters,

vouchers, network governance, mayoralinfluence, teacher evaluation, and financialincentives.

Lineages of UtopiaShahnaz RouseOpen—FallUtopias have existed for centuries in humanhistory. Guided by a critique of the world asconstituted, they have been vehicles for bothimagining and constructing a differentsociospatial order. In this seminar, we willexamine the materialization of utopias in physicalspace and the logic(s) that informed them. Ratherthan dealing simply with the abstract ideas behindutopian thinking, we will examine a diversity ofsociospatial formations, both as a critique of thepresent state of existence and as a practice rootedin a radically divergent notion of the future. It isthe contention of this course that utopias, ratherthan being solely imaginary, are deeply historicaland informed by existing social conditions. Withthe objective of analyzing utopias as materializedpractices, we will look at different kinds ofutopian communities, ranging from millenarianmovements to socialist, anarchist andcountercultural experiments, as well as theOccupy Wall Street movement. We will alsoexamine architectural and aesthetic utopias that,like their more explicitly movement-basedcounterparts, attempt to visualize and rethinkspace—which remains an essential utopianpreoccupation. Our foray into these variousutopian designs will get us to think about theimpulses undergirding these practices instead ofan approach that dwells primarily on theirsustainability over time. We will attempt tounderstand the traces that these variousexperiments have bequeathed us regardingactivism, social transformation, and the potentialfor a more just world. Participants in this seminarwill be encouraged to address our livingrelationship with utopia by asking how we mightindividually and collectively work to create,experience, or perform utopia without ascribing atotalizing vision to it. Student projects might takethe form of a close examination of specificutopian practices, be based on creative projects,and/or examine fictional utopias frequentlyencountered in science fiction novels and film.While the course will not specifically address thevexed relationship between utopia and dystopia,an examination of the latter remains yet anotherpossible line of inquiry for conference work.

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Disabilities and SocietySarah WilcoxOpen—SpringIn this seminar we will broadly consider the topicof disability within contemporary society,examining questions of social justice,discrimination, rights, identities, and culturalrepresentations. Disability studies is aninterdisciplinary field of academic study thatemerged out of disability rights movements andhas, therefore, focused on how social structuresare disabling, limiting, and exclusionary. Inconcert with this perspective, we will study thehistory of the disability rights movement,including the passage and ramifications of theAmericans with Disabilities Act. We will alsoconsider tensions within disability movements,including the difficulties inherent in mobilizing acollective identity that encompasses a wide rangeof conditions and circumstances. In addition topolitical mobilization, we will analyze culturalmeanings and representations of physical,psychological, and cognitive disabilities. Culturalrepresentations of disability shape ourassumptions and expectations, while disabilityactivists have used literature and art to conteststigma and create new kinds of representations ofnon-normative bodies and selves. Finally, we willconsider questions of embodiment, self, andidentity. Disability is typically defined in terms ofphysical or mental impairment, which impliesthat there is a “normal” state of nonimpairment.Defining disability has been highly contested,both because of the stigma attached to those whoare seen as different and because many peoplewith conditions that have been labeled asdisabilities do not see their conditions in negativeterms. Most of us will experience some degree ofimpairment at some point in our lives, but onlysome of us will be seen as, or identify ourselvesas, disabled. Some disabilities are a part ofidentity from an early age, and others developlater in life. Thus, we will consider therelationship between embodiment, ability, andselfhood, looking at how people negotiate identityin relation to social categories and their ownembodied experiences.

Medical TechnologiesSarah WilcoxIntermediate—FallMedical technologies—such as artificial heartvalves, genetic screening tests, new drugtreatments, and visual imaging devices—arecontinually being invented and incorporated into

medical practice and everyday life. Technologyhas alternately been viewed as leading tomiraculous improvements in human life or asunnatural and dehumanizing. In this course, wewill explore these views of medical technology,while also asking sociological questions. How arenew technologies produced and incorporated intomedical practice? How are medical technologiesan outcome of interaction among multiple socialactors, including physicians, patients,entrepreneurs, pharmaceutical companies,government regulatory agencies, and socialmovement activists? How have boundaries suchas “natural” or “technological” been establishedand contested? Are new technologies contributingto increasing health-care costs? How are the risksof new technologies regulated, and how is accessto them determined? Previous course work in thesocial sciences is not required.

Sociolog(ies) of the BodyFanon HowellIntermediate—SpringThe body is a socially constructed entity that isintimately connected to oursubjectivity in such away that it formulates consciousness and identity.The body risesout of interactions and thepractices and performances that at oncedevelopand sustain self but are also constructedby society and the order of things.The body is,therefore, an object and a subject; and it is theprocess ofembodiment, of the subject filling inthe object, that: 1) reflexively definesone’sidentity; and 2) simultaneously constructs asymbolic meaning and significanceof a body forthe social world. This intermediate-level seminarexplores howthis embodiment occurs and thevarious modes from which it does. Weexaminethe narratives that we tell ourselves, thediscourses told of us, and thestories that otherstell of themselves. In doing so, we traverse thebreadth of theories and issues that make upsociolog(ies) of the body: from the politicsofgender, race, ethnicity, and sexual orientation topiercing and tattoos, from preoccupations withthe healthy and ill body to alterations likeplasticsurgery and human genetic engineering.

The Political Economy ofPakistanShahnaz RouseIntermediate—SpringPakistan is a country that, since the 1970s, hasconsistently been in the headlines. At that time, it

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gained notoriety as a conduit for drugs. Today, itis better known for its involvement in the “Waron Terrorism.” The year 2014 is key in thisregard, as the United States plans to pull out thebulk of its troops from Afghanistan during thisyear. What does this barrage of coverage actuallytell us about the place, its people, and theirongoing struggles? In this course, we willexamine Pakistan beyond the headlines and mediacoverage. Starting with its history of creation, wewill look at questions of globalization (botheconomic and military), nationalism, classformation, and the relationship between the stateand Pakistan’s various “publics,” includingreligious, gender, and ethnic minorities. Mostparticularly, our emphasis will be on the attemptto grasp the existence and potential for what somehave called “Another Pakistan” through strugglesfor social justice and human rights and criticalrepresentational strategies. For our readings, wewill draw upon a variety of materials from thehumanities and social sciences, as well as films,blogs, and creative works. While the focus of thiscourse is on a specific place—Pakistan—many ofthe questions raised are relevant to other contexts;e.g., the relationship between authoritarianismand the national security state, globalization andmilitarization, center-periphery relations bothinternally and externally, state and civil societyrelations, grassroots movements, and struggles fora more egalitarian society. Student projects maybe specific to Pakistan, more theoretical thanarea-focused, and/or tackle some of the themes ofthis course in context(s) other than that ofPakistan.

Gender and NationalismsShahnaz RouseAdvanced—YearNationalism can be understood as a projectsimultaneously involving construction(s) ofmemory, history, and identity. In this seminar, wewill identify the multiple and shifting dimensionsof nationalism as a world historical phenomenon.Central to our focus will be the centrality andparticular constructions of gender in differentnational projects. Attention will be paid tonationalism in its colonial and contemporarytrajectories. Questions to be addressed include:What is the relationship between nationalism andidentity? Which symbols/languages are calledupon to produce a sense of self and collectiveidentity? What are the various inclusions,exclusions, and silences that particularhistorically constituted nationalisms involve? Is

nationalism necessarily a positive force? If not,under what circumstances, in what ways, and forwhom does it pose problems? What is therelationship of nationalism(s) to minorities andsocially/politically marginalized groups? How ispluralism and difference constructed and treated?How do the same positions (e.g., issues ofcultural authenticity and identity) take on adifferent meaning at diverse historical moments?How does the insider/outsider relationship alter indifferent periods and conceptualizations? Womenhave been interpellated and have participatedwithin nationalist movements in a variety ofways. The dynamics and contradictions of suchinvolvement will be analyzed closely. We willstrive to explore the implications of theseprocesses for women’s sense of self, citizenship,and belonging at specific periods and over time.In the spring semester, we will turn our attentionmore specifically to performances of nationalismthrough institutional and popular culturalarrangements. Under the former category, we willlook at issues of migration, immigration, andexile; public policy and international relations;war and conflict. In the arena of popular culture,we will examine the production of nationalism(s)through the mass media, sports, film, museumsand exhibitions, and tourism. Conference workmay include an examination of a specificnationalist movement, theoretical issuespertaining to nationalism(s), memory, identity,performances of nationalism(s) in popular cultureand the mass media, and the interplay betweeninstitutional and everyday constructions ofnationalism in specific settings.

Spanish

Sarah Lawrence College’s courses in Spanishcover grammar, literature, film, music andtranslation—all with the aim of making studentsmore capable and confident in thinking, writingand expressing themselves in Spanish. Each ofthe yearlong courses integrates activities such aspanel discussions, lectures, and readings withclassroom discussion and conference work toprovide students with stimulating springboardsfor research and study.

Beginning SpanishClaudia SalazarOpen—YearThis course is designed to enable students with noprevious exposure to Spanish to achieve essential

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communication skills, while providing the basicgrammatical, lexical, and syntactical structures todo so effectively. From the start, we will stressoral interaction in class, reinforced through pairor small-group activities. Students are required tomeet with the instructor in small groups for onehour each week (small-group conference) and toattend a weekly conversation session with alanguage assistant. Course conducted inSpanish. Placement test is not required. Studentsshould attend the scheduled orientation meetingsand interview during registration week.

Advanced Beginning SpanishIsabel de SenaOpen—YearThis course is intended for students who havepreviously had some Spanish but have forgottenmost of it. We will do a thorough review of basicgrammatical, lexical, and syntactical concepts at amore accelerated pace than the regular BeginningSpanish class. In addition to the use of a textbook,Ivitaciones, which includes a video story, Escenasde la vida, and other online components, we willalso make use of pair and small groups amongother supplemental activities, including games, toenhance learning and speaking ability and todeepen a cultural understanding of Spain andLatin America. By the end of the first semester,students should be able to function in informal,transactional, and interpersonal situations;understand key ideas and add some supportingdetails; ask and answer questions; produce simplenarrations and descriptions, as well asexplanations; deal with a range of topics from theself to the immediate environment; and produceincreasingly sophisticated paragraphs on a varietyof topics. By the end of the second semester,students will also be able to read and understandsimple journalistic essays, read short stories andone-act plays, and discuss them using basicconcepts in Spanish. Taught entirely in Spanish.Spanish placement test is required in addition toan interview with the instructor.

Intermediate Spanish I:Fiction and Nonfiction in LatinAmerican and Iberian CultureClaudia SalazarIntermediate—YearThis course is intended for students who havealready mastered the basics of Spanish and wishto improve their grammar, oral, writing, andreading skills. The students will work with

contemporary literary, cinematographic, andjournalistic productions from Latin American andIberian culture. Through the cultural analysis ofseveral short stories, journalistic chronicles,blogs, social media, films, and documentaries, wewill explore several topics: relations betweenfiction and nonfiction, gender and sexuality, thepolitics of representation, race, migration, etc.Much of the work in the class will focus oncommunication. We will also try to takeadvantage of some of the cultural opportunities inthe New York City area. Weekly conversationwith a language assistant will be required. Thiscourse is conducted entirely in Spanish. Spanishplacement test is recommended for students whohave not taken Spanish at Sarah LawrenceCollege, in addition to an interview with theinstructor.

Intermediate Spanish II:Grammar and CompositionPriscilla ChenIntermediate—YearThis course is intended for students who havealready mastered the basics of Spanish and wishto continue an advanced study of the grammarand vocabulary to develop a more complex levelof oral and written discourse emphasizingsubjective expression. Written and oral skills willbe strengthened by oral presentations, classparticipation, and frequent essays (including filmreviews) based on a broad array of materialsrelated to contemporary Latin American andIberian culture. We will attempt to cover varioussources: short stories, poems, novels, films, musiclyrics, newspaper articles, etc. For conference,students will have a chance to explore variousaspects and topics of Hispanic culture and thearts. We will take advantage of our localresources such as museums, libraries, and theatre.Weekly conversation with a language assistantwill be required. Spanish placement test isrequired in addition to an interview with theinstructor unless the student has taken Spanishpreviously at Sarah Lawrence College. Coursetaught entirely in Spanish.

Intermediate Spanish III:Culture in the Information AgeEduardo LagoIntermediate—YearOnce students have reached the linguisticcommand required to work at an pre-advancedlevel, they are in an ideal position to begin to

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explore the numerous resources that can be foundon the Internet. Thematically, we will focus onthe multiple uses of Spanish to be found in thevirtual world—such as blogs, newspapers,magazines, and other formats—and make use ofits many possibilities. We will identify the mostrelevant Web pages from the Spanish-speakingworld, extract the adequate information andexplore it in class, and make necessaryadjustments. Access to sources from all over theSpanish-speaking world will give us an excellentidea of the varieties of the language used in morethan 20 countries. We will explore all forms ofculture, paying special attention to audiovisualresources such as interviews, documentaries, TVprograms, and other formats, all of which will beincorporated into the course of study—completeor in fragments, depending on the level ofdifficulty. Art, film, music, photography, theatre,science, politics, comics, video games,gastronomy—all forms and manifestations ofculture, high or low—will be the object of ourattention as long as their vehicle of expression isSpanish. We will minimize the use of printedmatter, which will be mainly devoted to a moreclassical exploration of grammar. The class as awhole, as well as students on an individual basis,will be encouraged to locate different kinds ofmaterials on the Internet. Weekly meetings insmall groups with the language assistants willhelp strengthen conversational skills. Spanishplacement test and permission of the instructorare required unless a previous course in Spanishhas been completed at SLC..

Advanced Spanish: Hide andSeek: Playing With the Limitsof the ImaginationEsther FernándezAdvanced—Year“And it is said that the Princess returned to herfather's kingdom. That she reigned there withjustice and a kind heart for many centuries. Thatshe was loved by her people. And that she leftbehind small traces of her time on Earth, visibleonly to those who know where to look.” —Pan’sLabyrinth

This seminar focuses on how imagination andfantasy serve to escape reality and transform itinto a world of one’s own. We will read aselection of short fiction, poetry, theatre, andfilms from canonical and noncanonical authors ofthe Hispanic world, paying close attention to theprocess of crafting reality. To what extent do

childhood, war, political oppression, genderidentity, disability, and immigration fosterimagination? We will emphasize, through literaryanalysis, the formal and ideological aspects of thetexts while improving lexical and grammaticalskills. Special attention will be given to oralcommunication, participation, and written skills.Students will meet individually with the teacherto further discuss projects and assignments.Weekly meetings with the language assistant willalso be a required part of the course. Spanishplacement test is required in addition to aninterview with the instructor unless the studenthas taken Spanish previously at Sarah LawrenceCollege. Course taught entirely in Spanish.

Literature in Spanish: TheSpanish Language CanonEduardo LagoAdvanced—YearThis seminar will focus on the study of literaryworks originated all over the Spanish-speakingworld, paying attention not only to narrativeworks but also to the development of the poeticcanon and the essay. In our approach, we willexplore the multiple cultural and historicalconnections that have always linked the literarytraditions of Latin America and Spain, also takinginto consideration the important contributionsmade by US Latino writers. We will start with anexamination of the current state of affairs in theSpanish-language novel and its complexrelationship with other literary traditions in acontext of intense transnational, trans-Atlantic,and transcontinental exchange. The secondhistorical segment to be explored will cover thesecond half of the 20th century, especially theliterary manifestations interested in leavingbehind the once powerful legacy of magicalrealism. Thirdly, we will study the historical rootsof the contemporary Latin American and Spanishliterary traditions, reading a selection ofmasterpieces written between 1850 and 1936. Inthe spring, we will proceed in reversechronological order, studying the convergencesbetween the narrative and poetic manifestationsof the Spanish language canon starting in 1898,with stopovers in crucial moments of theBaroque, the Renaissance, and the late MiddleAges. Authors under consideration includeNeruda, Vallejo, Lorca, Manrique and theanonymous authors of the romancero (poetry),Vargas Llosa, Rulfo, Lezama, Valle-Inclán,Baroja and Cervantes (narrative), and Ortega yGasset, Paz, and Unamuno (essay).

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Other courses offered in related disciplines thisyear are listed below. Full descriptions of thecourses may be found under the appropriatedisciplines.

First-Year Studies: Calles y Plaza Antigua:The Country and the City in Literatureand Film (p. 67), Isabel de Sena Literature

Lorca’s World: From Granada to New York:Literature in Translation (p. 73), EstherFernández

Warriors, Rogues, and Women in Breeches:Adventurous Lives in Early ModernTrans-Atlantic Literature: Literature inTranslation (p. 70), Esther Fernández

Theatre

The Sarah Lawrence College Theatre programembraces the collaborative nature of theatre. Ourobjective is to create theatre artists who areskilled in many disciplines: actors who write;directors who act; theatre makers who create theirown projects; and sound, set, and lightingdesigners who are well-versed in new media andpuppetry. Students have the advantage ofchoosing from a multidisciplinary curriculumtaught by working theatre professionals that alsodraws on the resources of the College’s Theatre,Music, and Dance programs. At the heart of thiscurriculum are focused programs in acting,directing, playwriting, and design, withsupplementary offerings in production andtechnical work.

Theatre students are encouraged to crossdisciplines as they investigate all areas of theatre.The faculty is committed to active theatretraining—students learn by doing—and have puttogether a vocabulary that stresses relationshipsamong classical, modern, and original texts. Theprogram uses a variety of approaches to buildtechnique, while nurturing individual artisticdirections.

The Theatre program examines not justcontemporary American performance but alsodiverse cultural influences and the majorhistorical periods that precede our own. Coursesinclude Alexander Technique, acting, comedicand dramatic improvisation, creation of originalwork, design, directing, movement, musicaltheatre, playwriting, puppetry, speech, soloperformance, voice, and the art of bringingtheatre into the local community.

Curriculum

Beginning students are required to enroll in aTheatre Techniques program, supplemented by atleast one component of their own choice.Continuing students create an individualizedTheatre Third with the guidance of their don andthe theatre faculty. Components are chosen toextend skills and interests and to developperforming and practical experience. There areopen auditions for faculty-, student-, and guest-directed productions; there is a proposal systemfor student-directed, -written, and -devised workwithin the season production schedule.

Practicum

The theatre faculty is committed to thephilosophy that students learn by doing. Classesprovide a rigorous intellectual and practicalframework, and students are continually engagedin the process of making theatre. The programhelps students build a solid technique based onestablished methodologies, while also beingencouraged to discover and develop theirindividual artistic selves.

Wide-ranging opportunities are available forstudents to learn by doing. Students mayparticipate in internships or fieldwork in NewYork City theatres and theatre organizations. TheCollege’s Theatre Outreach program is a trainingprogram that uses music, writing, theatretechniques, and the visual arts to address socialand community issues. The outreach course hasbeen a vibrant component in the curriculum formore than two decades, encouraging thedevelopment of original material with a specialemphasis on cross-cultural experiences. Manytheatre components include an open-classshowing or performance. In addition, there aremultiple performance and productionopportunities in acting, singing, dance, design,directing, ensemble creation, playwriting, andtechnical work that are available to studentsthroughout the academic year.

The College’s performance venues includeproductions and readings sponsored by thedepartment in the Suzanne Werner WrightTheatre, a modified thrust stage, and the FrancesAnn Cannon Workshop Theatre, as well asstudent-produced work in the student-run black-box DownStage Theatre. Workshops, readings,and productions are also mounted in the black-box Open Space Theatre and in variousperformance spaces throughout the campus.

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First-Year Studies: PowerPlays: Theatre as PoliticsKevin ConfoyFYSThis course examines how periods of socialunrest and political upheaval can yield profoundlyinfluential works of dramatic literature.Referencing specific historical events andpolitical movements, including those of the late20th century in America (the AIDS crisis of the1980s; the antiwar, women’s, and civil rightsmovements of the 1960s), we will investigatehow a play can come to be a record of its timesand a lasting call to arms. Studying a largenumber and cross-section of plays that range fromthe classical to the modern and contemporarycanons (from Lysistrata to Hair to Angels inAmerica), we will determine how style, form,content, and the intent of the playwright shapeaudience response and why certain plays continueto inform the way we think and live. Students areexpected to participate fully in class discussionsand conferences and to create individual andgroup projects that are the expression of their ownparticular interests and areas of theatre study; i.e.,acting, directing, design, playwriting. For thepurposes of discussion, students will be asked toread aloud from selected assigned plays. Classwork will include text and comparative analysisof selected plays and discussions of the politicaland historical contexts from which our playsemerged. In addition to plays, students will beassigned to read nonfiction support material. Aseries of documentary films and film adaptationsof plays will be shown. In choosing this class,you are choosing to be a Theatre Third. Thismeans that, in addition to this course, you will beautomatically enrolled in Theatre Techniques:Technology and you will need to enroll in oneother theatre component of your choice. As aTheatre Third, you are also required to attend alltheatre meetings and colloquiums as listed below,as well as complete 25 hours of technical workeach semester. This class meets twice a week.

Theatre Meeting

Required of all students taking a Theatre Third(including First-Year Studies with Kevin Confoy)and Theatre graduate students, Theatre Meetingtakes place on Mondays—B-week schedule—at5:30 p.m. in the PAC-Suzanne Werner WrightTheatre and usually lasts approximately 30minutes. Students are required to swipe in beforeeach meeting. At each of these meetings, students

will receive important information aboutupcoming theatre program events, productiondetails, and DownStage presentations. Anopportunity for students, faculty, and staff tomake announcements is provided.

Theatre Colloquium

Required of all students taking a Theatre Third(including First-Year Studies with Kevin Confoy)and Theatre graduate students, the hour-longTheatre Colloquium meets six times during theacademic year to explore current topics in thetheatre and meet leading professionals in thefield.

Theatre Techniques

Students taking theatre courses at Sarah Lawrencefor the first time are automatically enrolled inTheatre Techniques: Technology and areencouraged to enroll in Theatre Techniques:History and Histrionics and Theatre Techniques:Design Elements—three courses that introducethem to the history of theatre and to a wide rangeof technical theatre skills. Students who areinterested in performance have priorityenrollment in Theatre Techniques: The Actor’sWorkshop. All Theatre Third students are alsorequired to complete 25 hours of technical workeach semester.

Theatre Techniques:TechnologyRebecca SealanderOpen—FallThis four-week course is an introduction to theSarah Lawrence College performance spaces andtheir technical capabilities. The course is requiredof all students during their first semester in theTheatre program. This class meets once a week.

Theatre Techniques: Actor’sWorkshopErnest H. Abuba, Fanchon MillerScheier, Erica NewhouseOpen—YearThis workshop will translate the actor’simagination into stage action by building one’sperformance vocabulary. The class engages thestudents’ essential self by expanding their craftthrough a wide-ranging set of training techniques.Students will explore through improvisation,movement, vocal techniques, scenes, and the

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performance of realism, experimental, classical,and comedy of manners from such playwrights asShakespeare, Tennessee Williams, Oscar Wilde,Jose Rivera, Sara Ruhl, Susan Yankovich, Jean-Paul Sartre, and Samuel Beckett, to name a few.This class meets twice a week.

Theatre Techniques: Historyand HistrionicsStuart SpencerOpen—YearHave you ever wondered where Arthur Miller gotthe idea to get inside Willy Loman’s head? Didyou realize that it was only after AugustStrindberg went insane that he wrote some of hismost famous and influential plays? Did you knowthat the comedies of Ancient Greece and the 17thcentury were far more sexually explicit thancontemporary comedies? Did you know there’s aNigerian play that is about the ancient Africanculture, but which uses ideas from Aristotle to tellits story? And that Aristotle’s ideas can also befound in plays by William Shakespeare, HenrikIbsen, and Tennessee Williams? Did you everwonder what we really mean by “realistic”—or“naturalistic”—and that there’s a difference? Didyou ever consider that Godot may already havearrived? History and Histrionics answers thesequestions but asks many more. We read greatplays from the last 2,500 years—tragedy,comedy, social critique, realism, naturalism,expressionism, musical theatre, absurdism,existentialism, and much more—to try to figurewhat they’re about, why they were written as theywere, and how they fit into the great constellationof our dramatic heritage. This course meets oncea week.

Theatre Techniques: DesignElements IDesign FacultyOpen—FallThis course is for students with little or no designor technical experience who are curious aboutdesign and want exposure to multiple designareas. It is also a useful tool for directors,playwrights, and actors who want to increase theirunderstanding of the design and technical aspectsof theatre in order to enhance their abilities astheatrical artists. This is a very hands-on class, inwhich students will learn the basics needed toexecute set, costume, lighting, and sound designs.We will use a short scene or play as the focus ofour discussions of the collaborative design

process. Class format will include classes with thefull design faculty, as well as classes focused onspecific design areas. This class meets once aweek.

Theatre Techniques: DesignElements IIDesign FacultyOpen—SpringThis course is for students who have design ortechnical experience or have taken DesignElements I and want to explore design andtechnical theatre in greater depth. This course isalso useful for students who are studying one areaof design and want an introduction to other areas.Students will explore two of the four design areas(set, costume, lighting, and sound) in greaterdepth, building their technical skills, designbasics, and collaborative communication skills.Class format involves classes with the full designfaculty and six weeks of classes in each of twodesign areas with individual design teachers. Thegoal of this semester is to have students developthe ability to create a simple design in theirchosen areas. Prerequisite: Design Elements I orfaculty permission. This class meets once a week.

Performance

Theatre Techniques: Actor’sWorkshopErnest H. Abuba, Fanchon MillerScheier, Erica NewhouseOpen—YearSee the full course description on p. 126.

Contemporary Practice I forDance and TheatrePeter KyleOpen—YearSuccessful performances in dance and theatre relyon training that prepares performers in mind,body, and spirit to enter the realm of aestheticexploration and expression. In this class, we willwork toward acquiring skills that facilitate theinvestigation of how the body moves in familiarand previously unimagined ways. Throughtraditional and experimental practices, studentswill develop a sense of functional alignment,form, physical energy and dynamics, strength,and focus, as well as awareness of time andrhythm. Improvisation is an important aspect of

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this study. Placement class required; pleasecheck with the Dance program office for the exactdate and time.

Improvisation LaboratoryFanchon Miller ScheierAdvanced—Year“Improvisation forces you to face the pain andthe joy in your life, use it…and then move on.”Using experimental exercises and improvisation,we will explore the character’s connections to hisor her environment, relationships, needs, andwants. In the second semester, we willconcentrate on fashioning a workable technique,as well as on using improvisation to illuminatescene work from the great dramatic playwrights:Lorca, Chekhov, Strindberg, O’Neill, Shaw, etc.This course is open to students who are willing toapproach material experimentally in a laboratorysetting. This class meets twice a week.

Improvisation TechniquesFanchon Miller ScheierAdvanced—SpringGreat art comes from using oneself. If theatre is away of knowing oneself, improvisation energizesthat process. This course is for actors who arewilling to personalize, place their characters indangerous situations, play strong objectives, andthen move on—a conscious way to reach theunconscious. We will approach the materialexperimentally in a laboratory setting twice aweek. Students must be willing to act with andwithout text. This class meets twice a week.

Acting Poetic RealismMichael EarlyOpen—YearThe plays of Anton Chekov, Tennessee Williams,and August Wilson serve as the point of departurein our exploration of the craft of acting. In thisclass, students will be challenged to expand theirrange of expression and build their confidence tomake bold and imaginative acting choices.Particular attention will be paid to learning toanalyze the text in ways that lead to definingclear, specific, and playable actions andobjectives. This class meets twice a week.

Creating a RoleErnest H. AbubaOpen—YearIt is a sanctum of discovery, enabling the actor toexplore non-Western movement: centeringenergy, concentration, the voice, and the“mythos” of a character to discover one’s owntruth in relation to the text—both contemporaryand the classics. Traditional as well as alternativeapproaches to acting techniques are applied. Fallsemester concentrates on working on roles suchas Hamlet, Leontes, Caliban, Othello, Lear,Macbeth, Hecuba, Medea, Antigone, and LadyMacbeth; spring semester, applied to scene studyfrom works by Arrabal, Beckett, Ionesco, MariaIrene Fornes, Sam Shepard, Albert Camus, andJean Genet. This class meets twice a week.

Making New WorkShirley KaplanOpen—YearThis is a performance lab open to actors, dancers,visual artists, writers, musicians, filmmakers, anddirectors. The class will form an ensemble wherecreative processes, media crossovers, and globalforms and styles are presented within an activemedia lab. The group, using shared performancetechniques, will explore the development ofpersonal devised work. Methods of vocal andphysical work will add to interdisciplinarycollaborations in order to explore sources ofinspiration for new work. Investigating bothtraditional and contemporary performance, wewill acknowledge new connections that arehappening between video games and text, scienceand technology. Crossing cultural and mediatraditions, the group will create and presentweekly projects, as well as a final performance.

Acting ShakespeareMichael EarlyIntermediate—YearThose actors rooted in the tradition of playingShakespeare find themselves equipped with askill set that enables them to successfully work ona wide range of texts and within an array ofperformance modalities. The objectives of thisclass are to learn to identify, personalize, andembody the structural elements of Shakespeare’slanguage as the primary means of bringing hischaracters to life. Students will study arepresentative arc of Shakespeare’s plays, as wellas the sonnets, with the goal of bringing his

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characters to life. Class time will be dividedamong physical, vocal, and text work. This classmeets twice a week.

Breaking the CodeKevin ConfoyAdvanced—YearA specific text-driven, on-your-feet approach toperformance, based on identifying, analyzing, andexploiting particular attributes common tocharacters in all plays, Breaking The Codeprovides a foundation and a context for the mostvital and decisive characterizations. Students willread, discuss, and act scenes from contemporaryplays and adaptations. Open to both actors anddirectors. This class meets twice a week.

Close Up and PersonalDoug MacHughAdvanced—YearGreat camera work demands intimacy, emotionaladaptability, risk, and connection. Students willlearn how to maintain an organic experience inspite of the rigid technical restrictions andrequirements. During the fall semester, we willwork on cold-reading techniques, emotionalexpansion exercises, and scenes from publishedworks. In the second semester, we will putoriginal monologues and scenes on camera. Wewill use a monitor playback system for reviewingwork to help identify specific problems. Classsize is limited. This class meets twice a week.

Comedy WorkshopChristine FarrellIntermediate—YearAn exploration of the classic structures ofcomedy and the unique comic mind, this coursebegins with a strong focus on improvisation andensemble work. The athletics of the creativecomedic mind is the primary objective of thefirst-semester exercises. Status play, narrativestorytelling, and the Harold exercise are used todevelop the artist’s freedom and confidence. Theensemble learns to trust the spontaneous responseand their own comic madness. Second semestereducates the theatre artist in the theories ofcomedy. It is designed to introduce students tocommedia dell’arte, vaudeville, parody, satire,and standup comedy. At the end of the finalsemester, each student will write five minutes ofstandup material that will be performed one night

at a comedy club in New York City and then onthe College campus on Comedy Night. This classmeets twice a week.

PROOFActor and Director LabKevin ConfoyIntermediate—YearThis course creates a functional and workingprocess for the presentation of plays. Studentactors and directors work together on chosenscripts as a way of determining and shaping acommon and shared approach to the text. PROOFprovides a particular way of reading, analyzing,and breaking down scripts that makes afoundation for the most vivid, physical, anddistinctly realized expressions of a play. Studentswill study and analyze a number and variety ofplays from different periods and of differentstyles as a way of developing a practical way ofworking and a guide map into a text. Studentswill be expected to both act and direct in scenesand in short plays for in-class presentations. Thisclass meets once a week.

Alexander TechniqueJune EkmanOpen—YearThe Alexander Technique is a neuromuscularsystem that enables the student to identify andchange poor and inefficient habits that may becausing stress and fatigue. With gentle hands-onguidance and verbal instruction, the student learnsto replace faulty habits with improvedcoordination by locating and releasing unduemuscular tensions. This includes easing of thebreath and the effect of coordinated breathing onthe voice. It is an invaluable technique thatconnects the actor to his or her resources fordramatic intent. This class meets once a week.Audition required.

Breathing Coordination for thePerformerSterling SwannOpen—YearStudents improve their vocal power and easethrough an understanding of basic breathingmechanics and anatomy. Utilizing recentdiscoveries of breathing coordination, performerscan achieve their true potential by freeing theirvoices, reducing tension, and increasing vocalstamina. In the second semester, principals of the

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Alexander Technique are introduced; studentsconsolidate their progress by performing songsand monologues in a supportive atmosphere. Twosections. This class meets once a week.

Building a Vocal TechniqueSterling SwannIntermediate—YearA continuation of Breathing Coordination for thePerformer, which is suggested as a prerequisite,students deepen their understanding of breathingcoordination and Alexander Technique and workon songs and monologues of their choice. Theemphasis is on maintaining physical ease inperformance to increase vocal range and power.

This class meets once a week.

Voice and Speech I: VocalPracticeFrancine ZerfasFallThis course will focus on awakening the youngartist to the expressive range of the human voice,as well as to the intricacies of developing greaterclarity of speech and playing with sound. Athorough warm up will be developed to bringpower, flexibility, and range to the actor’s voiceand speech. Exercises and text work will beexplored with the goal of uniting body, breath,voice, and speech into an expressive whole whenacting.

Introduction to Stage CombatSterling SwannOpen—YearStudents learn the basics of armed and unarmedstage fighting, with an emphasis on safety. Actorsare taught to create effective stage violence, fromhair pulling and choking to sword fighting, with aminimum of risk. Basic techniques areincorporated into short scenes to give studentsexperience performing fights in classic andmodern contexts. Each semester culminates in askills proficiency test aimed at certification in oneof eight weapon forms. This class meets once aweek.

Advanced Stage CombatSterling SwannIntermediate—YearThis course is a continuation of Introduction toStage Combat and offers additional training in

more complex weapons forms, such as rapier anddagger, single sword, and small sword. Studentsreceive training as fight captains and have theopportunity to take additional skills proficiencytests, leading to actor/combatant status in theSociety of American Fight Directors. This classmeets once a week.

Movement for PerformanceDavid NeumannOpen—FallWe will explore the full instrument of theperformer, namely the human body. Dailyexercises open the body to larger movementpotential while introducing students to a betterfunctioning alignment, efficient muscle andenergy use, full breathing, clear weight transfer,and an increased awareness while travelingthrough space. In addition, students will be askedto create “movement-based pieces” in an effort todiscover and articulate the languages that thebody communicates regardless of the wordsspoken on stage. In all aspects, the goals of thisclass are to enable students to be courageous withtheir physical selves, more articulate with theirexpression, and more personally expressive intheir performances. In addition to occasionalreading handouts, there will be opportunities tovisit rehearsals and performances of professionaltheatre and dance in New York City. This coursemeets twice a week.

Movement for PerformanceFaculty TBAOpen—SpringSee full course description above.

Audition TechniqueDavid CaparelliotisAdvanced—FallThis class is for the serious-minded actor who,after graduation, anticipates pursuing a career as aperformer. Predicated on the idea that auditioningis a learned skill at which one gets better withmore experience and practical knowledge, theclass will focus at its core on the only unalienablefactor: the individuality of the actor him/herself.As much time will be spent on material selectionas execution, actors will be asked to makenecessary friendships with the dreaded“monologues” and, hopefully, come to regardthem as necessary filters through which they canexpress themselves as both people and artists.Cold-reading prep will also be covered. The hopeis for the actor to leave class with not only one or

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two terrific audition pieces, but also a betterunderstanding of the casting process itself andwhat is in and out of his/her control. This classmeets once a week.

Puppet TheatreLake SimonsOpen—YearThis course will explore a variety of puppetrytechniques, including bunraku-style, marionette,shadow puppetry, and toy theatre. We will beginwith a detailed look at these forms throughindividual and group research projects. We willfurther our exploration with hands-on learning invarious techniques of construction. Students willthen have the opportunity to develop their ownmanipulation skills, as well as gain anunderstanding of how to prepare the puppeteer’sbody for performance. The class will culminatewith the creation and presentation of puppetrypieces of their own making. This class meets oncea week for two hours.

New Musical Theatre LabShirley KaplanOpen—YearInvestigations for those aspiring to produce,direct, create, and/or perform musical theatre andexperimental chamber opera, this class is open totheatre designers and technicians, actors, singers,dancers, composers, lyricists, and musicians whoare interested in learning and using crossoverskills. Students will create teams to present andperform in class project scenes that include setand costume designs and musical andchoreographic styles and that go from conceptideas to production. Students will research thehistory of musicals, including European cabaretand global performance, with a particular focuson the influence of interdisciplinary needs ofcontemporary musicals. The process ofadaptation, auditioning, casting, rewriting,rehearsals, and performance will also bepresented. Second semester, the class willdevelop an open performance workshop. Aninterview before the registration week audition isrequired.

Singing WorkshopShirley Kaplan, Thomas MandelOpen—YearWe will explore the actor’s performance withsongs and various styles of popular music, musicfor theatre, cabaret and original

work—emphasizing communication with theaudience and material selection. Dynamics ofvocal interpretation and style will also beexamined. This class requires enrollment in aweekly voice lesson and an Alexander Techniqueclass. This class meets once a week. Auditionrequired.

SLC LampoonChristine FarrellAdvanced—YearSLC Lampoon is a comedy ensemble of actors,directors, and writers. The techniques of SecondCity and TheaterSports will be used to create animprovisational troupe that will performthroughout the campus. The ensemble will craftcomic characters and write sketches, parodies,and political satire. This work will culminate in afinal SLC Lampoon Mainstage performance inthe style of Second City or “Saturday NightLive.” This class meets twice a week. Auditionrequired.

Directing & Design

Directing WorkshopWilliam D. McReeOpen—FallDirectors will study the processes necessary tobring a written text to life and the methods andgoals used in working with actors to focus andstrengthen their performances. Scene work andshort plays will be performed in class, and thestudent’s work will be analyzed and evaluated.Common directing problems will be addressed,and the directors will become familiar with theconceptual process that allows them to thinkcreatively. The workshop is open to beginningdirectors and any interested student. This classmeets twice a week.

Directing the 20th Century:From Chekhov to ChurchillJackson Gay, Will FrearsIntermediate—YearThis class will focus on directing plays in the20th-century canon, covering a range of stylesand content. We will cover the whole journey ofdirecting a play, with a strong emphasis onpractical work. Students will be required to bringin design research for plays and to direct scenesfrom the plays, both of which they will present tothe class for critique. The class will focus on howto use the text to inform the choices made by the

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director. This class meets twice a week. JacksonGay will teach in the fall; Will Frears, in thespring.

Directing, Devising, andPerformanceIntermediate—YearThis class is a laboratory, where students willexplore (on their feet) a range of methodologies,philosophies, and approaches to creatingperformance and theatre. How do you direct atheatre piece without starting with a play?Alongside a broad survey of artists and artmovements of the 20th century that continue toinfluence theatre artists today, students willpractice a variety of ways of staging, with andwithout text, and always in relation to being a“live event.” Following a trajectory from theDadaists to Fluxus, from the surrealists to JohnCage (and beyond), we will wrangle with these“postdramatic” artists and explore how their ideascan lead us in finding our own unique theatricalvoice. Students will be given reading and creativeassignments outside of class and will be expectedto work collaboratively throughout the term. Thisclass meets once a week.

PROOFActor and Director LabKevin ConfoyIntermediate—YearSee the full course description on p. 129.

Costume Design ICarol Ann PelletierOpen—YearThis course is an introduction to the many aspectsof costuming for students with little or noexperience in the field. Among the topics coveredare: basics of design, color, and style;presentation of costume design from preliminaryconcept sketches to final renderings; researchingperiod styles; costume bookkeeping frompreliminary character lists to wardrobemaintenance charts; and the costume shop fromthreading a needle to identifying fabric. Themajor class project will have each studentresearch, bookkeep, and present costume sketchesfor a play. Some student projects will incorporateproduction work. This class meets once a week.

Costume Design IICarol Ann PelletierIntermediate—YearThis is a more advanced course in costume designfor students who have completed Costume DesignI or who have the instructor’s permission toenroll. Topics covered in Costume Design I willbe examined in greater depth, with the focus onstudents designing actual productions. Anemphasis will be placed on developing sketchingtechniques and beginning and maintaining aportfolio. This class meets once a week.

Advanced CostumeConferenceCarol Ann PelletierAdvanced—YearThis is an advanced conference in costumedesign.

Lighting Design IGreg MacPhersonOpen—YearLighting Design I will introduce the student to thebasic elements of stage lighting, including toolsand equipment, color theory, reading scripts fordesign elements, operation of lighting consolesand construction of lighting cues, and basicelements of lighting drawings and schedules.Students will be offered hands-on experience inhanging and focusing lighting instruments andwill be invited to attend technical rehearsals.They will have opportunities to designproductions and to assist other designers as a wayof developing a greater understanding of thedesign process. This class meets once a week.

Lighting Design IIGreg MacPhersonIntermediate—YearLighting Design II will build on the basicsintroduced in Lighting Design I to help developthe students’ abilities in designing complexproductions. The course will focus primarily onCAD and other computer programs related tolighting design, script analysis, advanced consoleoperation, and communication with directors andother designers. Students will be expected todesign actual productions and in-class projects forevaluation and discussion and will be offered theopportunity to increase their experience in designby assisting Mr. MacPherson and others, whenpossible. This class meets once a week.

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Scenic Design ITom LeeOpen—YearThis course introduces basic elements of scenicdesign, including developing a design concept,drafting, and practical techniques for creatingtheatrical space. Students will develop tools tocommunicate their visual ideas through research,sketches, and models. The class will discussexamples of design from theatre, dance, andpuppetry. Student projects will include bothconceptual designs and production work in thedepartment. This class meets once a week. Thereis a $50 course fee.

Scenic Design IITom LeeIntermediate—YearThis class will further develop the student’s skillset as a scenic designer through work ondepartment productions and individual projects.Students will deepen their skills in drafting andrendering for the stage and develop their ability tocommunicate with directors, fellow designers,and the technical crew. In addition, students willcontinue to have hands-on exposure to practicalscenic construction, rigging, and paintingtechniques. Students in this course are required todesign a department production. This class meetsonce a week.

Sound Design IJill Du BoffOpen—YearThis course will cover sound design from thebeginning of the design process throughexpectations when meeting with a director, howto collaborate with the rest of the design team,and ultimately how to create a full sound designfor performance. The course will explain how toedit sound, as well as many of the programscommonly used in a professional atmosphere.Throughout the course, we will create soundeffects and sound collages and cover the manyways that sound is used in the theatre. Skillslearned in this class will prepare students todesign sound in many different venues and ondifferent types of systems. The class will focus onthe creative side of sound design, while coveringthe basics of system design, sound equipment,and software. This class will meet once a week.

Sound Design IIJill Du BoffOpen—YearThis course is a continuation of training in theelements of sound design, with assignments thatinclude designing for Theatre programproductions.

Design Techniques in Mediaand PuppetryTom LeeOpen—YearThis course allows students to explore designpossibilities in projection, animation, scenicdesign, and puppetry through a series ofexploratory projects and group work. We willcreate visual sequences using the overheadprojector, stop-motion animation techniques,shadow puppetry, and video animation. Thecourse will introduce basic digital manipulation inPhotoshop®, simple video animation in AfterEffects®, and the live manipulation of video usingIsadora media interface software. Individualprojects in the second semester will challengestudents to integrate these techniques intoperformance. Basic knowledge of Photoshop andthe Macintosh operating system is highlyrecommended. This class meets once a week.

Introduction to ProjectionDesignLauren PettyIntermediate—YearThis course will introduce students to all aspectsof video design for integration with liveperformance. In this hands-on class, students willlearn how to generate still and moving-imagecontent and how to edit and prepare media.Fundamental image and video editing will becovered by using Adobe’s Creative Suite andApple’s Final Cut Pro. Students will also learnprogramming, using Isadora software, as well asthe specifics of hardware components that includemixers, monitors, and projectors and how to workwith multiple screens. In addition, the course willinclude viewing and discussions of contemporaryprojection design and will address creativeconsiderations of the practice. Students willcomplete a series of short assignments during theyear and will develop a more realized designproject for a final presentation. This class meetsonce a week.

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Theatre Techniques: DesignElements IDesign FacultyOpen—FallSee the full course description on p. 127.

Theatre Techniques: DesignElements IIDesign FacultyOpen—SpringSee the full course description on p. 127.

Playwriting

Medley PlaywritingWorkshop: Developing theDramatic IdeaCassandra MedleyOpen—YearYou have an idea or vision for a play that youwould like to write. You have no particular ideafor a play, yet you feel eager to explore and learnhow to write in the dramatic form—whichinvolves live characters interacting in three-dimensional space before a live audience. Eitherway, this course involves learning crafttechniques, as well as advanced methods, fordramatizing your ideas from initial scenes tocompleted rough/first drafts. The course willinvolve in-class writing exercises and readingselected plays. We incorporate free writing andbrainstorming techniques, acting improvisation,and audio and video recordings from your in-process work. In-progress drafts of your workwill involve 1-, 5-, 10-, and 30-minute versions ofyour play as it comes into being. This class meetsonce a week.

Experiments in Language andFormCassandra MedleyOpen—YearIn this class, we focus on writing “experimentaltheatre”; that is, we experiment with theatricalforms that extend beyond traditional portrayals oftime, three-dimensional space, language,character, and dramatic structure and discover theimpact that different types of onstagepresentations might have on audiences. We arenot interested in “imitating” the style of“experimental” playwrights but, rather, usingtheir texts as influence, stimulus, andencouragement as we attempt our own

“experiments.” As we investigate variousexperimental playwrights—Beckett, Ionesco,Arrabal, Adrienne Kennedy—we will seek toascertain the political, spiritual, psychological,and social elements that influenced the creation oftheir works. Our aim, first and foremost, is toinvestigate and explore ways to genuinelyinvestigate and give theatrical expression to ourown personal, political, and spiritual interiorlives, values, observations, and beliefs. We willthen examine the most effective manner ofcommunicating our theatrical experiments to anaudience. Our “experimental writing” will includemultimedia presentations as part of the scriptedonstage play or performance. This class meetstwice a week.

Writers GymCassandra MedleyOpen—Year“You can’t wait for inspiration, you have to goafter it with a club.”—Jack London

Writers Gym is a yearlong writing workshopdesigned for writers of any genre and for anylevel of experience from beginner to advanced.Our focus is on writing exercises that developcharacters and stories, whether for the stage,screen, or prose narration. In addition, we studytheories about the nature of creativity. Our goalsare as follows: to study writing methods that helpto inspire, nurture, encourage, and sustain oururge/need to write; to learn how to transformpersonal experiences and observations intoimaginative dramatic and/or prose fiction orpoetic metaphor and imagery; to concentrate onbuilding the inner lives of our characters throughin-depth character work in order to createstronger stories; to explore—that is to say,investigate—and gain access to our spontaneousideas; to articulate and gain a more consciousrelationship to the “inner territory” from whichwe draw ideas; to confront issues that block thewriting process; and to gain greater confidence inrelation to revision as we pursue clarification ofthe work. This class meets once a week.

Playwriting Techniques in SoloPerformanceDael OrlandersmithOpen—YearThis class is for people who lean towardperforming and writing. Most of us have storiesto tell, but what makes a personal story dramatic?This course challenges the solo performer to

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discover and craft the dramatic structure of thesolo play—not just what is on the stage but whatis on the page—with emphasis on imagination,characterization, story, and plot. This class meetsonce a week.

Solo Performance inProductionPamela SneedIntermediate—YearThis course is designed to explore various aspectsof staging solo performance. Through assignedtexts and viewing video performances ofcontemporary artists, we will examine the myriadways of structuring solo performance andexperiment with uses of technology, music, visualart, and movement. In addition, we will look atcontemporary trends in performance, audienceparticipation, direct action, ritual, and endurance,as evidenced by artists such as MarinaAbromovic. We will look at uses ofnontraditional texts for performance such as thepoetic series. We will also examine soloperformance through the lenses of culture, currentevents, race, ethnicity, and gender. This class willinclude an informal end-of-year showing. Thegoal of the course is for each student to create aunique and individualized vehicle for him/herself.This class meets once a week.

Playwriting TechniquesStuart SpencerOpen—YearThe focus of this class is to investigate themystery of releasing your creative process while,at the same time, discovering the fundamentals ofdramatic structure that gives form to that process.To that end, in the first term students will write aseries of both “spontaneous writing” exercisesand “structural” exercises. Both types of exercisesare taken from The Playwrights Guidebook,which we will use as a basic text. At the end ofthe first term, students will write a short butcomplete play based on one of their “spontaneouswriting” exercises. In the second term, studentsgo on to adapt a short story of their choice andwrite a play based on a historical character, event,or period. The focus in all instances is on thewriter’s deepest connection to thematerial—where the drama lies. The work will beread aloud and discussed in class each week.Students will also read and discuss plays thatmirror the challenges presented by their ownexercises. This class meets once a week.

Playwright’s WorkshopStuart SpencerAdvanced—YearWho are you as a writer? What do you writeabout, and why? Are you writing the play thatyou want to write? Or the play that you need towrite? Where is the nexus between theamorphous, subconscious wellspring of thematerial and the rigorous demands of a form thatplays in real time before a live audience? Thiscourse is designed for playwriting students whohave a basic knowledge of dramatic structure andan understanding of their own creativeprocess—and who are ready to create a completedramatic work of any length. (As Edward Albeepoints out, “All plays are full-length plays.”)Students will be free to work on themes, subjects,and styles of their choice. Work will be readaloud and discussed in class each week. Thecourse requires that students enter, at minimum,with an idea of the play that they plan to work on,although they may also bring in a partial draft oreven a completed draft that they wish to revise.We will read some existent texts, time allowing.This class meets twice a week.

The Magic of PlaywritingFrancine VolpeOpen—YearThis course challenges the assumption that talentcannot be taught. What we call “talent” is morelikely a set of skills that may not be teachable butcan be developed. During class, we discover apoint of view, sharpen our creativetorque, exercise focus, and listen to oursubconscious. We also employ craft to makemore potent our vision for a particular play. Weinterpret feedback from our peers in order toexpand and adjust our material. Using techniqueslearned from great world dramatists, werigorously edit and revise. All the while, weremember that there is a certain ineffable qualityto every great play—something in its craft thatremains a mystery. The objective of this course isto make the most of what can be developed orlearned while retaining the magic of our work.This class meets once a week.

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Theatre Outreach, TheatreHistory, & Production

Methods of Theatre OutreachAllen LangOpen—YearDeveloping original, issue-oriented, dramaticmaterial using music and theatre media, thiscourse will present the structures needed forcommunity extension of the theatre. Performanceand teaching groups will work with smalltheatres, schools, senior-citizen groups, museums,centers, and shelters. Productions and class planswill be made in consultation with theorganizations and with our touring groups. Wewill work with children’s theatre, audienceparticipation, and educational theatre. Teachingand performance techniques will focus on pastand present uses of oral histories and cross-cultural material. We will study sociological andpsychological dynamics as part of an explorationof the role of theatre and its connections tolearning. Each student will have a service-learning team placement. Special projects andguest topics will include the use of theatre indeveloping new kinds of afterschool programs,styles and forms of community on-siteperformances, and media techniques for artistswho teach, as well as working with the SarahLawrence College Human Genetics program. Thisclass meets once a week.

Methods of TheatreOutreach—Group BAllen Lang, Shirley KaplanOpen—YearGroup B is a weekly conference course withShirley Kaplan and Allen Lang that is available tostudents who have previously taken the TheatreOutreach course and who want to continueteaching and have a placement in the community.This class meets once a week.

The Performing Arts for SocialChangePaul GriffinIntermediate—YearToday, theatre is increasingly defined as acommercial enterprise. This course will examinethe use of theatre for social impact, examining itspractice, theory, role, and production. Discussionswill include how theatre is used for creatingpersonal and social change and the key elementsof successful projects. Classes will look at the full

scope of a social change initiative—from processto performance to organization to impact.Interactive class sessions will includeparticipation in a creative process involvingcommunity building, team building, conflictresolution, social issue analysis, and scenecreation. Each student will be expected to developa coherent theory of change and to construct aviable performing arts-based project “blueprint.”Students will also visit a rehearsal of ThePossibility Project in Manhattan. Paul Griffin isfounder and president of The Possibility Project, anonprofit organization using the performing artsto empower teenagers to transform their lives andcommunities. This class meets once a week.

Theatre Techniques: Historyand HistrionicsStuart SpencerOpen—YearSee the full course description on p. 127.

DramaturgyStuart SpencerOpen—YearDramaturgy is the study of dramaticstructure—how plays are built and how theywork. Although every play worth its salt worksaccording to its own idiosyncratic plan, still thereare certain principles that allow us take it apart inorder to better understand how it was puttogether. There are many ways to do this, and wewill be trying a wide assortment of them. Forexample, we will study two plays that utilize thesame dramaturgical devices but to very differentends. This might involve looking at, say, bothSophocles’ Electra and Arthur Miller’s A ViewFrom the Bridge in order to examine classicalstructure; or comparing Kyd’s The SpanishTragedy to Shakespeare’s Hamlet in order to seethe guiding principles of Elizabethan drama; orreading Augier’s simple-minded Olympe’sMarriage side-by-side with Ibsen’s great HeddaGabler; or tracing the development ofexpressionism over the course of the 20th centuryfrom O’Neill’s The Emperor Jones to Kennedy’sFunnyhouse of a Negro. We will also look at howtwo plays may tell the same story but withdifferent plots and using different dramaturgicalprinciples. For this we might examine Euripides’Hippolytus, Racine’s Phaedre, and Sarah Kane’sPhaedre’s Love; or Shakespeare’s King Lear andNahum Tate’s neoclassical version of it (in whichthe end of the play finds Lear presiding at thewedding of Cordelia and Edgar); or the Orestes

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story from Aeschylus’ The Oresteia andEuripides’ Orestes to Sartre’s The Flies. Theexamination of multiple drafts of plays is oftenthe surest way to see inside the playwright’smind; fortunately, we have complete early draftsof plays that, after revision, became masterpieces.We might study Chekhov’s early manuscript ofThe Wood Demon in order to compare it to theplay it became in Uncle Vanya; or look atTennessee Williams’ early flop, Battle of Angels(which closed in Boston after nearly burningdown the theatre) and its later reworking asOrpheus Descending. There are many otherpossibilities as well: faux folk drama in the formof Ansky’s great horror-thriller, The Dybbuk, orLorca’s Blood Wedding; ritualistic drama fromGenet’s The Maids to Albee’s Who’s Afraid ofVirginia Woolf?; farce from Feydeau’s A Flea inHer Ear to Guare’s House of Blue Leaves.Because an understanding of genre is essential tothe work we will do, a working knowledge of theprincipal genres (classicism, Elizabethan,neoclassicism, realism, naturalism,expressionism, etc.) and their historical context isrequired for the course. This class meets twice aweek.

Global Theatre: The SyncreticJourneyErnest H. Abuba, Mia Yoo, DavidDiamondOpen—Year“Good evening, ladies and gentlemen, andwelcome to La MaMa, dedicated to theplaywright and to all aspects of thetheatre.”—Ellen Stewart

The La MaMa Experimental Theatre Club in NewYork City has been the host of contemporary andinternational theatre artists for 52 years. You willhave the opportunity to attend the performances,meet the artists, and participate in workshops ledby them, as well as access the La MaMa archiveson the history of international theatre in NewYork. Your personal “syncretic theatre journey”is enhanced by the observance of fellow theatre-makers and oneself that is informed concretely bythe application of text, research, movement,music, design, puppetry, and multimedia, as wellas social and political debate in class.Coordinators of the La MaMa InternationalSymposium for Directors, David Diamond andMia Yoo, will host you in New York City, whereyou will exchange ideas with visiting and localartists: Yara Arts Group and artists of the Great

Jones Repertory Theatre. Historical andcontemporary experimental directors VsevoldMeyerhold, Richard Forman, Dawn MoniqueWilliams,Cecile Pineda, and KarenCoonrod—and playwrights Eugene Ionesco, MacWellman, Lynn Nottage, Cherlene Lee, andFrederico Garcia Lorca—will be discussed.

Far-Off, Off-Off, Off, and OnBroadway: Experiencing theFall 2013 Theatre SeasonWilliam D. McReeOpen—FallWeekly class meetings in which productions areanalyzed and discussed will be supplemented byregular visits to many of the theatricalproductions of the current season. The class willtravel within the tristate area, attending theatre inas many diverse venues, forms, and styles aspossible. Published plays will be studied inadvance of attending performances; new orunscripted works will be preceded byexaminations of previous work by the author orcompany. Students will be given access to allavailable group discounts in purchasing tickets.This class meets once a week.

London Theatre TourWilliam D. McReeOpen—IntersessionThe purpose of this course is to experience andexamine present-day British theatre: its practices,playwrights, traditions, theatres, and artists. Thisis a two-credit academic course, and any studentenrolled at Sarah Lawrence College is eligible totake the class. During two weeks in London,students will attend a minimum of 12productions, tour various London theatres, meetwith British theatre artists, attend regularlyscheduled morning seminars, and make an oralpresentation on one of the plays that the group isattending. Plays will be assigned prior to the endof the fall semester, and preparation and researchfor the presentation should be complete beforearriving in London. Productions attended willinclude as wide a variety of venues, styles, andperiods of theatre as possible. Seminars willanalyze and critique the work seen, as well asdiscover themes, trends, and movements in thecontemporary theatre of the country. Free time isscheduled for students to explore London andsurrounding areas at their leisure.

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DownStageGraeme GillisIntermediate, Sophomore and above—YearDownStage is an intensive, hands-on conferencein theatrical production. DownStage studentproducers administrate and run their own theatrecompany. They are responsible for all aspects ofproduction, including determining the budget andmarketing an entire season of events andproductions. Student producers are expected tofill a variety of positions, both technical andartistic, and to sit as members of the board ofdirectors of a functioning theatre organization. Inaddition to their obligations to class anddesignated productions, DownStage producers areexpected to hold regular office hours. Priorproducing experience is not required. This classmeets twice a week.

Production WorkshopRobert LyonsOpen—YearThe creative director of the Theatre program willlead a discussion group for all the directors,assistant directors, and playwrights participatingin the fall theatre season (including readings,workshops, and productions). This is anopportunity for students to discuss with theirpeers the process, problems, and pleasures ofmaking theatre at Sarah Lawrence College (andbeyond). This workshop is part problem solvingand part support group, with the emphasis onproblem solving. This course is required fordirecting, assistant directing, and playwritingstudents whose productions are included in thefall theatre season. This class meets once a week.

Stage ManagementGreta Minsky, Rebecca SealanderOpen—YearThis course is a hands-on laboratory class in theskills, practices, and attitudes that help a stagemanager organize an environment in which atheatrical team can work together productivelyand with minimum stress. Classroom exercisesand discussion augment the mentored productionwork that is assigned to each student. Scriptanalysis, blocking notation, prop management,and cue writing/calling are among the topicscovered. Knowledge of and practice in stagemanagement are essential tools for directors anduseful supplements for actors and designers. Thisclass meets once a week during the fall semester

and will be taught by Ms. Minsky; springsemester, taught by Ms. Sealander, is devoted tomentored production practicums.

Tools of the TradeRebecca SealanderOpen—YearThis is a stagehand course that focuses on thenuts and bolts of light and sound board operationand projection technology, as well as the use ofbasic stage carpentry. This is not a design classbut, rather, a class about reading, drafting andlight plots, assembly and troubleshooting, andbasic electrical repair. Students who take thiscourse will be eligible for additional paid work astechnical assistants in the theatre department. Thisclass meets once a week.

Internship ConferenceRuth MoeIntermediate—YearFor students who wish to pursue a professionalinternship as part of their program, all areas ofproducing and administration are possible:production, marketing, advertising, casting,development, etc. Students must have at least oneday each week to devote to the internship.Through individual meetings, we will bestdetermine each student’s placement to meetindividual academic and artistic goals.

Graduate Student Components

Grad LabShirley Kaplan, David Neumann, LakeSimonsYearTaught by a rotating series of Sarah Lawrencefaculty and guest artists, this course focuses ondeveloping the skills needed for a wide variety oftechniques for the creation and development ofnew work in theatre. Ensemble acting, movement,design and fabrication, playwriting, devised work,and music performance are all explored. The classis a forum for workshops, master classes, andopen rehearsals, with a focus on the developmentof critical skills. In addition, students in Grad Labare expected to generate a new piece of theatre tobe performed each month for the Sarah Lawrencecommunity. These performances may includegraduate and undergraduate students alike.Required for all Theatre graduate students. Thisclass meets once a week.

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Contemporary CollaborativePerformance: Grad Projects IDavid NeumannYearThis course will provide a critical and supportiveforum for the development of new works oforiginal performance, focusing primarily onwhere current dance and theatre combinationsfind inspiration. In the first semester, studentswill explore contemporary theatre-buildingtechniques and methodologies from Dada toJudson Church and beyond. The majority of timewill be devoted to lab work, where students willcreate their own short performance pieces througha multidisciplinary approach. Students will beasked to devise original theatre pieces that utilizemethods such as solo forms, viewpoints, chanceoperations, and creations from nontheatricalsources. In addition to the laboratory aspect to theclass, a number of plays, essays, and artists’manifestos will be discussed. In the secondsemester, students will collaborate on a singleevening-length work, utilizing theatrical andnontheatrical sources in an attempt to speak to ourcultural moment. Please note: The secondsemester will require additional developmental/rehearsal time outside of class. In addition toclass work, there will be several opportunities tovisit rehearsals and performances of professionaltheatre and dance in New York City. Open onlyto first-year graduate students and required forall first-year Theatre graduate students. Thisclass meets once a week and will be taught by Mr.Neumann in the fall. Faculty for the spring iscurrently tba.

ProjectsFaculty TBAYearThis course will provide a critical and supportiveforum for the development of new works oforiginal theatre with a focus on conductingresearch in a variety of ways, including historicaland artistic research, workshops, improvisations,experiments, and conversation. Each student willfocus on creating one original project—typically,but not limited to, a solo—over the course of thefull year. During the class, students will showworks in progress. During conference, studentsand faculty will meet to discuss these showingsand any relevant artistic and practical problemsthat may arise. This class meets once a week andis required for all second-year Theatre graduatestudents.

Theatre students may be invited to participate inoutside programs, including:

The London Theatre Program(BADA)IntersessionSponsored by Sarah Lawrence College and theBritish American Drama Academy (BADA), theLondon Theatre Program offers undergraduatesfrom Sarah Lawrence an opportunity to work andstudy with leading actors and directors from theworld of British theatre. The program offersacting classes with leading artists from the Britishstage. These are complemented by individualtutorials, where students will work one-on-onewith their teachers. A faculty selected fromBritain’s foremost drama schools teachestechnical classes in voice, movement, and stagefighting. This intense conservatory training isaccompanied by courses in theatre history andtheatre criticism, tickets to productions, and theexperience of performing in a professionaltheatre. In addition, master classes and workshopsfeature more of Britain’s fine actors and directors.Designed for dedicated students who wish tostudy acting in London, the program offersenrollment in either the fall or spring semester forsingle-semester study. Those wishing to pursuetheir training more intensely are stronglyencouraged to begin their training in the fall andcontinue with the Advanced London TheatreProgram in the spring semester. Auditionrequired.

La MaMa E.T.C.IntersessionLa MaMa E.T.C. sponsors two summer events inUmbria, Italy, in conjunction with SarahLawrence College: International Symposium forDirectors, a three-week training program forprofessional directors, choreographers, and actorsin which internationally renowned theatre artistsconduct workshops and lecture/demonstrations;and Playwright Retreat, a one-week programwhere participants have ample time to work onnew or existing material. Each day, masterplaywright Lisa Kron will meet with theplaywrights to facilitate discussions, workshops,and exercises designed to help the writers withwhatever challenges they are facing. Moreinformation is available at http://lamama.org/programs/umbria/.

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Visual Arts

Students enrolled in a visual arts course at SarahLawrence College work in a new environmentcreated to support the College’s unique artspedagogy: a philosophy of teaching that not onlyencourages an individual investigation into thenature of the creative process but also provides asetting to foster the exchange of ideas acrossartistic disciplines.

While courses are taught in the traditionalseminar/conference format, the Monika A. andCharles A. Heimbold, Jr. Visual Arts Center isspecifically designed to break down barriersamong visual-arts media. It features ateliers thatgive each student an individual work area for theyear—while its open classrooms and movablewalls encourage students to see and experiencethe work of their peers in painting, sculpture,photography, filmmaking, printmaking, drawing,visual fundamentals, and digital imagery.Students may enhance their work in a chosendiscipline by enrolling in a workshop—a mini-course—selected from 10 offerings annually. Insome visual arts courses, a particular workshopwill be required. This recently developed programexpands students’ technical skills and enablesthem to utilize different media in the developmentof their work. Workshops are open to students ofany visual arts medium, promoting even moreinteraction and understanding across disciplinaryboundaries and furthering the College’s overallemphasis on interdisciplinary work

The Heimbold Center, a high-performance“green” building, embodies an environmentallyfriendly approach that features safe alternatives totoxic materials, special venting systems, and anabundance of natural light. In addition to well-equipped, open-space studios, individual ateliers,and digital technology in every studio andclassroom, the building also includes space forwelding, woodworking, clay and mold-making; acommon darkroom, a digital imaging lab, andcritique rooms; a sound studio, a screening room,and a large exhibition area. The Center’s doorsopen onto a mini-quad, allowing students fromthroughout the College both access to andinspiration from their peers’ works-in-progress.

The Visual Arts curriculum is reflectedin—but not confined to—the Heimbold Center’svisual arts facilities. The building also housescourses in visual culture, increasing theintegration of the creative arts and the humanities.The College’s proximity to New York City bringsrecognized artists to campus to lecture and also

gives the students the opportunity to visithundreds of galleries and some of the world’smajor museums.

Faculty members are working artists whobelieve in the intrinsic value—for all students—ofcreative work in the visual arts, the inseparableconnection of the creative arts and the liberal arts,and the necessity of art in life. All visual artsfaculty and their students have access totechnicians, based in the Heimbold Center, whocan provide technical support in most areas.

In 2013-14, various workshops in the visualarts disciplines will be offered that serve tobroaden students’ vocabulary and technical skills.In the past, workshops in Metalworking,Letterpress, Web Design, Drawing, Water Color,Woodworking, Artist Books, Final Cut, SculptureMethods, and Photoshop have been offered.

Screenwriting: Telling theTruth Through FictionFrederick Michael StrypeOpen—SpringThe landscape for the screenwriter hasdramatically changed during the past severalyears, with new opportunities to write producibleshort films, YouTube® sketches, and Web seriesseen by millions of viewers, as well as long-form“films” or “movies” initially conceived for anddestined for the “silver screen”—a screen that isseemingly changing in color, size, and setting ona daily basis. The disarray of the current filmindustry has created confusion and opportunity.Nevertheless, the baseline expectation in thecontemporary narrative “film form” still remains:It is the expression of a character or charactersprogressing through a structured journey or seriesthereof. Elemental to this process is having youraudience believe your characters, believe theuniverse that they inhabit, and find “truth” in thescreen story that you’ve created. In life and infilm, we laugh, we cry, we cringe, we shield oureyes, and we stare in wonder when we see andfeel the truth. It’s ironic that in our quest to createdramatic fiction, we must actually “tell the truth.”There is a writer’s saying, “A writer must lie herway to the truth.” The audience engages withmaterial when they realize: I’ve been there. Iknow that feeling. I know that person. I am thatperson. This course supports the process offinding and expressing truth in fiction. Designedfor the emerging contemporary screenwriter, thecourse includes opportunities for those creating anew idea, adapting original material into thescreenplay form, rewriting a screenplay or Web

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series, or finishing a screenplay-in-progressdestined for whatever screen or screens s/he aimsto assail. A review of screenwriting fundamentalsduring the first few weeks, as well as a discussionof the state of each project, will be followed by anintense screenwriting workshop experience.Published screenplays, several useful texts, andclips of films and Web series will form a body ofexamples to help concretize aspects of the art andcraft.

Advanced Projects InDirectingMaggie GreenwaldIntermediate, Advanced—SpringThe class is a production workshop in whichadvanced filmmaking students will prepare,direct, and edit a short film. At the start of thesemester, each student must have a worthy,production-ready, short script in excellent shapeto which they are committed and for which theyhave the wherewithal to mount and complete. Inthe course, concurrent with final revision of thescreenplay, preproduction will immediatelyensue; that will include budgeting, scheduling,location scouting, casting, selecting the creativeteam, and visual preparation. Naturally, shootingand editing the film will follow, ideally earlyenough in the semester to allow an opportunity tofocus on editing, sound effects, music, and thedetails of postproduction. The aim is a completedfestival-worthy short film. The minimumrequirement to complete this class is a rough cutof the film. The screenplay and the student’sproject overview will determine entry into theclass.

CollageJohn O’ConnorOpen—SpringThe term “collage” was coined by Pablo Picassoand Georges Braque in the early 20th century.Collage is an art form comprised of preexistingimages that the artist manipulates and recombinesin new ways. The word derives from the French"coller," meaning, "glue.” In this studio course,students will explore the myriad processes andmaterials of collage today: paper, paint,3-dimensional objects, digital, photographic,found materials, and more. We will also learnabout the history of collage—through slidelectures and presentations—from its origins inEastern art to its recent resurgence in Westerncontemporary art. Visits to artist studios in New

York City and visiting artists in class will alsoprovide a foundation and inspiration for our work.Pervading this exploration will be an ongoingdiscussion about the significance ofappropriation: What do authorship and creativitymean to you? This course will allow students toexpress themselves through the manipulation andrecombination of images in extremely personalways. Collage: almost always obsolete, almostalways new. It’s an exciting line to walk.

Introduction to TelevisionWriting: Writing the SpecScriptMarygrace O’SheaOpen—FallThe fundamental skill of television writers is theability to craft entertaining and compelling storiesfor characters, worlds, and situations created byothers. Though dozens of writers may work on ashow over the course of its run, the “voice” of theshow is unified and singular. The way to bestlearn to write for television—and a mandatorycomponent of your portfolio for agents,managers, show runners, and producers—is todraft a sample episode of a pre-existing show,known as a spec script. Developing, pitching,writing, and rewriting stories hundreds of times,extremely quickly, in collaboration, and on tightdeadlines is what TV writers on staff do everyday, fitting each episode seamlessly into theseries as a whole in tone, concept, and execution.This workshop will introduce students to theseskills by taking them, step-by-step, throughwriting their own spec (sample) script for anongoing dramatic television series. The coursewill take students from premise lines, through theoutline/beat sheet, to writing a complete draft of afull one-hour teleplay for a currently airing show.No original pilots. In conference, students maywish to develop another spec script, begin todevelop characters and a series "bible" for anoriginal show, or work on previously developedmaterial.

CollageJohn O’ConnorOpen—SpringThe word “collage” derives from the Frenchcoller, meaning "glue.” The term was coined byPablo Picasso and Georges Braque in the early20th century for an art form comprised of pre-existing images that the artist manipulates andrecombines in new ways. In this studio course,

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students will explore the myriad processes andmaterials of collage used today: paper, paint,three-dimensional objects, digital, photographic,found materials, and others. We will also learnabout the history of collage through slide lecturesand presentations—from its origins in Eastern artto its recent resurgence in Western contemporaryart. Visits to artist's studios in New York City andvisiting artists in class will also provide afoundation and inspiration for our work.Pervading this exploration will be an ongoingdiscussion about the significance ofappropriation: What do authorship and creativitymean to you? This course will allow students toexpress themselves, in extremely personal ways,through the manipulation and recombination ofimages. Collage: Almost always obsolete, almostalways new, it’s an exciting line to walk.

Screenwriting: Introduction toWriting MoviesRona Naomi MarkOpen—FallThe course will focus on building a solidfoundation in writing for the screen. Throughweekly, short, writing assignments, students willlearn to craft well-structured, short screenplays.Students will tackle fundamental screenwritingissues, such as finding a story’s main dramatictension, crafting dialogue without relying on it tomove the story along, and writing in succinctvisual language. Students will have anopportunity to read published work, watchfinished films in order to evaluate thescreenwriting, and analyze each others’ work-in-progress. The aim of the class is for each studentto produce a number of short, polishedscreenplays that are ready for future production.Conference projects may include revisions ofprevious work or refinement of work presented inthe workshop, as well as the development andrefining of long-form ideas, outlines, and finishedpages.

Filmmaking, Screenwriting andMedia Arts

First-Year Studies: WorkingWith Performance ForScreenwriters and DirectorsDoug MacHughFYSHow does an emerging screenwriter understandwhat an actor needs from a screenplay? What

does an aspiring director need from thescreenplay text in order to help an actor shape aperformance? Whether you are an emergingscreenwriter, director, or both, how does one getthe best results from actors without confusing orovercomplicating the creative process? How doesone create a collaborative environment among thescreenwriter, the director, and the performer?Whether you want to write or direct or both, it isimperative that you understand the rigorousdemands of the acting process. This is not anacting course for actors but, rather, an explorationof the actors’ art and craft for the emergingscreenwriter and director. The course will offerthe student the opportunity to develop a tool kitfor the creation of “actable” screenwriting andmeaningful performances to be rendered onscreen. It will help the screenwriter andfilmmaker tease out what a character is meant tobe “doing” in any given scene. The course willalso explore a language of communicationbetween the director/writer and the performer.This will be both an analytical and physical class.Key to the course is a student’s understanding ofthe need for character definition through actionon the page and a director’s understanding of howto help an actor realize that action in theperformance rendered by the camera. During thefirst semester, students will immerse themselvesin the world of the performer. They will work onemotional expansion and trust exercises and onimprovisational skills and act in scenes frompublished works. Students will be expected toanalyze and write about performance so as to gaina deeper understanding of the creative process.Using scenes from contemporary films, they willobserve, write about, and discuss the political,historical, and cultural evolution of contemporarydirecting and acting styles. Using publishedscreenplays and clips from their attendant scenes,students will learn the relationship between thewords on the page and the interpretation of thosewords by the performer as the performance isrevealed on the screen. During the secondsemester, students will work with actors andapply the skills developed during the fall. Sceneswill be rehearsal shot, reviewed, and critiqued asa group during the next class. As a final project inclass, students will pursue an analysis of ascreenwriter’s writing and a director’s directionthereof, revealing the relationship between thewriting and eventual realized performance on thescreen. The spring conference project willculminate in the creation, through collaboration,

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of a scripted scene, which will be revised,rehearsed, shot, and edited with the technicalassistance of experienced personnel.

Digital DocumentaryStorytelling: Development andProcessRico SpeightOpen—YearThis course, which explores the art ofdocumentary storytelling, is a gateway into mediaproductio and is ideal for first-time videoproducers looking to adapt conference topicsdeveloped in other disciplines to the videomedium. Synthesizing theory and practice, theclass introduces the palette of documentaryproduction styles and approaches illustrated in theworks of leading documentary directors: ErrolMorris, Werner Herzog, Nick Broomfield,Jennifer Fox, the Maysles brothers, BarbaraKopple, Spike Lee, Sam Pollard, JonathanDemme, and the Newsreel Collective. Eachstudent is encouraged to experience theory as ameans of discovering his or her own creativevoice. The course is designed to work both asseminar and practicum. In weekly sessions,students consider stylistic, ideological, ethical,and political implications of documentary contentand examine the relationship betweendocumentary films and social change. Technicallabs in shooting and editing are provided in orderto strengthen technical production and editingskillsets. Students learn to develop, research,write treatments, produce, direct, and edit; it’s anopportunity to create the short documentarythey’ve always imagined: personalautobiographical profiles, road movies, socialissue productions, anecdotal portrayals, and citysymphonies.

Filmmaking: Visions of SocialJusticeDamani BakerOpen—FallIn this course, students will collaborate with localnonprofit organizations to produce a 3- to5-minute film that will be a portrait of theorganization and speak to its cause. The projectsare a combination of advertising and research,providing valuable content for under-representedand marginalized communities. The class willwork in teams to produce their films and,ultimately, deliver material to our partnerorganizations to be used online. Local travel is

involved, along with many shoots inneighborhoods that our partners serve. Studentswill be encouraged to think beyond a traditionalnonfiction short film and explore all forms ofbrand content that may include animation, high-concept advertising, the integration of mediaplatforms, and other forms of social engagement.

Working With Light andShadowsMisael SanchezOpen—FallThis course will introduce students to the basicsof cinematography and film production. Inaddition to covering camera operation, studentswill explore composition, visual style, and overalloperation of lighting and grip equipment.Students will work together on scenes that aredirected and produced in class and gearedtowards the training of set etiquette, productionlanguage, and workflow. Students will discusswork and give feedback that will be incorporatedinto the next round of projects. For conferencework, students will be required to produce a shortproject on HD Video (3-5 minutes in length),incorporating elements discussed throughout thesemester. They will write the concept, outline theproject, deliver the script, draw floor plans, createshot-lists, edit, and screen the final product for theclass. This is an intensive, hands-on workshopthat plunges the student into all aspects of filmproduction. By the end of the course, studentsshould feel confident enough to approach a filmproduction project with enough experience to takeon introductory positions with potential forgrowth. This course will be offered again inspring 2014.

Working With Light andShadowsMisael SanchezOpen—SpringThis course will introduce students to the basicsof cinematography and film production. Inaddition to covering camera operation, studentswill explore composition, visual style, and overalloperation of lighting and grip equipment.Students will work together on scenes directedand produced in class and geared toward thetraining of set etiquette, production language, andworkflow. Students will discuss work and givefeedback that will be incorporated into the nextround of projects. For conference work, studentswill be required to produce a short project on HD

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video (3-5 minutes in length), incorporatingelements discussed throughout the semester. Theywill write the concept, outline the project, deliverthe script, draw floor plans, create shot-lists, edit,and screen the final product for the class. This isan intensive, hands-on workshop that plunges thestudent into all aspects of film production. By theend of the course, students should feel confidentenough to approach a film production projectwith enough experience to take on introductorypositions with potential for growth.

Cinematography:Composition, Color, and StyleMisael SanchezIntermediate—FallBuilding on the foundation of Working WithLight and Shadows, this course will continue toexplore many of the elements at play in theconstruction of a shot, including framing, color,exposure, depth of field, and movement. Moreambitious and intricate short scenes will beproduced in class, geared toward expanding skillsin terms of set etiquette, production language, andworkflow. Students will discuss their work andgive feedback that will be incorporated into thenext round of projects. For conference work,students will be required to produce a new shortproject on HD video (3-5 minutes in length),incorporating elements discussed throughout thesemester. They will write the concept, outline theproject, write and/or collaborate on the screenplayto be shot, draw floor plans, create shot-lists,shoot, edit, and screen the final project for theclass. Students will collaborate with peers onprojects in order to hone their abilities. This is anintensive, hands-on workshop that challenges thestudent in all aspects of film production. By theend of the course, students should have the skillset and feel confident in applying for entry-levelor better production opportunities on professionalproductions.

Cinematography:Composition, Color, and StyleMisael SanchezIntermediate—SpringBuilding on the foundation of Working WithLight and Shadows, this course will continue toexplore many of the elements at play in theconstruction of a shot, including framing, color,exposure, depth of field, and movement. Moreambitious and intricate short scenes will beproduced in class, geared toward expanding skills

in terms of set etiquette, production language, andworkflow. Students will discuss their work andgive feedback that will be incorporated into thenext round of projects. For conference work,students will be required to produce a new shortproject on HD video (3-5 minutes in length),incorporating elements discussed throughout thesemester. They will write the concept, outline theproject, write and/or collaborate on the screenplayto be shot, draw floor plans, create shot-lists,shoot, edit, and screen the final project for theclass. Students will collaborate with peers onprojects in order to hone their abilities. This is anintensive, hands-on workshop that challenges thestudent in all aspects of film production. By theend of the course, students should have the skillset and feel confident in applying for entry-levelor better production opportunities on professionalproductions.

Media SketchbooksRobin StarbuckOpen—YearThis production course is for adventurers, artists,and budding filmmakers interested in exploringthe medium of film for artistic expression andsocial inquiry. The images and experiencesdeveloped through experimental film and videoare as varied as the artists that make them. Thereis, by definition, no formula for this kind of work.Like paintings or poems, each film reflects theartist as much as the content driving the work.This course is designed to introduce the languageof experimental film and strategies for the use ofvideo/film and audio design as an expressive tool.We will investigate the idea of radical content andexperimental form by establishing the normativemodels and procedures of cinema and video andthen exploring ways to challenge theseconventions. Through a series of video and 8mmfilm assignments, the class will consider movingimage forms and style that blur the boundariesamong narrative, documentary, and abstractfilmmaking. Projects will be furthered byscreenings, readings, seminar discussions, andfield trips. Topics will include, but are not limitedto, issues of identity, place, the performativebody, border crossings, cultural equivocation andmannerisms, blemished topographies, ritual, andtransformation. Labs are designed to helpstudents develop proficiency with filmequipment, including portable and studioproduction and editing systems.

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Animation Studio: DirectTechniquesRobin StarbuckIntermediate—FallAnimation is the magic of giving life to objectsand materials through motion. Whether throughlinear storytelling or conceptual drive, a sense ofwonder is achieved with materials, movement,and transformation. Students will learn thefundamentals of making animated films in ahands-on workshop environment, where we areactively creating during every class meeting. Theclass will include instruction in a variety of stop-motion techniques, including cut-out animation,painting on glass, sequential drawing using penciland paper or chalk boards, sand animation, andsimple object animation. We will cover allaspects of progressive movement, especially thelaying out of ideas through time and thedevelopment of convincing character and motion.The course will cover basic design techniques andconsiderations, including materials, execution,and color. We will also have a foundational studyof the history of experimental animation throughviewing the historical animated film work ofartists from around the globe. During thesemester, each student will complete five shortanimated films ranging in length from 30 secondsto one minute. Students are required to providetheir own external hard drives and additional artmaterials. Labs will be used for technical trainingin Animate Pro®, iStop Motion® and digitalediting software. Two separate, eight-personclasses meet one time per week.

Experimental Animation:Hybrid ImagingRobin StarbuckOpen—SpringIn this course, students will develop fluency inthe knowledge of creative possibilities embeddedin the marriage between hand animation anddigital processes. Working exclusively inAdobe’s Photoshop® and After Effects® software,we will explore the production of animated filmsby integrating found photographic material, 2Dpuppetry, rotoscoping, and other digitalmarkmaking with live media and sound. Studentswill produce a series of short animated worksranging in length from one to three minutes. Finalprojects will include animation for cinema,performance animation, and/or animation for

installations. The goal this semester is to discovernew ways to use the digital animation medium foridea-based applications. We will work on conceptdevelopment, visual planning, and productionpathways. Frequent discussions about your workand about the work of renowned artists willbroaden the understanding and appreciation ofexperimental work and will expand eachparticipant’s creative boundaries. Priorknowledge of digital production and editingsoftware is not required. Two separate eight-person classes meet one time per week.

Storyboard Drawing andVisualization for Film,Animation, and InteractiveMediaScott DuceOpen, Small seminar—FallThis course focuses on the art of storyboardconstruction as the preproduction stage forgraphics, film/video, and animation. Students willbe introduced to storyboard strategies, exploringvisual concepts such as shot types, continuity,pacing, transitions, and sequencing into visualcommunication. Both classical and experimentaltechniques for creating storyboards will becovered, with emphasis placed on the productionof storyboard drawings—both by hand anddigitally—to negotiate sequential imagedevelopment and to establish shot-by-shotprogression, staging, frame composition, editing,and continuity in film and other media.Instruction will concentrate primarily on drawingfrom thumbnail sketches through finalpresentation storyboards and animatics. The finalproject for this class will be the production byeach student of a full presentation storyboard anda low-res animatic in a combined visual, audio,and text presentation format. Knowledge ofstoryboards and animatics from this class can beused for idea development and presentation ofyour project to collaborators, pitching projects toprofessional agencies, and, most importantly foryou, the maker. Storyboard Pro®, Photoshop andFinal Cut Pro X® software will be taught andused throughout this course. Other software, suchas After Effects, Illustrator®, and Flash® softwaremay be used by students in the development ofstoryboards and animatics, based on the student’sown knowledge level of the software.

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Drawing for Animation: Lightand FormScott DuceOpen, Small seminar—SpringThis course focuses on the fundamentals ofdrawing as it pertains to two-dimensionalanimation. Students will gain knowledge indrawing from direct life (including from themodel), by understanding light logic throughobservation, and by developing form andstructure utilizing perspective drawing concepts.Through exercises and assignments, students willdevelop skills and knowledge of formal visualelements such as line, shape, space, form, andtexture, with an emphasis on drawing space,form, and the figure. This course will enhancedrawing skills and help students develop strongerdrawing proficiencies for animations, graphicnovels, and narrative storyboards for film.Students will work in a variety of media,including pencil, charcoal, chalk, and markers.

Writing for the ScreenRamin SerryOpen—YearThis yearlong course for the beginning tointermediate screenwriter is a rigorous, yetintimate, setting in which to explorescreenwriting works-in-progress. The course,structured as an intensive workshop, willinvestigate the nature of screenwriting. Studentsmay work on either short-form or feature-lengthscreenplays. They will read peer work, with theentire process supported by in-class analysis andcritiques thereof. We will migrate from an initialidea through research techniques, characterdevelopment, story generation, outlining, therough draft, and rewrites to a series of finished,short-form screenplays or a feature-length script.Fundamentals of character, story, universe andsetting, dramatic action, tension, conflict,structure, and style will be explored. Inconference, students may research and developother long-form screenplays or teleplays, craft aseries of additional short screenplays forproduction courses or independent production,rewrite a previously written script, or adaptoriginal material from another creative form.

Script to ScreenRona Naomi MarkOpen—FallThis workshop will introduce students to thebasics of filmmaking through HD video

production. From the initial concept throughediting, students will get a taste of all phases ofproduction. Students will shoot exercises focusingon cinesthetic elements such as slow disclosure,parallel action, multiangularity, and the mastershot discipline. Students will watch and analyzeeach other’s exercises, learning how to becomeactive film viewers and give useful criticalfeedback. For their conference work, students willbe required to produce a short film. They willwrite the screenplay, cast and direct actors, drawfloorplans and shot-lists, edit the video on FinalCut Pro, and screen the final production for theclass. This class is not a history or theory classbut a practical hands-on workshop that putstheory into practice and immerses students in allaspects of filmmaking development, writing,directing, and production on through to a finishedproject. This course will be offered again inspring 2014.

Screenwriting: The Art andCraft of Film-TellingFrederick Michael StrypeOpen—FallHow do you write a screenplay? One word at atime, articulating the action (“the doing”) of thecharacters and thereby revealing the emotionalmoments of recognition in the characters’journey. Pursuing the fundamentals of developingand writing narrative fiction for motion-picturescreenplays, the course starts with a focus on theshort-form screenplay. We’ll explore the natureof writing screen stories for film, the Web, andtelevision. The approach views screenwriting ashaving less of a connection to literature andplaywriting and more of a connection to the oraltradition of storytelling. We will dissect thenature and construct of the screenplay to revealthat the document—the script—is actually theprocess of “telling your film” (or movie, or Webseries, or TV show, et al). In Film-Telling, theemerging screenwriter will be encouraged tothink and approach the work as a director;because until someone else emerges to take thereins (if it is not the screenwriter), the writer isthe director—if only on the page. With the classstructured as a combination of seminar andworkshop-style exchanges, students will readselected texts and produced screenplays, writedetailed script analyses, view films and clips, and,naturally, write short narrative fictionscreenplays. While students will be writingscripts starting in the first class, they will also beintroduced to the concept of “talking their

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stories,” as well, in order to explore character andplot while gaining a solid foundation in screenstorytelling, visual writing, and screenplayevolution. We will migrate from initial ideathrough research techniques, characterdevelopment, story generation, outlining, therough draft, and rewrites to a series of finishedshort-form screenplays. The fundamentals ofcharacter, story, universe and setting, dramaticaction, tension, conflict, sequence structure, acts,and style will be explored, with studentscompleting a series of short scripts and a finalwritten project. In-class analysis of peer workwithin the context of a safe environment will helpstudents have a critical eye and develop skills toapply to the troubleshooting of one’s own work.Overall, the student builds a screenwriter’s toolkit to use as various projects emerge in the future.In conference, students may research and developa long-form screenplay or teleplay, develop a TVseries concept and “bible,” initiate and develop aWeb series concept, craft a series of shortscreenplays for production courses orindependent production, rewrite a previouslywritten script, adapt original material fromanother form, and so forth. Research and screenstorytelling skills developed through the coursemay be applied to other writing forms. Thiscourse will be offered again in spring 2014.

Filmmaking StructuralAnalysisFrederick Michael StrypeOpen—FallThis course explores narrative storytelling formsin contemporary cinema and screenwriting.Geared toward the perspective of the aspiring/emerging screenwriter, filmmaker, and/or mediaartist, the seminar includes screenings of filmsand the concurrent reading of source materialsand their respective screenplays. Cinemalanguage, dramatic theory, and cinematic storystructures will be explored, including sequencing,episodic, three-act, four-act, seven-act, teleplay,and the so-called character-driven forms. Selectedtexts will also be read, and weekly structuralanalyses will be written. Students will alsoexplore screenwriting exercises throughout thecourse and investigate the connection betweenoral storytelling and the nature of narrationthrough the screenplay. Conference projects oftenfocus on the development of a long-formscreenplay/teleplay, analytical research paper, orother film-related endeavors. A foundation coursefor narrative screenwriting, filmmaking, and new

media projects, as well as dramatic analysis, thecourse develops skills that can be applied to otherforms of dramatic writing and storytelling.

Script to ScreenRona Naomi MarkOpen—SpringThis workshop will introduce students to thebasics of filmmaking through HD videoproduction. From the initial concept throughediting, students will get a taste of all phases ofproduction. Students will shoot exercises focusingon cinesthetic elements such as slow disclosure,parallel action, multiangularity, and the mastershot discipline. Students will watch and analyzeeach other’s exercises, learning how to becomeactive film viewers and give useful criticalfeedback. For their conference work, students willbe required to produce a short film. They willwrite the screenplay, cast and direct actors, drawfloorplans and shot-lists, edit the video on FinalCut Pro®, and screen the final production for theclass. This class is not a history or theory classbut a practical, hands-on workshop that putstheory into practice and immerses students in allaspects of filmmaking development, writing,directing, and production on through to a finishedproject.

Screenwriting: The Art andCraft of Film-TellingFrederick Michael StrypeOpen—SpringHow do you write a screenplay? One word at atime, articulating the action (“the doing”) of thecharacters and thereby revealing the emotionalmoments of recognition in the characters’journey. Pursuing the fundamentals of developingand writing narrative-fiction for motion-picturescreenplays, the course starts with a focus on theshort-form screenplay. We’ll explore the natureof writing screen stories for film, the Web andtelevision. The approach views screenwritinghaving less of a connection to literature andplaywriting and more of a connection to the oraltradition of storytelling. We will dissect thenature and construct of the screenplay to revealthat the document—the script—is actually theprocess of “telling your film” (or movie, or Webseries, or TV show, et al). In Film-Telling, theemerging screenwriter will be encouraged tothink and approach the work as a director;because until someone else emerges to take thereins (if it is not the screenwriter), the writer is

THE CURRICULUM 147

the director—if only on the page. With the classstructured as a combination of seminar andworkshop-style exchanges, students will readselected texts and produced screenplays, writedetailed script analyses, view films and clips, and,naturally, write short narrative-fictionscreenplays. While students will be writingscripts starting in the first class, they will also beintroduced to the concept of “talking theirstories,” as well, in order to explore character andplot while gaining a solid foundation in screenstorytelling, visual writing, and screenplayevolution. We will migrate from initial ideathrough research techniques, characterdevelopment, story generation, outlining, therough draft, and rewrites to a series of finishedshort-form screenplays. The fundamentals ofcharacter, story, universe and setting, dramaticaction, tension, conflict, sequence structure, acts,and style will be explored, with studentscompleting a series of short scripts and a finalwritten project. In-class analysis of peer workwithin the context of a safe environment will helpstudents have a critical eye and develop skills toapply to the troubleshooting of one’s own work.Overall, the student builds a screenwriter’s toolkit for use as various projects emerge in thefuture. In conference, students may research anddevelop a long-form screenplay or teleplay,develop a TV series concept and “bible,” initiateand develop a Web series concept, craft a seriesof short screenplays for production courses orindependent production, rewrite a previouslywritten script, adapt original material fromanother form, and so forth. Research and screenstorytelling skills developed through the coursecan be applied to other writing forms.

Making the Genre Film:Horror, Sci-Fi, and FantasyRona Naomi MarkIntermediate—SpringWorking within a genre can greatly assist thefledgling filmmaker by suggesting content andstylistic elements, thereby freeing the artist tofocus on self-expression. This is a hands-onproduction course with a focus on producinggenre films. Our class discussions and videoexercises will explore various ideas present in theso-called “lesser genres” of horror, sci-fi, andfantasy, including the idea of the “monster,” man/woman vs. society, suspense, fear, sexual politics,and repression, as well as the smart use of specialeffects and other strategies for the independentfilmmaker working in genre filmmaking. In

addition to class exercises, students will eachproduce and direct a short video project for theirconference work.

The Director PreparesMaggie GreenwaldOpen—FallFrom screenplay until the actual shooting of afilm, what does a director do to prepare? Thisclass will explore, in depth, some of the manyprocesses a director may use in order to developand actualize her or his vision, includingscreenplay revision, interpretation andbreakdown, character development, accessing andcommunicating visual ideas for the look of thefilm, studying camera styles and movement inorder to decide how best to visually realize yourstory through your shot selection, staging, andcasting. Each student will pursue a series ofexercises, culminating in the directing, shooting,and editing of two exercises—one scene (aprivate moment) to develop character throughcinematic storytelling, and one scene, withdialogue, from the screenplay—in order toexperiment with all the ideas developedthroughout the class.

Producing for the Screen: AReal World Guide, Part IHeather WintersOpen—FallProducers are credited on every film, television,and media project made. They are crucial—evenseminal—to each and every production no matterhow big or small. Yet, even as a pivotal positionin the creative and practical process of making afilm, TV show, or media project, the title“producer” is perhaps the least understood of allthe collaborators involved. What is a producer?This course answers that question, examiningwhat a producer actually does in the creation ofscreen-based media and the many hats one, or asmall army of producers, may wear at any giventime. Students will explore the role of theproducer in the filmmaking, television, and videoprocess from the moment of creative inspirationthrough project development and proposalwriting, financing, physical production—indeed,down to the nuts-and-bolts aspects of scriptbreakdown, budgeting, scheduling, and deliveringa film, TV, or video project. Students will gainhands-on experience in developing projects,breaking them down into production elements,and crafting schedules and budgets, as well as

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learn pitching skills and packaging strategies.Course work includes proposal and treatmentwriting, script breakdown, scheduling andbudgeting, pitching, and final projectpresentation. Conference projects may include theproducing of a film or media project by a studentin another filmmaking production class at SarahLawrence College, a case study of several filmsfrom the producer perspective, the developmentand preproduction of a proposed future “virtual”film or video project, and the like. A practicalcourse in the ways and means of producing, theclass will consider the current state of producingthrough case studies, nuts-and-bolts productionsoftware and exercises, and guest producers,directors, actors, and industry professionalscurrently working in film and television.Designed to provide real-world producingguidance, the course provides filmmakers andscreenwriters with a window on the importanceof, and the mechanics pertaining to, the producingdiscipline and a practical skill set for seekingwork in the filmmaking and media-making worldafter Sarah Lawrence College.

Producing for the Screen: AReal World Guide, Part IIHeather WintersIntermediate—SpringBuilding on the course work and experiencesassociated with Part I of this course, studentscontinue to explore the role of the producer fromthe moment of creative inspiration throughproject development, log line, treatment andproposal writing, financing, physicalproduction—indeed, down to the nuts-and-boltsaspects of script breakdown, budgeting,scheduling, and delivering a film, television, orvideo project to a network or distributor. Studentsapply knowledge and skills from Part l to focuson gaining a deeper knowledge of best producingpractices, entertainment law, producing dos anddon’ts, traditional and innovative financingmodels, domestic and foreign film and televisionmarkets, daily industry trends, film and televisionsizzle and trailer production, pitching skills, filmmarketing and publicity, distribution strategies,navigating the festival circuit—and working withlawyers, agents, managers and sales agents anddeciphering the business, psychological, andhuman elements of producing. Course workincludes written and oral assignments,presentations, and assignments based on invitedfilmmakers and industry guests. Conferenceprojects may include producing a film or media

project by a student in another filmmakingproduction class at Sarah Lawrence, a case studyor body of work analysis from the producerperspective, or the development andpreproduction of a proposed future “virtual” filmor video project.

Studio Arts

First-Year Studies inPrintmakingKris PhilippsFYSThis course introduces the student to the basicfundamentals and concepts of printing in anenvironment that practices newly developed,nontoxic, printmaking methodologies.Participants will learn how to develop an image(either hand-drawn or computer-generated), howto transfer the image to paper, edition printing,and presentation. Students will utilize the tools,materials, and equipment required to produce aprint in a variety of media, including intaglio,silkscreen, and relief prints. Written assignments,assigned readings, and exercises in color andcolor relationships will also be included in thecontent of this class, along with a series ofvisiting artists and trips to museums andprofessional printmaking ateliers.

Drawing: Seeing in ReverseJohn O’ConnorOpen—YearDrawing is an endlessly exciting art form thatencourages experimentation and embracesmistakes. It’s a reflection of how we thinkvisually on paper. This will be a highly creative,rigorous course that will challenge you to thinkabout the medium of drawing in new andtransformative ways. In the fall semester, you willlearn about tools and techniques of observationaldrawing and how to translate onto paper, withaccuracy, what you see of the visible world. Inthe spring semester, we will make more open-ended, experimental, idea-based drawings. Oursubjects will include the human figure, space,memory, portraiture, time, text, installation,collage, imagination, collaboration, color, andhumor. Permeating all of this will be ourinvestigation into ways of introducing contentinto your work: What will your drawings beabout? Through varied, in-depth projects, youwill gain a greater understanding of thetechniques of drawing and will learn to combine

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ideas and mediums in personal, thought-provoking ways. Studio practice will bereinforced through discussion, written work,readings, slides, and museum visits. Visitingartists and studio visits with artists in New YorkCity will be scheduled.

Third Screen: Playable Mediafor Mobile DevicesAngela FerraioloOpen—YearThis yearlong class will guide beginningdevelopers through design and production formobile tablets, including art games, interactivemovies, experimental media, playable anime,electronic books, and smart slideshows. The yearis divided into five sequences: Studio One: techbootcamp, mini-projects and tutorials; StudioTwo: interface design, narrative strategy,mechanics, interaction design, responsiveenvironment, and early project prototyping;Studio Three: creation of media assets, plans formanaging and persisting data, and early codebuilds or project alphas; Studio Four: final build(beta) and play testing; and Studio Five: creationof surrounding materials and the possible releaseof finished applications to the Google Playmarketplace. Students will be required to attendtwo additional tech workshops early inSeptember: Workshop One: Corona Engine andAndroid software development kit; WorkshopTwo: Box2d Physics Library. The bestqualification for the class is a good idea for aninteractive project; no programming or designexperience is necessary. Kindle Fires and Nexus7s will be provided for testing. The class willmeet once a week for four hours. Permission ofthe instructor is required.

Drawing MachinesJason KrugmanOpen, Small seminar—FallFrom environmentally powered drawings tocomputer vision and motors, drawing machinesserve as a vehicle to visualize the energy patternsin the world around us in new and interestingways. In this class, we will examine drawingmachines from the perspective of the hacker andthe inventor, applying technical and nontechnicaltools alike to create emergent behaviors in ourwork. The class will begin with a survey ofpractitioners within the field of process-orientedart and evolve into an exploration of basicinteractive circuitry and programming. We will

spend a significant amount of time learning howto build projects with the Arduino microcontrollerplatform. A series of in-class prototypingworkshops will introduce students to a variety ofmaterials and building strategies, while outside-of-class assignments will build upon each week’sexplorations into generative art-makingtechniques. In addition to regular class meetingsand conferences, students will be expected toparticipate in weekly group workshops that willfacilitate skill sharing and group problem solving.Experimentation and learning through concertedeffort will be paramount.

Kinetic Sculpture withArduinoJason KrugmanOpen, Small seminar—SpringSculpture is as much about motion as it is aboutmaterials. Whether a piece resists the stressors ofits environment or actively responds to them, ourrelation to three-dimensional artwork dependsupon both the implied motion of static forms andtheir kinetic aspects. In this class, we will utilizecircuitry and interactive electronics to createsculptures that move and have the ability torespond to their audience and environment. Wewill utilize the Arduino microcontroller platformand learn about the basics of motor control,sensors, and programming. Prior programmingand electronics experience is not required, but aninterest in emerging media tools will be a usefulasset. We will study artists working within thefield, referencing and building upon existingwork in the process of developing our own ideas.Through hands-on prototyping, testing, andfinishing, we will grow our skill sets and becomeincreasingly adept at navigating the junctionbetween concept and feasibility.

Beginning Painting: Form andColorUrsula SchneiderOpen—YearThis course is an introduction to painting inacrylics and oils. In the first semester, the classassignments focus on abstraction in combinationwith color theory and color mixing. Drawing willbe an integral part of the course: in the firstsemester, learning to work from observation ofeveryday objects; in the second semester, fromthe figure. Each assignment will call upon thestudent to make decisions in order to complete theproject in a creative manner. There will be regular

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class discussions on the progress of the work, aswell as visual presentations on art history andindividual artists. The conference work will beginwith drawing in a sketchbook and withindividually assigned readings on art. The finalconference project will be a large painting. Thiswill be developed from the drawings and from theprogress made in the student’s understanding ofpainting as a process. The student will be requiredto work in the studio, in addition to the classperiods, in order to complete the assignedpainting and conference work. The goal of thiscourse is to become confident in one’s paintingability and to develop a visual vocabulary. Thestudent will be required to take two workshops:one in Photoshop; the other, the choice of theindividual. Open to both the student who is newto painting and the student who has had prior art-making experience.

Contemporary Painting I:Studio PracticeLaurel SparksIntermediate—FallThis course emphasizes the role of technique,style, color, and composition in the practice ofpainting. A series of explorative assignments inoil or acrylic will challenge students to resolveproblems of composition and narrative based on abroad scope of references and materialinvestigations. Working in small series, tacticalapproaches will include painting fromobservation, imagination, and print and digitalmedia. Abstraction and nonconventionalmaterials are welcome and encouraged. Studentswill be required to maintain a sketchbook/imagearchive throughout the course and to developfinal conference projects based on historical andcontemporary art research as it relates to thestudent’s personal sensibility. Additionally, thiscourse will provide ongoing exposure to historicaland contemporary painting models throughslideshows, videos, reading assignments, visitingartists, workshops, and field trips. Open tostudents who have had painting courses at acollege or advanced high-school level.

Contemporary Painting II:Discourse and PracticeLaurel SparksIntermediate—SpringThis intermediate painting course addresses therelationship of form and content in the expandedfield of contemporary painting. A series of open-

ended painting assignments will provideparameters within which students may navigatetheir personal interests, focus criteria, and deepentheir technical practices. Projects will includeobservational and media-based image sourcing,composite spaces, abstraction, collaboration,stylistic homages, and fictional portraiture.Students may work in oil or acrylic;nonconventional materials are also welcome. Asketchbook practice is required for collectingsource material, developing imagery, research,and class notes. Final conference projects will begrounded in independent research as it relates tothe student’s personal sensibility. In addition tostudio production, students will investigate thehistorical and contemporary relevance of theirwork through readings, slideshows, andpresentations. Critical and communication skillsrelated to painting will be developed throughcritique and group discussions. Visiting artists,workshops, and field trips will be integrated intothe course curriculum to enrich the paintingprocess. Open to students who have had paintingcourses at a college or advanced high-schoollevel.

Advanced Painting IUrsula SchneiderSmall seminar, Advanced—FallClass discussions, critiques and readings on arthistory and contemporary art will aidstudents who want to further develop their ideasin painting in developing a context for their work.We will be painting with acrylics (the commercialbrands), and you will learn to make your ownpaint by using water-dispersed pigments and avariety of polymer emulsions with differentproperties. This will encourage experimentationwith the painting media and aid painters inintegrating the process of painting their ideas.There will be two required workshops: one inPhotoShop; one in photography. Students willproduce drawings from their digital work as apreliminary step for their paintings. This courserequires the student to work independently in thestudio. Please bring a visual documentation ofyour recent painting to the interview. Completionof one college-level painting class is required.

Advanced Painting IIUrsula SchneiderSmall seminar, Advanced—SpringOpen to students who want to further developtheir skill and thinking in painting, this coursefocuses on introducing a variety of water-based

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painting techniques and on building paintingstructures and surfaces other than canvas. Thestudent will be required to attend two workshops:one in woodworking; one in digital printing. Wewill be painting with acrylics, using thecommercial brands; we also will be making ourown paint by using water-dispersed pigments anda variety of polymer emulsions with differentproperties. This will encourage experimentation.Class discussions, critiques, and readings on arthistory and contemporary painting will aidstudents in developing context for their work.This course requires students to workindependently in the studio and to maintain theirown working momentum. Please bring a visualdocumentation of your recent paintings to theinterview. Completion of one college-levelpainting class is required.

Basic Color PhotographyKatie MurrayOpen—YearThis course concentrates on the technique andaesthetics of color photography using traditional(analog) methods. Emphasis will be placed onunderstanding the very nature of a colorphotograph. Students will use color film and printcolor photographs in the darkroom; they willexplore “color seeing.” Readings in the history ofphotography will be part of the course work.Permission of the instructor is required.

Basic Analog Black-and-WhitePhotographyMichael SpanoOpen—YearThis is an analog, film-based course thatintroduces the fundamentals of black-and-whitephotography: acquisition of photographictechnique, development of personal vision andartistic expression, and discussion ofphotographic history and contemporary practice.Reviews are designed to strengthen theunderstanding of the creative process, whileassignments will stress photographic aestheticsand formal concerns. Conference work entailsresearch into historical movements and individualartists’ working methods through slidepresentations. Throughout the year, students areencouraged to make frequent visits to gallery andmuseum exhibitions and share their impressionswith the class. The relationship of photography toliberal arts also will be emphasized. Students willdevelop and complete their own bodies of work

as the culmination of their study. This is not adigital photography course. Students need to haveat least a 35mm film camera and be able topurchase film and gelatin silver paper throughoutthe year.

Intermediate PhotographyJustine KurlandIntermediate—YearThis wildly explorative class will investigate thepotentials of black-and-white photography,color photography, and the assimilation of thetwo. The history of the photographic medium willbe explored. Editing, sequencing, and output sizewill be introduced to students throughbibliomaniac explorations and gallery/museumvisits. Students are welcome to use either analogor digital. The development of a personal vision,based upon a personal set of interests and/orbeliefs, will be at the core of this experience.

Advanced PhotographyTed PartinAdvanced—YearThis is a rigorous studio course in which studentswill produce a body of work while studyingrelevant artistic and photographic precedents. Aworking knowledge of photographic history andcontemporary practice is a prerequisite, as isprevious art or photographic work that indicatesreadiness for the advanced questions presented bythis course.

Artist BooksKris PhilippsSmall seminar, Sophomore and above—YearIn the past, the book was used solely as acontainer of the written word. More recently,however, the book has emerged as a popularformat for visual expression. Students will beginthis course by learning to make historical bookforms from various cultures (Coptic, codex,accordion, and Japanese-bound) so that they willbe able to see the book with which we arefamiliar in a new and wider context. From there,students will apply newly learned techniques andskills, from computer-generated and manipulatedimagery to the production of nontraditional artistbooks. The course will also cover all aspects ofletterpress printing, including setting type, usingthe press, and making and printing with polymerplates. Whether text, images, or a combination ofthe two is employed, emphasis will be placed on

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the creation of books as visual objects. Open tosophomores, juniors, and seniors who havepreviously taken a visual arts course.

Advanced PrintmakingKris PhilippsSmall seminar, Advanced—YearThis course offers an opportunity for an in-depthstudy of advanced printmaking techniques.Students will be encouraged to master traditionalskills and techniques so that familiarity withprocess will lead to the development of a personaland meaningful body of work. The course willalso cover all aspects of letterpress printing,enabling participants to incorporate text into theirconference work, if so desired.

Concepts in SculptureRico GatsonOpen—YearWhat is sculpture? How do we make it? How dowe talk about it? What does it mean? This is ayearlong course that invites students toinvestigate fundamental-to-advanced concepts insculpture. Students will gain a greaterunderstanding of technique, materials, andprocess, with a specific emphasis on theintegration of larger social, political, and aestheticconcerns and how to address them in the work.As the course progresses, students will have theopportunity to work in digital and experimentalmedia. The course will cover the period from thelate 20th century to the present. There will beregular presentations, assigned projects, and tripsto galleries and museums. At the completion ofeach project, there will be a group critique wherefeedback is offered and process explored.Experimentation and personal expression arehighly encouraged. Experience working three-dimentionally is welcome but, not required.Please bring examples of previous work to theinterview.

Sustainable ArchitectureStudio LabTishan HsuOpen—FallThe design of the built environment is the area ofhuman endeavour that has one of the largestimpacts on the environment. Buildings consumevast amounts of natural resources during theirconstruction and subsequent operation. Theyconstitute primary energy consumption anddemand the exploitation of natural resources to

supply the materials. In use, building emissionsadd to global warming, damage the environment,and create waste-disposal problems. Buildingscan also cause ill health and discomfort for theiroccupants due to poor air quality and inadequateinternal conditions. This course will examine arange of issues associated with sustainablearchitecture, including energy consumption, useof materials, health and environmental concerns,and how these issues impact the design of builtspace. We do this through a studio lab context,where we will investigate current strategies forincorporating sustainability into design. This willinclude examining the Heimbold Visual ArtsCenter and the strategies used in creating itsaward-winning “green” building status. Throughour own research and designs, we will learn howto identify and integrate environmental concernsinto design practice. We will learn the basiclanguage of drawing architectural space and themechanics of designing within that language.This will include traditional architectural drawingand the use of 3-D design software. Our work willrely on drawing, writing, and oral and graphicpresentation skills. Students will work on shortand longer projects in an individual and groupcontext. Experience in drawing and/or 3-Dcomputer graphics is helpful.

Things and BeyondTishan HsuOpen—FallThis course will explore the possibilities forcreative production inspired by a range ofinquiries, including readings, discussions,critiques, looking at the work of contemporaryartists, and observing the work of students in theclass as their work unfolds. We will be reading arange of texts, as well as making museum and/orgallery visit(s). In doing so, we will considerdifferent ways of thinking about art, which willlead us to consider different ways of thinkingabout ourselves, what we encounter, and what weproduce as a result of an encounter. We willexplore concepts as ways of discovering differentsubjectivities and situations in which art canbecome. We will take a global perspective inlooking at contemporary art. The course willexperiment with the ways in which texts, images,discussions, and activity can alter one’s innerlandscape, enabling different kinds of (art) workto emerge. This is predominantly a studio coursethat will incorporate a range of activities inconjunction with studio work. We will encountermaterials such as cardboard, wood, metal, plaster,

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and digital media, with technical supportprovided in the handling of thesemedia. Experience in the visual, performative,industrial, and/or digital arts is helpful. For theinterview, students are encouraged to bringimages of work done in any of the previouslymentioned practices. Permission of theinstructor is required.

Machines As MaterialJoe WinterIntermediate—SpringThis course will treat machines as both subjectmatter and physical material with which toproduce works of art. While we may begin bythinking about machines as discrete functionalobjects, the course will attempt to expand thedefinition and potential of machines in artpractice. A coffeemaker might be a machine, butso might an entire building, a language, a culture.How are machines ideological, and how canideologies function as machines? How does themechanical confirm or contest the human? Whatmetaphors, implied or imagined, can we uncoverin a close examination of devices? Thesequestions will fuel our investigations in the studioand be addressed through discussion, screening,and reading that ranges across disciplines. Inconsultation with the instructor, students willselect a machine to act as a creative motor for aseries of studio projects. The course willencourage and support students who wish todirectly modify or otherwise hack theirmachines—thereby incorporating elements ofphysical computing, electronics, and/or computerprogramming—but our investigations may alsointegrate or otherwise approach machines withmore traditional materials.

Digital Imaging TechniquesShamus ClissetOpen—YearThis course will cover contemporary digitalpractice, with an emphasis on Photoshop skillsand imaging techniques from scanning toprinting. Students will learn proper digitalworkflow, along with the basics of imagemanipulation tools, color correction, andretouching. The broader classroom discussionwill emphasize computer-generated and -manipulated imagery as a new paradigm incontemporary art, photography, and culture ingeneral. Through independent projects, studentswill be encouraged to explore the potential ofdigital tools in the context of their personal

work—visual arts-related or otherwise—stressingopen-ended visual possibilities, as well astechnical and conceptual rigor.

Two-Dimensional DesignGary BurnleyOpen—FallDesign grows out of a need for meaningful orderin our lives. In art, as well as in nature, ourperception and understanding of order relies onthe ability to perceive qualities and relationshipsthat extend beyond the mere sum of a group ofparts. The word “design” indicates both theprocess of organizing elements and the productsof that process. Through clearly defined problemsand laboratory exercises, this course will examinethe principles, strategies, and applicationsessential to an understanding of visual orderwithin any two-dimensional framework. Thecourse will concentrate on structures, concepts,and relationships common to an understanding of,and control over, visual vocabulary. Line andform, texture and pattern, space and continuity,presentation and format, repetition and rhythm,color and context, composition and gestalt, unityand variety are some of the issues to be explored.

ColorGary BurnleyOpen—SpringColor is a primordial idea. It is life, and a worldwithout color would appear dead to us. Nothingaffects our entire being more dramatically thancolor. The children of light, colors reveal therichness and fullness of all that surrounds us.Color soothes us and excites us, changing ouroutlook, our dreams, our desires, and ourenvironment. Using a variety of methods andmaterials, this course will focus on an explorationof color agents and their effects. Not a paintingcourse, instead this class will explore basic colortheory, perception and the aesthetic, andphysiological and psychological relationshipsbetween color in application and in use.

Interdisciplinary Studio/SeminarGary BurnleyAdvanced—YearA dialogue with peers working in a variety ofdisciplines, this course is designed forexperienced visual arts students. It is a forum toshare and discuss critical, creative, intellectualstrategies and processes while building, nurturing,

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and sustaining an independent point of view.Each participant will be expected to focus ongrowing the values, commitments, and attitudesembedded in his or her own body of work andideas. Experimentation, innovation, anduniqueness of vision will be encouraged, alongwith habits of discipline necessary to support allcreative endeavors. Readings and discussion ofart and cultural history are an important part ofthe weekly course work. Open to juniors andseniors with prior visual art experience.

Women’s Studies

The Women’s Studies curriculum comprisescourses in various disciplines and focuses on newscholarship on women, sex, and gender. Subjectsinclude women’s history; feminist theory; thepsychology and politics of sexuality; genderconstructs in literature, visual arts, and popularculture; and the ways in which gender, race, class,and sexual identities intersect for both womenand men. This curriculum is designed to help allstudents think critically and globally about sex-gender systems and to encourage women, inparticular, to think in new ways about themselvesand their work. Undergraduates may explorewomen’s studies in lectures, seminars, andconference courses. Advanced students may alsoapply for early admission to the College’sgraduate program in Women’s History and, ifadmitted, may begin work toward the Master ofArts degree during their senior year. The MAprogram provides rigorous training in historicalresearch and interpretation. It is designed forstudents pursuing careers in academe, advocacy,policymaking, and related fields.

Courses offered in related disciplines this year arelisted below. Full descriptions of the courses maybe found under the appropriate disciplines.

First-Year Studies: Making Connections:Gender, Sexuality, and Kinship From anAnthropological Perspective (p. 4),Mary A. Porter Anthropology

Women, Culture, and Politics in USHistory (p. 57), Lyde Cullen Sizer History

Women and Gender in the Middle East (p. 57),Matthew Ellis History

Women/Gender, Race, and Sexuality in Film:History and Theory (p. 57), Kathryn HearstHistory

The Sixties (p. 52), Priscilla Murolo History

Gender, Education, and Opportunity inAfrica (p. 56), Mary Dillard History

Perverts in Groups: The Social Life ofHomosexuals (p. 64), Julie AbrahamLesbian, Gay, Bisexual, and TransgenderStudies

Queer Americans: Henry James, GertrudeStein, Willa Cather, and JamesBaldwin (p. 65), Julie Abraham Lesbian,Gay, Bisexual, and Transgender Studies

Sex in the Machine (p. 71), Una ChungLiterature

18th-Century Women of Letters (p. 71), JamesHorowitz Literature

After Eve: Medieval Women (p. 77), AnnLauinger Literature

Intersections of Multiple Identities (p. 111),Linwood J. Lewis Psychology

Gender and Nationalisms (p. 122), ShahnazRouse Sociology

Lorca’s World: From Granada to New York:Literature in Translation (p. 73), EstherFernández Spanish

Writing

In Sarah Lawrence College’s nationallyrecognized Writing program, students work inclose collaboration with faculty members who areactive, successful writers. The program focuseson the art and craft of writing. Courses in poetry,fiction, and creative nonfiction are offered.

In workshops, students practice their writingand critique each other’s work. The programencourages students to explore an array ofdistinctive perspectives and techniques that willextend their own writing ability—whatever theirpreferred genre. Conferences provide studentswith close, continual mentoring and guidance andwith opportunities to encounter personally theirteachers’ professional experiences. Teacherscritique their students’ writing and select readingsspecifically to augment or challenge eachstudent’s work. In conferences, student andteacher chart a course of study that best allowsindividual students to pursue subjects and issuesthat interest them, to develop their own voice, tohone their techniques, and to grow moresophisticated as readers and critics.

The College offers a vibrant community ofwriters and probably the largest writing facultyavailable to undergraduates anywhere in the

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country. Visits from guest writers who givepublic readings and lectures are an importantcomponent of the curriculum throughout the year.

Sarah Lawrence College also takes fulladvantage of its proximity to the New York Cityliterary scene, with its readings, literary agencies,publishing houses, and bookstores—as well as itswealth of arts and culture. The city providesfertile ground for internships in which studentscan use their writing training in educationalprograms, schools, publishing houses, smallpresses, journal productions, magazines, andnonprofit arts agencies.

Fiction Workshop: The Noveland Collected StoriesApril Reynolds MosolinoOpen—SpringThere comes a moment when writers believe thatbecause they possess a combination of creativity,talent, and experience they are ready beginwriting a more substantial project. This workshopis designed for students who have novels or acollection of short stories in progress. Both classand conference time will be dedicated to thispursuit. Questions about theme, narrativestructure, and plot complication will dominateclass conversation. We will also read and discussseveral novels—Faulkner, Rushdie, and Roth, toname a few—for guidance and inspiration. Whilestudents are encouraged to enter class with worksin progress, it is not a requirement for theseminar. Yet students must have a clear ideaabout the novels or collection of short stories theywish to pursue over the course of the semester.

Workshop in CreativeNonfictionJacob SlichterOpen—FallThis workshop is for students who want toexplore a variety of nonfiction forms. Thecoursework will progress from short, weeklywriting assignments to longer ones, including afinal piece that students will develop inconference with the instructor. The writingassignments will take their cues from thereadings, exemplary works in a variety ofnonfiction forms by writers such as JamaicaKincaid, Joan Didion, David Foster Wallace,Anne Carson, and James Baldwin, among others.We will learn to read as writers, write as readers,and, where relevant, to draw connections betweenwriting and other creative fields, such as musicand film. Each student’s final portfolio will

reflect a significant amount of rewriting.Students will also keep a journal of their reading,which they will discuss in conference meetings.

Poetry Writing Workshop -Line and FormJames HochOpen—FallThis course focuses on the craft of writing poetry.Students will engage in an intensive pursuit offinding the finest form that their poems canembrace. We will be driven by the usual concernsand obsessions that occupy the writing of poems(imagination, craft, revision, content, etc.) butwill delve into fundamental questions regardingthe history and conceptualization of form and thepoetic line. We will draw distinctions betweenline and sentence, speech and writing, shape andbody, rendering and enactment, description andperception, disembodiment and incarnation,rhetoric and music.

First-Year Studies: Coming ofAge and GoingBeyond—Fiction WorkshopVictoria RedelFYSThis is a yearlong foray into the writing of prosefiction. Emergence into adulthood, the journeyout of childhood, the formation of self—there isno shortage of writers that have explored thisterrain. Think of Charles Dickens, Mark Twain,James Baldwin, Louise Erdrich, MarilynneRobinson, Philip Roth. What is the self, and howis it shaped? By place, family, health, class? Is theself shaped by circumstance; and, if so, how doesthe self exceed or escape circumstance? Thecoming-of-age story explores these questions andwill be our jumping off point for learning thecraft of fiction. We will begin with the landscapeof childhood—the complex fictions we heard,saw, and felt around us—and how, as writers, weleap from the “actual” to the artifice of fiction.What, then, is a story? How do we find the storiesthat we need to tell and then tell in a voice of ourown making? What are the strategies of shortfiction? In our year together, we will begin bygathering the tools of fiction—character, scene,narration, dialogue, place, time, situation—andseeing how these gather, twist, and shape intonecessary fictions. We will read a wide variety ofauthors—not as students of literature but asfiction writers breaking it down to understandhow the story was made. Students will be writing

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every day, completing weekly writingassignments and working on longer stories andrevisions. This course in the art of fiction willalso be a course in necessity, wonder, andreverence—which are, finally, what generategreat fiction.

First-Year Studies: Writing theAmerican ExperienceNicolaus MillsFYSThe aim of this writing course is to capture thepresent moment in American life as fully aspossible through a series of essays thatacknowledge the importance of the past inexplaining our current situation. The course willbegin with short assignments designed toemphasize the importance of craft andobservation. The middle section will concentrateon profiles and op-eds. The final section willfocus on long-form journalism that puts apremium on research. If all goes right, the bestwriting that you do will have, in style andstructure, the power of good fiction; but this isnot, it should be emphasized, a course in creativenonfiction or autobiography. From first to last,there will be a premium on accurate reportage andon turning out the literature of fact. Among thewriters whom we will read are E. B. White, JoanDidion, Tom Wolfe, Gay Talese, and ZadieSmith.

First-Year Studies: Shapes,Sizes, and Sentences: First-Year Seminar in NonfictionWritingVijay SeshadriFYSIn this yearlong nonfiction writing seminar andworkshop, we will examine, analyze, and dissectpieces of factual narrative from the perspective oftheir formal elements and then strive to reproducethose elements. The elements under examinationwill comprise the universal structures of narrativeart, such as plot and character; structures peculiarto genres and subgenres, such as journalism, theessay, the biography, and the autobiography; andwhat could be called calisthenic elements, whichrepresent the physical actions and movements ofwriting and the exercise of strength and effort ofattention that those actions require. We’ll look atworks according to their size—micro (or flash)nonfiction, the classic literary and personal essay,hybrid forms that live between the essay and the

poem and the essay and the short story, oralhistory, short- and long-form journalism, full-blown memoirs—so that we can appraise thedilemmas and opportunities that size presents ateach order of literary magnitude. We’ll look atworks according to their shape—classicalnarrative shape—and the way it is eitherconformed to, elaborated, or violated innonfiction writing. We will discuss the rhetoricaldynamics that obtain between the different levelsof organization in a piece of prose and theexchange of energy between microscopic andmacroscopic realms in the ecosystem of asuccessful work of nonfiction art. We will talk alot about the English sentence, read and write inequal proportions, and spend much time thinkingabout style. Students will be asked to write bothexercises and pieces that they conceiveindependently; readings will range in time fromBiblical narrative to famous contemporary andnear contemporary texts and will include, amongothers, works by the author of the Book of Job,Aristotle, Montaigne, Samuel Johnson, WilliamHazlitt, Kierkegaard, Virginia Woolf, GeorgeOrwell, Mary McCarthy, Vladimir Nabokov,James Baldwin, Janet Malcolm, Jamaica Kincaid,Susan Sheehan, Nancy Mairs, David FosterWallace, and John D’Agata. The differencesamong these writers will be reconciled by ourinvestigating and understanding how—acrosstime, space, race, class, gender, and culture—theydeal with the same rhetorical problems and thesame problems of meaning and arrive at many ofthe same solutions. We will, of course, also talkabout race, class, gender, doubt, despair, joy,dread, happiness, and affliction—but primarily inthe context of how they are embodied andtransformed by the techniques of literary art. Wewill also step, gingerly, into new media.

First-Year Studies: PoeticForms/Forming PoetryMatthea HarveyFYS“Radial, bilateral, transverse: symmetries thatchange over a life; radical asymmetries. Seashells unfurl by Fibonacci. Horn, bark, petal:hydrocarbon chains arrange in every conceivablestrut; winch and pylon, ranging over the visiblespectrum and beyond into ultraviolet andinfrared. Horseshoe crab, butterfly, barnacle, andmillipede all belong to the same phylum.Earthworms with seven hearts, ruminants withmultiple stomachs, scallops with a line of eyes

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rimming their shell like party lanterns, animalswith two brains, many brains, none.” —from TheGold Bug Variations by Richard Powers

"Here we have the principle of limitation, the onlysaving principle in the world. The more you limityourself, the more fertile you become ininvention. A prisoner in solitary confinement forlife becomes very inventive, and a simple spidermay furnish him with much entertainment."—from Either/Or by Kierkegaard

This course is part workshop, part an explorationof writing in established, evolving, and inventedforms. We will use An Exaltation of Forms,edited by Annie Finch and Katherine Varnes(featuring essays on form by contemporarypoets), alongside books of poetry by writers suchas Baudelaire, Anne Carson, D. A. Powell,Haryette Mullen, W. S. Merwin, and OlenaKalytiak Davis to facilitate and further thesediscussions. You will direct language through thesieves and sleeves of the haiku, sonnet, prosepoem, ghazal, haibun, etc. Expect to move fluidlybetween iambic pentameter and the lipogram (inwhich you are not allowed to use a particularletter of the alphabet in your poem). Expect tocomplicate your notion of what “a poem in form”is.

First-Year Studies: TheDistinctive Voice in PoetryDennis NurkseFYSContemporary poets face a dazzling range ofstylistic options. This course is designed to helpyou develop not just your own ear and voice butyour own sense of craft, intuition, structure,technique, and experiment. We’ll focusprimarily—and profoundly humanistically—onstudents’ own work, with the knowledge that amistake in art can be fascinating and thedemonstration of competence can be irrelevant.We’ll read widely and often individualistically,exploring the origins of the contemporary in poetslike Elizabeth Bishop and Philip Larkin, poets oftoday from Anne Carson to Yusef Komunyakaa,and young poets like Eduardo Corral and A. VanJordan. In translation, we’ll enter the more vastworld of poets like Neruda, Lorca, Akhmatova,Aime Cesaire, Zbigniew Herbert, and Pessoa; andwe’ll study experimentalists. Though this isn’tprimarily an exercise course—students will beencouraged to find their own directions—we’llstudy the structure of the sonnet, haiku, ghazal,

and prose poem. We’ll look at the blues line andthe ballad, poems of political engagement, thedramatic monologue, proverbs, and riddles. Thiscourse will examine the poetic sequence: howpoets use personae and engage with myth toexpand their horizons and reclaim universal ideas.Expect to read voraciously, participate in a peergroup of readers, and write your own portfolio oforiginal poems.

Fiction WorkshopCarolyn FerrellOpen—YearHow do we, as writers, take our lived experiencesand transform them into fiction? The novelistJanet Frame observed that “putting it all down asit happens is not fiction; there must be the journeyby oneself, the changing of the light focused uponthe material, the willingness of the author herselfto live within that light…the real shape, the firstshape, is always a circle formed, only to bebroken and reformed, again and again.” Throughexercises and longer writing assignments, we willbegin the journey into this softly lit territory ofsubject matter. We will explore questions of craft:What makes a story a story? Does there alwaysneed to be transformation? How does structurehelp create voice? The workshop will be dividedbetween the discussion of student stories andpublished authors such as Edward P. Jones, AliceMunro, George Saunders, Jamaica Kincaid, andE.L. Doctorow. Students will do additionalconference reading and be required to attend atleast two campus readings per semester. We willalso work on developing our constructivecriticism, which (when developed over time andin a supportive atmosphere) should help us betterunderstand the workings of our own creativewriting.

The Enemies of Fiction: AFiction-Writing WorkshopDavid HollanderOpen—YearThe late novelist John Hawkes said that he beganwriting fiction with the assumption that its “trueenemies” were “plot, character, setting, andtheme.” This same quartet seems to dominate theconversation in writing workshops. We like to“vote” on a plot’s efficiency, a theme’seffectiveness, a character’s right to exist. If we’renot careful, we can descend to the language of acorporate focus group—a highly effective forumfor marketing laundry detergents but maybe not

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for making art. This yearlong workshop willattempt, in its own small way, to see the fiction ofboth published masters and participating studentsthrough a wider lens. In the first semester, we willread across a wide range of styles and aestheticsand write in response to weekly prompts designedto encourage play. Issues of language, structure,and vision will be honored, right alongsideHawkes’ imagined enemies. In the secondsemester—provided all goes well—each studentwill workshop two stories. Our reading list willinclude several short and unorthodox novels(possibilities include Autobiography of Red byAnne Carson, Concrete by Thomas Bernhard, andFlorida by Christine Schutt) and weekly shortstories by writers both well-known and ignored.These may or may not include Robert Coover,Dawn Raffel, Joy Williams, Stanley Elkin, RickMoody, Shelley Jackson, Donald Barthelme,Harlan Ellison, and Kelly Link. We will alsoregularly read essays that challenge us to thinkabout what art is and why anyone would want tomake it. I am looking for generous studentsinterested in fiction-as-play. The model here iscounterpoint; so it may help if you have alreadytaken a fiction-writing workshop, though thecourse is offered (generously) to writers of allbackgrounds.

Fiction WorkshopMary LaChapelleOpen—YearNabokov stated that there are three points of viewfrom which a writer can be considered: as astoryteller, as a teacher, and as an enchanter. Wewill consider all three, but it is with the art ofenchantment that this workshop is mostdedicated. We will walk through the process ofwriting a story. Where does the story come from?How do we know when we are ready to begin?How do we avoid succumbing to safe andunoriginal decisions and learn to recognize andtrust our more mysterious and promisingimpulses? How do our characters guide the work?How do we come to know an ending, and how dowe earn that ending? And finally, how do wecreate the enchantment necessary to involve,persuade, and move the reader in the ways thatfiction is most capable. We will investigate thecraft of fiction through readings and discussionand numerous exercises. Our objective for thesemester is for you to write, revise, and workshopat least two or three fully developed stories.

Writing the Dark Side:Murder, Mayhem, andMysteryMary MorrisOpen—YearFlaubert once said that we should be ordinary inour lives so that we may be violent and wild inour imaginations. This class is designed for thatpurpose—to allow your dark side to run wild.What is the purpose of fiction if not to unlock thesecrets of the human heart. To paraphrase thecrime writer, Kate Atkinson, we write thesestories not in order to solve the puzzle of crimesbut to solve the problem of being alive. From theBible to Brett Easton Ellis, murder has intrigued.Mysteries perplex us. And human behavior can bestranger than anything you could make up. In thiscourse, you get to dip into your own Jeckyl andHyde; but, while the content of this course is toprobe the darkness, the primary goal—in someways, the only goal—is the writing. We will writestories and workshop them. Prompts will bedesigned, and discussions will focus on character,plot, language. The writing is essential, becausewe wouldn’t read stories by Ray Bradbury orJoyce Carol Oates as we do if they weren’twritten by great writers. We’ll read tales from thedark side, starting with Cain and Abel. On toShakespeare’s Othello, Poe, Sir Conan Doyle’sSherlock, John Fowles’s The Collector, JoyceCarol Oates's Zombie and Dark Water, Kafka’sThe Penal Colony, Ray Bradbury’s TheIllustrated Man...and perhaps Dostoyevsky’sCrime and Punishment, Helter Skelter, StephenKing, and mystery writers such as RaymondChandler, Agatha Cristie, and Kate Atkinson. Wewill most likely read James Ellroy’s BlackDahlia, along with the memoir he wrote about themurder of his own mother, My Dark Places.We’ll dip into the world of “noir” and writestories from our own dark places while learningthe essentials of fiction writing. This is not for thefaint-hearted. You will compile a collection ofyour stories by the year’s end. Some previousknowledge of fiction writing is preferred but notrequired.

Fiction WorkshopApril Reynolds MosolinoOpen—YearAll great stories are built with good sentences. Inthis workshop, students will create short stories orcontinue works-in-progress that will be read anddiscussed by their peers. Class sessions will focus

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on constructive criticism of the writer’s work, andstudents will be encouraged to ask the questionswith which all writers grapple: What makes agood story? Have I developed my charactersfully? And does my language convey the ideasthat I want? We will talk about the writer’s craftin this class—how people tell stories to eachother, how to find a plot, and how to make asentence come to life. This workshop should beseen as a place where students can share theirthoughts and ideas in order to then return to theirpages and create a completed imaginary work.There will also be some short stories and essayson the art of writing that will set the tone andprovide literary fodder for the class.

Visible and Invisible Ink: HowFiction Writing HappensLucy RosenthalOpen—YearSuccessful fiction writing is a pleasure thatrequires work and an educated patience. Using asour basic text the stories that students themselveswrite, we will seek to show how each story, as itunfolds, provides clues—in its language,narrative tendencies, distribution of emphases,etc.—to the solution of its own creative problems.We will explore such questions as these: What arethe story’s intentions? How close does the writercome to realizing them? What shifts in approachmight better serve both intentions and materials?What is—or should be—in any given piece ofwork the interplay of theme, language, and form?We will look at the links between the answers tothese questions and the writer’s evolving voice.Discussion and analysis of student work will besupplemented by consideration of published shortstories by writers such as Tim O’Brien, JhumpaLahiri, ZZ Packer, Rick Moody, Junot Diaz,Katherine Anne Porter, James Thurber, andTruman Capote. Exercises—which can serve asspringboards for longer works—will be assignedweekly. Designed to provide opportunities forfree writing and to increase students’ facility withtechnique, the exercises will be based on thereadings and on values and issues emerging fromstudents’ work.

Fiction WorkshopMelvin Jules BukietOpen—FallBulk is not an absolute value, but it’s a generaltruth that if you write more you’ll learn moreabout what you can and can’t accomplish.

Likewise, failure is seldom a condition to beaspired to; yet risking failure—mocking it,taunting it like a tiger tamer—is the best way toensure ultimate success. To that purpose, I hopethat the students in this class will write a lot andrisk a lot. Mostly what I care about here is active,continuous engagement. Then, after a manuscriptis ready, we will discuss the work in conferenceand in class. Everyone in the class will addressevery story submitted to the class. I care aboutstringent, honest critique. In short: You write. Iread. We talk.

From Text to ComicsAlexander CheeOpen—Fall“I draw what I can’t write, and I write what Ican’t draw,” Marjan Satrapi said of her processfor making comics. I don’t think she meant it asanything more than a statement of her aestheticposition; but I see this as something of amanifesto, or statement of purpose, for this class:an idea of storytelling where the text and theimages exist together as a kind of personal idiomfor the writer artist. Our work will take prosewriters interested in telling stories visually in thecomics form through an introduction to the basicsof this form, using exercises, critique, workshop,and comics blogging. Students can come to classwith a text they’ve written themselves, withsomething they plan to write, or with a publicdomain text that they might want to adapt into acomics format. Poetry, short fiction, prose fiction,memoir—all are valid. I also ask that studentskeep a comics Tumblr, where they can post avisual notebook of images that they findinspirational or work that they’re reading thatother students can follow. No particular drawingskills are a prerequisite, though they can help.We’ll be focusing on visual storytelling, thecreation of scripts, the dynamics of adaptingsomething from prose to comics, and thepossibilities for the ways in which comics can becreated.

Literary Journals and WritingCarolyn FerrellOpen—FallWhere do the stories come from that are featuredin anthologies like Best American or the O. HenryPrize Stories? How does the fiction in the ParisReview compare to that of Prairie Schooner?How is Tin House fundamentally different fromPloughshares? And who gets published in literaryjournals to begin with? If questions like these are

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on your mind, this might be the workshop foryou. Students will read various literary journals,both online and in print format, as a way not onlyof discovering the sources of mainstream fictioncollections but also of discovering new voices. Interms of writing, this workshop will be held in atraditional format, wherein students deliver theirwork a week in advance of the workshop andwrite up formal critiques of the fiction of theirfellow writers. There will be writing exercises inaddition to weekly readings of journals andcritical essays. Literary journals can be sources ofgreat reading and inspiration; becoming familiarwith them might help you figure out where yourown fiction might one day find a home.

Crafting Fiction: Stories thatStickMyla GoldbergOpen—FallIn this class—which is devoted to the lonely,exhilarating, terrifying process of creatingfiction—we will strive to create a constructivecommunity of readers with the kindness,toughness, honesty, and sensitivity that can makea workshop a unique and valuable writing tool.Ambition and risk-taking will be encouraged,along with memorable voices and compellingcharacters. Through the work presented, we willdiscuss what makes a plot strong and whatstrategies exist for creating and sustainingnarrative momentum. Outside reading will begeared to the needs and concerns of the class butwill run the gamut from realism to fabulism.

Place in FictionLucy RosenthalOpen—FallCharacters are not disembodied spirits. They needa place to live. With student stories serving as ourbasic text, and drawing also from a varied readinglist, we will explore the multiple uses of place infiction and how it can serve to define characters,advance story, and illuminate theme. We willconsider questions such as why a story happenshere rather than there—say, in Richard Yates’ssuburbia, ZZ Packer’s Atlanta, Jose Donoso’sBuenos Aires or Chile, Nadine Gordimer’s SouthAfrica, Katherine Anne Porter’s Texas, JunotDiaz’s inner city, or Denis Johnson’s highwaysand roads. Each region—its landscape, its history,its culture—has its own set of values andassociations. Changes of scene—from country tocountry, even from room to room—can also

reflect shifts in a character’s state of mind. Whatdoes it mean, for example, for a character tobe—or feel—“out of place” or “at home”? Whatdoes it mean for a character to know—or, as isoften the case, not know—his or her place? What,then, does exile mean? Or homelessness? Alongwith the supplementary readings, short exerciseswill be assigned. This course is for students who,along with writing, want to feel more at homewith books—and for those who already do.

Fiction WorkshopDavid RyanOpen—FallOur workshop will discuss student workalongside readings in critical theory, psychology,philosophy, structure, style, and form. We willapproach ideas such as dream theory, desire as afictional process, memory and impulse, metaphorand metonymy, and structuralism as inroads towriting fiction rather than leaving them in therealm of the theoretical. We’ll also read fictionfrom published writers whose work serves agiven discussion. Writing exercises willemphasize pulling these ideas together. Thoughwe’re interested in learning about processes ofcognition that structure and encourage creativity,we’re far more interested in writing beyondourselves—fumbling around in the dark at firstand approaching a story with all we do not know.As Cynthia Ozick said: “When you write aboutwhat you don’t know, this means you begin tothink about the world at large. You begin to thinkbeyond the home-thoughts. You enter dream andimagination... It’s our will to enter the world.”Even the most grounded realism needs to enterthe reader’s mind like a dream, an unbroken spell.It needs to leave the reader a complete stranger towhat they once found familiar. We will combineOzick’s notion of moving beyond the “home-thoughts” while learning all we can about variousliterary and theoretical legacies. The class will getto thinking about entering the broader world,writing stories that don’t ever leave their readers.

Voice and FormCarolyn FerrellOpen—SpringIt’s something we talk about in workshop andadmire in the literature we read, but how does onediscover one’s voice in fiction? How is voicerelated to subject matter, form, and point of view?How does one go about creating a memorablevoice on the page? Through writing exercises and

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weekly reading assignments, we’ll explore theseand other questions. Readings will include severalgenres, including young-adult novels, graphicmemoirs, short stories, poetry, and creativenonfiction. Authors we’ll read include GeorgeSaunders, Barry Yourgrau, Sherman Alexie,Aimee Bender, and Jacqueline Woodson.Students will get a chance to workshop stories atleast twice during the semester; for conference,there will be additional reading. Come preparedto work hard, critique the writing of others withcare and insight, and hone the elements of craft inyour own fiction.

Words and PicturesMyra GoldbergOpen—SpringThis is a course with writing at its center and theother arts, mainly but not exclusively visual,around it. It should let you see what you can puttogether that has been kept apart. We will readand look at all kinds of things—children’s books,mysteries, poetry, short stories, fairy tales,graphic novels, performance pieces—and thinkabout the ways in which people have used writingand other arts to speak to each other. Inconference work, people in these classes havecombined text and pictures involving cartoons,quilts, T-shirts, texts with music behind them, andso on. There will be weekly assignments thatspecify what emotional territory you are in butnot what you make of it.

Words and Pictures,International EditionMyra GoldbergOpen—SpringThis course, like its sister, uses graphic novels,poems, children’s books, and all kinds of othertexts and arts to explore storytelling; but, in thiscase, the emphasis is on works from everywhere:ancient Egyptian love poems, a Malaysiangraphic autobiography, memoir from Pakistan.Conference work, as in Words and Pictures, isopen to all kinds of things, including quilts,animations, adult picture books…use yourimagination. There will be weekly readings andexercises.

Fiction TechniquesWilliam Melvin KelleyOpen—SpringArt may come from the heart, but craft comesfrom the brain. Taking a craft orientation, the

class identifies and isolates essential technicalelements of fiction writing—the merits of variouspoints of view, the balance of narrative anddialogue, the smooth integration of flashback intonarrative, the uses of long or short sentences,tenses—and then rehearses them until the writerdevelops facility and confidence in their use. Weaccomplish this by daily writing in an assigneddiary. In addition to assigned writing, the writermust (or attempt to) produce 40 pages of workeach semester. The class reads short fiction orexcerpts from longer works that illustrate the usesof these numerous techniques and pays specialattention to James Joyce’s Ulysses, a toolbox of anovel that employs most of the techniques offiction developed since its 17th-centurybeginnings. Each writer must choose and read anovel of literary or social value written by awoman, such as Wuthering Heights,Frankenstein, Uncle Tom’s Cabin, or Gone withthe Wind. Conducted in a noncompetitive andcooperative way, the class brainstorms a plot and,with each writer taking a chapter, composes aclass novel. Finally, the class explores the properuse of a writer’s secondary tool—the copymachine in the production of a simplepublication, a ’zine—extending the process offiction writing beyond the frustrating limbo of thefinished manuscript. Fictional Techniques adoptsa hammer-and-nails approach to writing prosefiction, going behind the curtain to where thescenery gets painted and the levers get yanked.

Necessary Hero: A FictionWorkshopMary LaChapelleOpen—SpringImagine a hero who is female and grows up in theAppalachian Mountains. Imagine a hero who ismale, a Mexican immigrant, and lives near theOakland shipyards. Imagine a girl from Norwaywhose family immigrates to North Dakota in the1870s. What in their characters will begin todistinguish each as a hero? What flaws or beliefs?What innovative actions will their circumstances,culture, or time in history necessitate? The onlyrequirement for each student’s hero is that he orshe be human and living on earth. During thesemester, each writer will develop a sustainedhero’s tale. This will require the accurateimagination of place, time, character, and actionsin response to each hero’s challenges andobstacles. Writers will research, as well as reflecton, heroic models from antiquity to the presentday. Along with writing exercises suited to the

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task, we will read tales of heroes from theAmericas, the Middle East, Europe, Asia, Africa,and elsewhere: Gilgamesh, Odysseus, Buddha,Moses, Joan of Arc, Nana Triban, PippiLongstocking, Huck Finn, as well as student-selected literary models.

Creative Writing WorkshopKate ZambrenoOpen—SpringI don’t believe in rules to follow when writingand, if anything, I think writing is often mostalive when it breaks preconceived rules. But whatI do believe is that the key to writing is learninghow to be a writer, which means learning how toexist in the space of the page and on the screen,the space of being alone in a room anddeveloping a practice by reading, rewriting, andrepeating. Being a writer often means failing and,hopefully, making discoveries through thisfailure. As Samuel Beckett has written: “Evertried. Ever failed. No matter. Try again. Failagain. Fail better.” We will meet twice a week. Inthe first meeting, we will read and discuss studentwriting and then, by the second class, you willhave read a range of wild texts that encourageplayfulness with form—published fiction andessays on writing, including The Anchor Book ofNew American Short Stories. We will be readingas writers in order to artfully steal, instigatingweekly failures and experiments of your own.Although you will only be bringing to workshoptwo pieces for the semester, we will be writingand sharing other short writing in and out of class.I will also expect you to bring new writing orrewrites in conference. Open to anyone seriousabout the work and play needed.

Stories That Need to be ToldGerry AlbarelliOpen—FallThis course explores memory, vanishinghistories, and the connection between the writtenand the spoken story. Students will conduct oralhistory interviews as one means of discoveringstories that need to be told. By listening to thesestories, students will make important discoveries.They will discover a wealth of stories set in thewider world. They will discover that each story,especially in the retelling, makes its own set ofdemands. They will also discover their ownimportant stories. There will be autobiographicalwriting assignments, as well as the opportunity towrite fiction. The class will conduct a series ofinterviews at Hour Children, an organization that

supports women who have recently been releasedfrom prison. Students will create a series ofdramatic monologues based on these interviews.There will be an end-of-semester staged readingof the monologues by professional actors. Therewill also be an end-of-semester multimediaexhibit, during which students will presentconference work.

Essay WorkshopJo Ann BeardOpen—FallIn this course, we will study the form of theessay, dividing our time between reading andinterpretation of literature (nonfiction, fiction, andwhat falls between) and the creation andcritiquing of new work. These essays, both formaland informal, will be generated through looselystructured in-class exercises and outsideassignments. We will work on crafting short,perfect pieces—so come prepared to think aboutyour writing at the sentence level. Conferenceswill encompass a highly enjoyable reading listand several truly great documentary films chosento complement the work that we do in class tobroaden our understanding of narrative structure.

Nonfiction Workshop:Recollected in CommotionJonathan DixonOpen—FallFilm historian Ray Carney said, “Consciousnesscannot precede expression.” Or, as Joan Didionput it, “I write entirely to find out what I’mthinking, what I’m looking at, what I see, andwhat it means.” All forms of nonfiction—fromhard news and biography to the experimentalessay—bring the writer into a unique relationshipwith fact and perception. In this workshop, we’llexamine what makes compelling nonfiction,looking closely at crafting a narrative from rawdata, the tension between bias and objectivity, theresponsibility of the writer to his or her subject,and, most of all, how a writer’s thinking developsand shifts during his or her explorations. We’lldiscuss student work each week and examinepreviously published pieces, which will includeparts of Hunter Thompson’s Fear and Loathingin Las Vegas, Didion’s The White Album, DenisJohnson’s Seek, critics Greg Tate and LesterBangs on Miles Davis (and we may hear a littlebit from Miles himself), Maximum City by Suketu

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Mehta, Richard Meltzer’s Gulcher, and SarahManguso’s The Two Kinds of Decay, amongothers.

Writing, Radio, and AuralitySally HershipsOpen—FallIn this course, we will explore what it means towrite for radio and other aural contexts. Thecourse will involve deep listening, criticalanalysis, and discussion of narrative texts. We’lllisten to and compare a variety of works acrossradio genres and from around the world, from thepersonal narratives on “This American Life” tothe more artistic, thematic pieces being airedinternationally on ABC and the BBC to the PrixEuropa and the big-idea stories common toRadiolab and NPR’s “Planet Money.” Allthe while, we will be making radio of our own.As we workshop our pieces we’ll “mic” ourselvesclosely, examining what happens at theintersection of sound and the written word. Whatdoes it mean to give a literal voice toyour writing? How will the words you’ve writtenon paper adapt as they move onto the air? Andhow is it best to give voice to someone else’sstory? Also, sound can mean theatre—when is itethical to instill drama into a story, and when is itoverkill? The technical aspects involved inthe course will include microphone techniques,interviewing skills, digital editing, and podcastcreation. We will plan an end-of-semester fieldtrip to WNYC, New York Public Radio.

Writing Our MomentMarek FuchsOpen—SpringIt would be safe to say that journalism andnonfiction writing are currently undergoing atransformation. Our most storied publications arein a state of crisis. Big-city newspapers are failingby the day. Magazines are imperiled. Bookpublishers face encroaching competition fromhandheld electronic devices and online searchengines that do not recognize copyright laws.What is an ambitious, intuitive writer to do goingforward? Quite simply: Harness all the strengthsof the storytelling past to a new world of fewspace restrictions, more flexible tones, the readypresence of video, audio, and animation—whichcan either enrich or encroach upon text—andcomprehend the role of writer in such a way as toinclude and exploit new media. We will examinethe relationship between literary nonfiction,which has always been cinematic in focus and

flexible in tone, and the once and future practiceof journalism. Masters of 20th-century nonfictionsuch as V.S. Naipaul, Truman Capote, JosephMitchell, and Roger Angell—steeped as they arein the journalistic practice of their time—canserve as guideposts to our uncertain future. Wewill examine, through reading and writing, theways in which the formulas of journalism aretransformed into literature. We will emphasizethe importance of factuality and fact-checkingand explore adapting modern storytelling tovideo, photography, and sound. As the semesterprogresses, literary nonfiction will be bothdiscovered and reinvented to fit our new world.

Writing and Producing RadioDramasAnn HeppermannOpen—SpringRadio drama is far from dead. In fact, this classproves that it is poised for a revolution. Thepurpose of this class is to learn aboutcontemporary radio fiction and push theboundaries of what is currently being created. Wewill listen to emerging works by JonathanMitchell, Miranda July, Rick Moody, NatalieKestecher, Gregory Whitehead, and others. We’llalso analyze programs like “Selected Shorts,”“The Truth,” “RadioEye,” “The Next Big Thing,”“Wiretap,” and others. We’ll tune the ear to radioworks from around the world—England,Australia, Germany, and Norway—to explorehow and why other countries have carried on thetradition of radio drama more than here in theUnited States. You’ll discover how knitting withdog hair fooled a nation and hear the letter thatPresident Nixon wrote if Neil Armstrong andBuzz Aldrin had crash-landed rather than landingon the moon. We’ll also look at how fiction canilluminate truth—and discuss what happens whenthose lines blur. Class will include author, actor,and producer visits. We’ll also have organizedperformances throughout the semester for thosewho would like to participate. Students will learnhow to write for radio, produce and mix pieces,and create a podcast. We use Soundcloudextensively to comment on and share works. Atthe end of the semester, we will upload works tothe Public Radio Exchange, and the best workmay air on “The Organist” podcast.

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The Source of Stories: WritingFrom Your Own Experience:Mixed-Genre WorkshopMary MorrisOpen—SpringThe novelist John Berger once said that writersdraw their material from three sources:experience, witness, and imagination. The goal ofthis mixed-genre workshop—which will focus onthe short story, personal essay, and memoir—isfor the emerging writer to find and develop his orher own subject matter. Students will be asked toexplore the raw material of their lives and addingthe mix of witness (what we have seen or beentold) and what we invent. We begin with anassignment, based on Joe Brainard’s book, IRemember. Students will make their own lists ofmemories of childhood and adolescence. We willturn these lists into anecdotes and scenes andeventually into stories. Students will also begin alist called “I Imagine” and, in this assignment, wewill explore family lore, stories they have heardfrom others, or perhaps even draw fromnewspaper accounts. We will look at writers whohave delved into their own subject matter in bothfiction and nonfiction—such as James Baldwin,Sandra Cisneros, Tim O’Brien, Virginia Woolf,Paul Auster, and Lorrie Moore—and discuss thevarious issues posed in each form. Students willbe given assignments intended to evoke subjectmatter in both genres—for example, a piece offamily lore might become a short essay or a workof fiction—and write short stories, essays, andmemoir, learning to move freely from one genreto the next and attempting to reimagine thematerial in different forms. The emphasis will beon voice and narrative, both of which areessential for good fiction and nonfiction. We willalso spend a good deal of time learning what itmeans to write a scene. This is a class for anystudent who wants to explore material that canbecome the subject matter of stories.

A Question of Character: TheArt of the ProfileAlice TruaxOpen—SpringAny writer who tries to capture the likeness ofanother—whether in biography, history,journalism, or art criticism—must face certainquestions. What makes a good profile? What isthe power dynamic between subject and writer?How does a subject’s place in the worlddetermine the parameters of what may be written

about him or her? To what extent is any portraitalso a self-portrait? And how can thecomplexities of a personality be captured inseveral thousand—or even severalhundred—words? In this course, we will tacklethe various challenges of profile writing, such aschoosing a good subject, interviewing, plotting,obtaining and telescoping biographicalinformation, and defining the role of place in theportrait. Students will be expected to share theirown work, identify what they admire or despisein other writers’ characterizations and learn toread closely many masters of the genre: JosephMitchell, Tom Wolfe, Daphne Merkin, JanetMalcolm. We will also turn to shorter forms ofwriting—personal sketches, obituaries, briefreported pieces, fictional descriptions—to furtherilluminate what we mean when we talk about“identity” and “character.” The goal of this courseis less to teach the art of profile writing than tomake us all more alert to the subtleties of theform.

Poetry Workshop: Rebels,Sirens, OutlawsTina ChangOpen—YearPoetry is oftentimes driven by a mysterious forcethat prompts the imaginative writer to rebel,disobey, lie, tell fantastic truths, subvert, makenew, or forge an entirely new path in a way thatfeels both expansive and combustible. The firstsemester will concentrate on in-class writing andcritique, poetic experiments, wild meanderings,and manifestos anchored by choice readings ofpoems and essays. The second semester willground the student by delving into individualbooks that will help the writer become moreknowledgeable about the history in which theyare a part. A book a week will be read, followedby in-depth discussions on craft, style, voice,vision, structure, and song. Poets that we willread include John Berryman, Allen Ginsberg,Sylvia Plath, Amiri Baraka, Gertrude Stein, JoseGarcia Villa, James Dickey, Anne Carson, AlbertGoldbarth, Lucie Brock-Broido, Lucille Clifton,and others. Students are expected to write andread consistently, to experiment, and to bepassionate about creation. Take-homeassignments will accompany readings. Tworevision portfolios will be due during eachsemester. Students will have the opportunity tomeet and converse with established poets whosework we will be studying in the spring semester.

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Awake and Dreaming: APoetry Reading and WritingSeminarKate Knapp JohnsonOpen—YearThis will be a yearlong endeavor: Can wediscover some of the secrets of the “balancingact” that poetry is? We will explore distinctionsbetween fact and truth, truth and truthfulness; wewill work together to learn how to be awake toimage-making, the logic of nonlogic, alwaysoffered to us through metaphors, dreams, andmemory. Essays on writing, art, artifice, and theartificial will be discussed, along with readings onthe craft of poetry and on “revision as creation.”A variety of poems will be read inclass—contemporary, traditional, experimental,multicultural. We’ll also workshop our ownpoems attentively and compassionately, with oureyes on prosody, clarity, and clarity’s criticalcounterpart: mystery. In conferences, we willcontinue the hard work of writing, revising, andreading. Ten poems revised and sequenced inchapbook format, an essay as a questioningresponse to assigned books, and an annotatedbibliography (a worksheet) are expected eachsemester, as well as full class and conferenceparticipation. This course is open to seriousstudents of poetry who are committed to reading,writing, and delighting in poems!

PLAY: Poetry WorkshopCynthia CruzOpen—FallWith the spirit of play in mind, we will read andworkshop our own poems, as well as read anddiscuss the work of published poets forinspiration and direction. We will utilize writingexercises/writing games to help us generate work.We will look at the work of artists and writerswho have invoked play. Artists and writers wewill discuss may include Mike Kelley, AlbertOehlen, Martin Kippenberger, Eileen Myles,Maggie Nelson, and Mary Ruefle. In workshop,we will learn how to use craft to make our poemscome to life and practice finding a balancebetween the serious study of writing whileinfusing each class with a sense of fun. We willtravel to New York City for at least one outing,and at least one artist or writer will visit the classto discuss her or his artistic process.

Poetry Workshop: Focus OnPoetic ToneMartha RhodesOpen—FallThis workshop will focus on how we create,sustain, and shift the tone of our poems. We willdefine tone as the weather, temperature, attitudeof the poem. Often, the poem shifts line to line orstanza to stanza. But sometimes, it stays the samethroughout. We create tone through our wordchoice, sentence formation, punctuation, overallstructure. In short, tone is realized through howwe manage our material. We’ll look, then, at theworkshop poems and poems by other poetsthrough the lens of tonal management, focusingon the poetic elements utilized by the poet.

On FormSuzanne GardinierIntermediate, Advanced—SpringIn this class, we will begin to investigate themysteries of poetic form via the abecedarium,blues, ghazal, haiku, lipogram, sonnet, villanelle,random integer generators, and the I Ching—andvia questions like: What is form? Is it separablefrom content? Is it a fascistic imposition of orderon the freedom of chaos? What’s the relationshipbetween randomness and form? Do its prototypesexist in a transcendental realm beyond thephysical senses? (Is this what Plato meant whenhe described poetry as “concerned withsomething third from the truth”?) Did itdisappear in English poetry of the United Stateswith Walt Whitman? Or with T. S. Eliot? Iswhat’s called free verse formless? Is form “old”and formlessness “new”? Is language itself aform? You’ll be asked to memorize, do tworeadings, and make a final portfolio of 10 pagesof formal poetry that you’ve read over the courseof the term and 10 pages that you’ve written. Atleast one previous poetry class is required.

Poetry Workshop: TheMaking of the Complete LoverSuzanne GardinierOpen—Spring“The known universe has one complete lover, andthat is the greatest poet.”—Walt Whitman

This course, a semester-long variation on thetheme of the traditional poetry workshop, willfocus on acquiring the ways and means ofWhitman’s complete lover via the study of greatpoetry. En route, we will read aloud, discuss

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particular topics (e.g., line breaks, punctuation,truth), and do various tuning and strengtheningexercises. Conference time will be devoted tostudent work. Students will also be asked tocompile an anthology and a chapbook collectionof original poetry for class distribution, tomemorize, and to participate in two class readingsover the course of the term. The onlyprerequisites are a curiosity about all poetry, notjust one’s own, and a commitment to undertakewhatever labors are necessary to write better onthe last day of class than on the first.

Poetry WorkshopMarie HoweOpen—SpringThis is a reading/writing course. We will spendtime every week reading poems that have alreadybeen published, so that we can see how they weremade: music, syntax, line, sound, and image. Wemight spend time generating new work in classthrough exercises and experiments. And we willspend time looking closely at one another’s work,encouraging each other to take risks and to moveeven closer to the sources of our poems. Eachwriter in the class will meet with another classmember once a week on a “poetry date.” Eachwriter will be responsible for reading the assignedwork and for bringing to class one writtenoffering each week. We will work hard, learn agreat deal about poetry and about our own poems,and have a wonderful time.

Poetry and Prose HybridsJeffrey McDanielOpen—SpringIn this class, we will read and discuss books thatblur the lines between poetry and fiction and

memoir. Authors to be read include Anne Carson,Maggie Nelson, Eula Biss, Michael Martone,James Baldwin, and others. Half of each classwill be devoted to discussing the weekly reading,which will amount to about one book per week.The other half of class will be spent discussingstudent work. Students will be encouraged toembark on a project that explores hybrid forms intheir writing. For workshop, students may bringin poetry, prose, or anything in between. Therewill be several screenings outside of class thatstudents will be expected to attend.

Wrongfully AccusedMarek FuchsOpen—FallLong-form investigative journalism has openedmany doors, perhaps most literally in America’spenal system where journalists have regularlyrevealed—and freed—the wrongfully convicted.This class will set out to expose the innocence (orconfirm the guilt) of a man or woman convictedof a controversial murder or other serious felony.Working collectively and using all tools andtraditions of investigative journalism, the classwill attempt to pull out all known and unknownthreads of the story to reveal the truth. Was oursubject wrongfully accused, or are his or herclaims of innocence an attempt to game thesystem? The class will interview police,prosecutors, and witnesses, as well as the friendsand family of the victim and of the accused. Thecase file will be examined in depth. A long-forminvestigative piece will be produced, completewith multimedia accompaniment.

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Faculty

Current Faculty

Each year, Sarah Lawrence invites distinguishedscholars and artists to teach at the College on aguest basis. In 2014-2015, approximately 18percent of our faculty are teaching on a guestbasis.

Colin D. Abernethy ChemistryChemistry BSc (Hons), Durham University,England. PhD, The University of NewBrunswick, Canada. Current research interestsinclude the synthesis of new early transition-metal nitride compounds and the development ofpractical exercises for undergraduate chemistryteaching laboratories. Author of publications inthe fields of inorganic and physical chemistry, aswell as chemical education. Recipient of researchgrants from The Royal Society, the NuffieldFoundation, Research Corporation for theAdvancement of Science, and the AmericanChemical Society. Received postdoctoral researchfellowships at the University of Texas at Austinand Cardiff University, Wales. Previously taughtat: Strathclyde University, Scotland; WesternKentucky University; and Keene State College,New Hampshire. SLC, 2010–

Julie Abraham Lesbian, Gay, Bisexual, andTransgender Studies

BA (Hons.), University of Adelaide, Australia.MA, MPhil, PhD, Columbia University. Specialinterest in lesbian/gay/queer studies, 20th-centuryBritish and American literature, contemporaryfeminisms, and literatures of the city; author ofAre Girls Necessary?: Lesbian Writing andModern Histories, Metropolitan Lovers: TheHomosexuality of Cities, and numerous essays;editor of Diana: A Strange Autobiography;contributor to The Nation and The Women’sReview of Books. SLC, 2000–

Samuel Abrams PoliticsAB, Stanford University. AM, PhD, HarvardUniversity. Fellow at the Hamilton Center forPolitical Economy at New York University,member of Harvard University’s Kennedy Schoolof Government Program on Inequality and SocialPolicy, research fellow with Harvard’s CanadaProgram. Main topics of research include socialpolicy, inequality, international politicaleconomy, and comparative and Americanpolitics; special interest in network analysis, the

media, Congress, political behavior, urban studiesand cities, public opinion and survey research,political communication and elections, and thesocial nature of political behavior; conductedfieldwork throughout Europe and North America.Two substantial projects are presently in progress:a comparative, historical study to understandpolitical participation in Western democracies(i.e., Why do some people vote while others donot?) and an examination of American politicalculture and the nature of centrism andpolarization in the United States. SLC, 2010–

Ernest H. Abuba TheatreRecipient of an OBIE Award, five New YorkState Council on the Arts fellowships forplaywriting and directing, a RockefellerFoundation fellowship, Creative Artist PublicService Award (CAPS), Best Actor Focus PressAward, Society of Stage Directors andChoreographers (SSDC) member. Broadway:Pacific Overtures, Shimada, Loose Ends, TheKing and I, Zoya's Apartment, director BorisMorozov, Maly Theatre. Regional/off-Broadwayroles: King Lear, Macbeth, Oberon, King Arthur,Autolycus, Chebutykin, James Tyrone, Lysander,Mishima; Caucasian Chalk Circle, director FritzBennewitz, Berlin Ensemble. Author of Kwatz!The Tibetan Project, Leir Rex, The DowagerEmpress of China, An American Story, Eat aBowl of Tea, Night Stalker, and the operaCambodia Agonistes, all produced off-Broadway;national tours to the Cairo Experimental Theatreand Johannesburg, South Africa. PerformedButoh with Shigeko Suga in Spleen, AccadeDomani by Dario Fo, and Sotoba Komachi. Film/TV: 12 Monkeys (director Terry Gilliam), King ofNew York, Call Me, New York Undercover, KungFu. Director/ screenwriter: Mariana Bracetti,Arthur A. Schomburg, Asian American RailroadStrike, Iroquois Confederacy, Lilac Chen-AsianAmerican Suffragette, and Osceola (PBS/CBS).Voice of His Holiness the Dalai Lama on theaudiobook The Art of Happiness. SLC, 1995–

Jefferson Adams HistoryBA, Stanford University. PhD, HarvardUniversity. Special interest in European political,diplomatic, and cultural history, with emphasis onmodern Germany; visiting scholar at the HooverInstitution on War, Revolution, and Peace; authorof Historical Dictionary of German Intelligence;editor and translator of Beyond the Wall:Memoirs of an East and West German Spy; senior

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editor, International Journal of Intelligence andCounterintelligence; member, American Councilon Germany. SLC 1971–

Cameron C. Afzal ReligionBA, Grinnell College. MA, McGill University.MDiv, Yale University. PhD, ColumbiaUniversity. Active member of the Society ofBiblical Literature and the American Academy ofReligion, as well as the Catholic BiblicalAssociation; has written on the Apocalypse ofJohn and has taught broadly in the fields of NewTestament and Early Christianity, Judaism in theSecond Temple Period, the Hebrew Bible, andLate Antique Christian Mysticism. SLC, 1992–

Ujju Aggarwal Public PolicyBA, New York University. MPhil and PhD,Graduate Center of the City University of NewYork. Cultural anthropologist whose workexamines how post-Brown v. Board of Education“choice.” as a key principle of reform andmanagement in education, became central to howrights, freedom, and citizenship were imagined,structured, and constrained. Research grows outof her long-time work as a community organizerand educator. Taught urban studies, anthropology,and research methods courses at the New Schooland at Hunter College. Currently works with theParent Leadership Project at the BloomingdaleFamily Head Start Center and is a member of thenational collective of INCITE! Her work has beenpublished in Peace and Conflict: Journal ofPeace Psychology (2012); she is a contributor toEducational Courage: Resisting the Ambush ofPublic Education (2012). SLC, 2013-

Kirsten Agresta Music

Sean Akerman PsychologyBA, Wheaton College. PhD, Graduate Center,City University of New York. Central interests innarrative psychology and stories oftransformation with special emphasis onqualitative methods, medicine, religiousexperience, and uprootedness. Current workincludes an inquiry into the inheritance of exileand the figurations of home among Tibetansliving in New York City. SLC 2011-

Gerry Albarelli WritingBA, Sarah Lawrence College. MA, BrownUniversity. Author of Teacha! Stories from aYeshiva (Glad Day Books, 2001), chronicling hisexperience as a non-Jew teaching English as asecond language to Yiddish-speaking Hasidicboys at a yeshiva in Brooklyn; has published

stories in numerous anthologies and reviews,including The Penguin Book of Gay Short Stories,Global City Review, The Breast, and FairleighDickinson Review; on the faculty of Eugene LangCollege; works for the Columbia University OralHistory Research Office, where he has initiatednumerous documentary projects; conductedhundreds of life history interviews with gay cops,retired vaudevillians and showgirls, ironworkers,immigrants, and, most recently, people affectedby the events of September 11 and veteransrecently returned from the war in Iraq. He workedas an educator and project designer onColumbia’s “Telling Lives Oral History Project.”This project, which was launched in eightclassrooms in two middle schools in New YorkCity’s Chinatown, culminated in seven books,two documentary films, and a multimedia exhibit.He served as editor of three of the books,producer of the documentaries, and curator of theexhibit. SLC, 2004–

Glenn Alexander Music

Melissa Alexis DanceBA, Amherst College, MFA, Sarah LawrenceCollege. Melissa Alexis has taught at BostonUniversity, Smith College, Amherst College, andTufts University. Currently on faculty at BardHigh School Early College Newark, where she isimplementing a new dance program. She gaineda Master of Fine Arts in Dance from SarahLawrence College and holds a Bachelor of Arts inPsychology and Spanish from Amherst College.She has trained with Yvonne Daniel, Ronald K.Brown, and Lamine Thiam. Her practice isrooted in the exploration of the intersectionbetween African and Western perspectives, aswell as psychology and Buddhist studies.

Andrew Algire Music

Abraham Anderson Philosophy (on leave springsemester)

AB, Harvard College. PhD, Columbia University.Fellowships at École Normale Supérieure and theUniversity of Munich. Interests in philosophy andhistory of science, history of modern philosophy,and the Enlightenment. Author of The Treatise ofthe Three Impostors and the Problem ofEnlightenment, as well as of articles on Kant,Descartes, and other topics. Contributor to thenew Kant-Lexikon. Has taught at the CollègeInternational de Philosophie, St. John’s College,Instituto de Investigaciones Filosóficas, andelsewhere. SLC, 2007–

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William Anderson Music

Emily Katz Anhalt Hyman H. KleinmanFellowship in the Humanities —Classics,Greek, Latin

AB, Dartmouth College. PhD, Yale University.Primary interests are Greek epic and lyric poetry,Greek historiography, Greek tragedy, and Greekand Roman sexuality. Publications include Solonthe Singer: Politics and Poetics (Lanham, MD,1993), as well as several articles on the poetics ofmetaphor in Homer and on narrative techniquesin Herodotus. SLC, 2004–

Neil Arditi Esther RaushenbushChair—Literature

BA, Yale University. MA, PhD, University ofVirginia. Special interest in British Romanticpoetry, Romantic legacies in modern andcontemporary poetry, and the history of criticismand theory. Essays published in Raritan,Parnassus, Keats-Shelley Journal, Philosophyand Literature, and Jewish-American Dramatistsand Poets. SLC, 2001–

Damani Baker Visual Arts (on leave springsemester)

BA, Sarah Lawrence College. BA, MFA,University of California-Los Angeles, School ofFilm and Television. Writer and director;nominated for the Rockefeller Artist Award, theEdie and Lew Wasserman Award, the MotionPicture Association of America Award, a GeorgeSoros/Sundance Institute grant; selected in 2000by Filmmaker magazine as one of “25 new facesin independent film”; co-founded Soulfire Films(2000), a nonprofit production company;Soulfire’s flagship project, Grenada: A DreamDeferred, is a documentary that revisits the eventsand circumstances of the 1983 US invasion ofGrenada; directed and produced films for PBS,Bill Moyers, Mel Stuart Productions, theAmerican Legacy Foundation, and DannyGlover’s Carrie Productions. SLC, 2003–

Nancy Baker PhilosophyBA, Wellesley College. PhD, BrandeisUniversity. Special interests in philosophy ofmind, the later work of Wittgenstein, philosophyof religion, and feminist theory; author of articleson Wittgenstein and Vygotsky. SLC, 1974–

Carl Barenboim Roy E. Larsen Chair inPsychology —Psychology (on leave springsemester)

BA, Clark University. PhD, University ofRochester. Special interest in the child’s

developing ability to reason about the socialworld, as well as the relation between children’ssocial thinking and social behavior; articles andchapters on children’s perspective-taking, personperception, interpersonal problem solving, andthe ability to infer carelessness in others; pastmember, Board of Consulting Editors,Developmental Psychology; principalinvestigator, grant from the National Institute ofChild Health and Human Development. SLC,1988–

Deanna Barenboim AnthropologyBA, Sarah Lawrence College. MA, PhDcandidate, University of Chicago. Specialinterests in the cultural construction ofintersubjectivity, personhood, and agency;transborder and transnational experience; politicsof indigeneity; ethnicity and race; cross-culturalmodes of illness and healing; ethnographicpractice; Mexico and Latin America.Ethnographic fieldwork in Yucatán, Mexico, andwith Maya migrants in California. Recipient ofgrants and fellowships from the National ScienceFoundation, the US Department of Education, andthe University of Chicago Center for LatinAmerican Studies. SLC, 2009–

Jo Ann Beard Writing (on leave spring semester)BFA, MA, University of Iowa. Essayist andcreative nonfiction writer; author of The Boys ofMy Youth, a collection of autobiographical essays,as well as essays/articles published in magazines,journals, and anthologies. Recipient of a WhitingWriters’ Award. SLC, 2000–2005, 2007–

Igor Begelman Music

sarah-marie belcastro MathematicsBS, Haverford College. MS, PhD, University ofMichigan. Interests include topological graphtheory, convex geometry, mathematics and fiberarts, dance, feminist philosophy of science,algebraic geometry, and the mathematics of paperfolding. Associate editor of The CollegeMathematics Journal (MAA), co-editor/co-authorof Making Mathematics with Needlework (AKPeters, 2007) and Crafting by Concepts (AKPeters, 2011), and author of DiscreteMathematics with Ducks (AK Peters, 2012). SLC,2008-09, 2010-2011, 2012–

Stefania Benzoni ItalianBA, University L. Bocconi, Milan, Italy. Taughtcollege Italian at all levels, including languagecoaching for opera majors in the Music

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Conservatory at SUNY-Purchase; organizedcultural and language learning trips to NorthernItaly. SLC, 2001, 2006–

Miguel Bermudez Computer ScienceBS, University of Michigan. MPS, New YorkUniversity, Interactive TelecommunicationsProgram. Professional software engineer; designsand implements both front- and back-end Webapplications. SLC, 2013–

Chester Biscardi Director, Program inMusic—Music

BA, MA, MM, University of Wisconsin. MMA,DMA, Yale University. Composer; recipient:Rome Prize from American Academy in Rome,Academy Award in Music and Charles IvesScholarship from American Academy andInstitute of Arts and Letters, Aaron CoplandAward, fellowships from the BogliascoFoundation, the Djerassi Foundation, theGuggenheim Foundation, the Japan Foundation,the MacDowell Colony, and the RockefellerFoundation (Bellagio), as well as grants from theFromm Music Foundation at Harvard, theKoussevitzky Music Foundation in the Library ofCongress, the Martha Baird RockefellerFoundation, Meet the Composer, the NationalEndowment for the Arts, and the New YorkFoundation for the Arts, among others; musicpublished by C. F. Peters, Merion Music, Inc. ofTheodore Presser Company, and Biscardi MusicPress; recordings appear on the Albany, Bridge,CRI (New World Records), Intim Musik(Sweden), Naxos, New Albion, New Ariel, North/South Recordings, and Sept Jardins (Canada)labels. Yamaha Artist. SLC, 1977–

Patti Bradshaw DanceBM, University of Massachusetts. Certified yogaunion instructor and Kinetic Awarenessinstructor. Has taught at the New School,Fundação Calouste Gulbenkian; workshops atNew York University, The Kitchen, hospitals,and various schools and studios in New York andGreece. Dancer, choreographer, and maker ofpuppet theatre. Work shown at St Ann’sWarehouse in 2005 and 2006. SLC, 2000–

Bella Brodzki The Alice Stone Ilchman Chair inComparative and International Studies—Literature

BA, Sarah Lawrence College. MA, HebrewUniversity. PhD, Brown University. Specialinterests in critical and cultural theory, genderstudies, postcolonial studies, translation studies,autobiography, and modern and contemporary

fiction. Selected scholarly publications includeessays in PMLA, MLN, Yale French Studies,Studies in Twentieth-Century Fiction, YaleJournal of Criticism, Modern Fiction Studies,Profils Américains, and in collections such asBorderwork: Feminist Engagements withComparative Literature; Women, Autobiography,and Fiction: A Reader; Critical Cosmos: LatinAmerican Approaches to Fiction; Feminism andInstitutions: A Dialogue on Feminist Theory; andMLA Approaches to Teaching Representations ofthe Holocaust. Author of Can These Bones Live?:Translation, Survival, and Cultural Memory; co-editor of Life/Lines: Theorizing Women’sAutobiography. Recipient of NationalEndowment for the Humanities fellowships,Lucius Littauer Award, and Hewlett-Mellongrants. Visiting professor at Université deMontpellier-Paul Valéry and Université deVersailles-St. Quentin. SLC, 1984–

Adam Brown PsychologyUniversity of Oregon. MA, PhD, New School forSocial Research. Postdoctoral Fellow, WeillMedical College of Cornell University. AdjunctAssistant Professor, New York University Schoolof Medicine. Clinical psychologist with specialinterests in clinical, cognitive, and neuroscientificapproaches to memory and emotion; cognitiveand neural basis of fear and anxiety; post-traumatic stress disorder (PTSD); socialinfluences on memory; and the construction ofautobiographical memory and self-identity.Australian-American Fulbright Senior Scholar.Editorial board, Memory Studies. SLC, 2009–

Melvin Jules Bukiet Writing (on leave springsemester)

BA, Sarah Lawrence College. MFA, ColumbiaUniversity. Author of Sandman’s Dust, Stories ofan Imaginary Childhood, While the MessiahTarries, After, Signs and Wonders, Strange Fire,and A Faker’s Dozen; editor of Neurotica,Nothing Makes You Free, and Scribblers on theRoof. Works have been translated into a half-dozen languages and frequently anthologized;winner of the Edward Lewis Wallant Award andother prizes; stories published in Antaeus, TheParis Review, and other magazines; essayspublished in The New York Times, TheWashington Post, The Los Angeles Times, andother newspapers. SLC, 1993–

Gary Burnley Visual ArtsBFA, Washington University. MFA, YaleUniversity. One-person and group exhibitions in

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the United States and Europe; works included inmajor private, corporate, and museum collections;awards and fellowships include the FederalDesign Achievement Award, NationalEndowment for the Arts, New York StateCouncil, and CAPS; public commissions includethe MTA and St. Louis Bi-State Development.SLC, 1980–

Scott Calvin PhysicsBA, University of California-Berkeley. PhD,Hunter College. Taught courses or workshops atLowell High School, University of San Francisco,University of California-Berkeley, HaydenPlanetarium, Southern Connecticut StateUniversity, Hunter College, Stanford SynchrotronRadiation Lightsource, Brookhaven NationalLaboratory, Argonne National Laboratory, GhentUniversity in Belgium, and the Synchrotron LightResearch Institute in Thailand. Recent projectsinclude the spectroscopy of advanced batterymaterials for electric cars, a textbook on x-rayabsorption fine structure spectroscopy featuringcartoon animals, a pop-up book promoting a newDepartment of Energy synchrotron light source,and a physics study guide in graphic novel form.SLC, 2003–

David Caparelliotis Theatre

Lorayne Carbon Director, Early ChildhoodCenter—Psychology

BA, State University of New York-Buffalo.MSEd, Bank Street College of Education. Specialareas of interest include social justice issues in theearly childhood classroom and creating aestheticlearning environments for young children. Formerearly childhood teacher, director, Oak Lane ChildCare Center, Chappaqua, NY, and educationcoordinator of the Virginia Marx Children’sCenter of Westchester Community College.Adjunct professor, Westchester CommunityCollege; workshop leader at seminars andconferences on early childhood education. SLC,2003–

David Castriota Art HistoryBA, New York University. MA, MPhil, PhD,Columbia University. Special interests in Greekart of the classical and Hellenistic periods, Romanart of the late republic and early empire, and theart of prehistoric Europe; author of Myth, Ethos,and Actuality: Official Art in Fifth-Century B.C.Athens, The Ara Pacis Augustae and the Imageryof Abundance in Later Greek and Early RomanImperial Art, and a critical commentary on AloisRiegl’s Problems of Style: Foundations for a

History of Ornament; editor of Artistic Strategyand the Rhetoric of Power: Political Uses of Artfrom Antiquity to the Present; recipient offellowships from the Dumbarton Oaks Center forEarly Christian and Byzantine Art and the Societyof Fellows of Columbia University and of grantsfrom the National Endowment for the Humanitiesand the American Philosophical Society. SLC,1992–

William Catanzaro DanceComposer and multi-instrumentalist; recognitionand funding from NEA, The Samuels S. FeldFund, New York State Council on the Arts,Harkness Foundation, NYU Humanities Council,NYU Service/Learning Fund; commissionsinclude choreographers Anna Sokolow, StevePaxton, Viola Farber, Milton Myers; workpresented nationally and internationally with theNew Danish Dance Theater, TanzFabrik Berlin,Amsterdam Theatreschool, Cyprus Festival,Teatro San Martin, The Alvin Ailey School,Philadanco, Player’s Project, Dallas BlackTheatre, Jacob’s Pillow, DTW, and others.Former accompanist and teacher of music fordancers at The Juilliard School, MarymountManhattan College, José Limón School, MarthaGraham School, New York University; currentfaculty at The Alvin Ailey School and Steps onBroadway; music director for the YoungDancemakers Company. SLC, 2003–

Tina Chang WritingMFA, Columbia University. Poet, Brooklyn poetlaureate, and author of Half-Lit Houses and OfGods & Strangers; co-editor of the anthologyLanguage for a New Century: ContemporaryPoetry from the Middle East, Asia, and Beyond(W.W. Norton, 2008). Poems have appeared inAmerican Poet, McSweeney’s, The New YorkTimes, Ploughshares, Quarterly West, and SonoraReview, among others. Recipient of awards fromthe Academy of American Poets, the BarbaraDeming Memorial Fund, The Ludwig VogelsteinFoundation, The New York Foundation for theArts, Poets & Writers, and The Van LierFoundation, among others. SLC, 2005–

Susannah Chapman Music

Persis Charles HistoryBA, Bryn Mawr College. MA, Brown University.PhD, Tufts University. Special interest in modernsocial and women’s history, with particularemphasis on British and French history. SLC,1977–

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Alexander Chee WritingBA, Wesleyan University. MFA, University ofIowa. Author of the novels Edinburgh and TheQueen of the Night (February 2014); recipient ofa Whiting Writer's Award, an NEA fellowship infiction, and residencies from MacDowell, LeidigHouse, and Civitella Ranieri. Stories and essayspublished (or forthcoming) in Lapham'sQuarterly, Apology, Tin House, Departures,TriQuarterly, and The Paris ReviewDaily; contributing writer at The Morning News.Chee has taught at the Iowa Writers’ Workshop,Wesleyan University, and Amherst College. SLC,2013–

Priscilla Chen SpanishBA, State University of New York-Stony Brook.MA, Queens College. Currently completing adoctorate in Spanish literature at the GraduateCenter of the City University of New York;special interests include Golden Age peninsularliterature, Latin American literature and culture ingeneral, and fiction. SLC, 2004–

Eileen Ka-May Cheng HistoryBA, Harvard University. MA, MPhil, PhD, YaleUniversity. Special interest in early Americanhistory, with an emphasis on the AmericanRevolution and the early American republic;European and American intellectual history; andhistoriography. Author of The Plain and NobleGarb of Truth: Nationalism and Impartiality inAmerican Historical Writing, 1784-1860; authorof articles and book reviews for History andTheory, Journal of American History, Reviews inAmerican History, and Journal of the EarlyRepublic. SLC, 1999–

Kim Christensen EconomicsBA, Earlham College. PhD, University ofMassachusetts-Amherst. Taught economics andwomen’s/gender studies (1985-2010) at SUNY-Purchase, where she received several awards forher teaching: the four-time recipient of theStudents’ Union Award for Outstanding Teachingin the Letters and Sciences, the first recipient ofthe President’s Award for Innovative Pedagogy,and, in 1992, the recipient of the state-wideSUNY Chancellor’s Award for DistinguishedCollege Teaching. She has also taught economics,labor history, and public policy as a guest facultymember at Sarah Lawrence College. Dr.Christensen’s research focuses on the intersectionof economics with public policy issues, with aparticular emphasis on issues of race, gender,class, and labor; e.g., the experiences of low-

income women in the AIDS crisis, the politics ofwelfare “reform,” the “gendered” nature of thecurrent recession, and the impact of our campaignfinance system on public policy. SLC, 2008–

Una Chung Literature (on leave fall semester)BA, University of California-Berkeley. MA, SanFrancisco State University. PhD, Graduate Centerof the City University of New York. Specialinterests in Asian American literature and film,late 20th-century transnational East and SoutheastAsian cultural studies, East Asian film,postcolonial theory, ethnic studies, globalization,affect, new media. SLC, 2007–

Shamus Clisset Visual ArtsBFA, The College of Santa Fe, New Mexico.Digital artist and master printer working with 3Dmodeling, rendering, and multidisciplinary digitalmedia. Exhibitions include Galerie Jette Rudolphand Galerie Thomas Flor, both in Berlin, andTracy Williams, Ltd. in New York. Recentprojects include Empties at Caesura Gallery(Caesura.cc) and FakeShamus: ManifestDestinaut, featured in BEAUTIFUL/DECAYBook: 8: Strange Daze. As a master printer, hehas produced exhibition prints for galleries andmuseums all over the world, including MoMA,The Guggenheim, The Metropolitan Museum ofArt, and SFMoMA. Recent highlights includeprints for the Maurizio Cattelan retrospective atThe Guggenheim and the first solo show ofphotographs by the late war photographer, TimHetherington, at Yossi Milo in New York. SLC,2012–

Rachel Cohen WritingBA, Harvard University. Author of A ChanceMeeting (Random House, 2004), a nonfictionbook tracing a chain of 30 American writers andartists who knew or influenced or met one anotherover the period from the Civil War to the CivilRights Movement; recipient of a 2014Guggenheim for nonfiction and winner of the2003 PEN/Jerard Fund Award. Essays in TheNew Yorker, The Threepenny Review,McSweeney’s, DoubleTake, Parnassus, andModern Painters and in 2003 Best AmericanEssays and 2003 Pushcart Prize anthologies.Fellow of the New York Institute for theHumanities at New York University. Fellowshipsfrom the New York Foundation for the Arts andthe MacDowell Colony. SLC, 2003–

Kevin Confoy TheatreBA, Rutgers College. Certificate, LondonAcademy of Music and Dramatic Art (LAMDA).

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Graduate, The Conservatory at the Classic StageCompany (CSC), Playwrights Horizons TheatreSchool Directing Program. Actor, Director andProducer, Off Broadway and regionalproductions. Resident director, ForestburghPlayhouse; producer/producing artistic director,Sarah Lawrence Theatre program (1994-2008);executive producer, Ensemble Studio Theatre,New York (1992-94); associate artistic director,Elysium Theatre Company, New York (1990-92);manager, Development/Marketing departments,Circle Repertory Company, New York. Recipientof two grants from the Alfred P. SloanFoundation; OBIE Award, OutstandingAchievement Off and Off-Off Broadway(producer, E.S.T. Marathon of One-Act Plays);nomination, Drama Desk Award, OutstandingRevival of a Play (acting company); director, first(original) productions of 13 published plays.SLC, 1994–

Drew E. Cressman The Margot C. BogertDistinguished Service Chair —Biology

BA, Swarthmore College. PhD, University ofPennsylvania. Special interest in the molecularbasis of gene regulation and the control of geneexpression; specifically focused on the control ofantigen-presenting genes of the immune systemand the subcellular localization of the regulatoryprotein CIITA; author of papers on mammalianliver regeneration and CIITA activity; recipient ofgrants from the Irvington Institute for BiomedicalResearch and the National Science Foundation.SLC, 2000–

Cynthia Cruz WritingBA, Mills College. MFA, Sarah LawrenceCollege. Poet; author of Ruin (Alice JamesBooks, 2006) and The Glimmering Room (FourWay Books, 2012); recipient of fellowships fromYaddo, the MacDowell Colony, and a HodderFellowship at Princeton University. Work hasbeen published in Isn’t it Romantic: 100 LovePoems by Younger American Poets (Wave Books,2004) and The Iowa Anthology of New AmericanPoetries (The University of Iowa Press, 2004).SLC 2008–

Sayantani DasGupta WritingAB, Brown University. MD, MPH, JohnsHopkins University. Writer of fiction and creativenonfiction. Originally trained in pediatrics andpublic health, she teaches courses in illness anddisability memoir—as well as narrative, health,and social justice—at Columbia University’sProgram in Narrative Medicine and in the Health

Advocacy graduate program at Sarah LawrenceCollege. Author of a memoir, a book of folktales,and co-editor of an award-winning collection ofwomen’s illness narratives, Stories of Illness andHealing: Women Write their Bodies. SLC, 2001–

Michael Davis PhilosophyBA, Cornell University. MA, PhD, PennsylvaniaState University. Interests in Greek philosophy,moral and political philosophy, and philosophyand literature; author of many books, mostrecently The Autobiography of Philosophy, atranslation of Aristotle’s On Poetics, andWonderlust: Ruminations on Liberal Education;member, editorial board, Ancient Philosophy;lecturer, essayist, and reviewer. SLC, 1977–

Isabel de Sena Joseph Campbell Chair in theHumanities—Literature

MA, University of California-Berkeley. PhD,University of California-Santa Barbara. Haspublished on late medieval and early RenaissancePeninsular literature, as well as Latin Americanliterature (Sarmiento, Altamirano, Manuel deJesús Galván). Among her translations areVirginia Woolf’s Between the Acts (intoPortuguese) and Caetano Veloso’s TropicalTruth: A Story of Music and Revolution in Brazil(Knopff, 2002). Has taught at King’s College(London), Princeton, and Goucher College;directed and was the first resident director of theSarah Lawrence in Cuba program (2001-04). Sheis currently at work on a bilingual edition of shorttales from the Spanish-speaking world. SLC,1997–

Robert R. Desjarlais Anthropology (on leavespring semester)

BA, University of Massachusetts-Amherst. MA,PhD, University of California-Los Angeles.Special interests in the cultural construction ofexperience, subjectivity and inter-subjectivity,death and mourning, and the political economy ofillness and healing; ethnographic fieldwork in theNepal Himalayas, with the residents of ahomeless shelter in Boston, and amongcompetitive chess players; author of Body andEmotion: The Aesthetics of Illness and Healing inthe Nepal Himalayas; Shelter Blues: Sanity andSelfhood Among the Homeless; SensoryBiographies: Lives and Deaths Among Nepal’sYolmo Buddhists; and Counter-play: anAnthropologist at the Chessboard. Recipient of aGuggenheim fellowship and a Howardfellowship. NIMH postdoctoral research fellow atHarvard Medical School. SLC, 1994–

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Emily Devine Dance (on leave fall semester)BA, Connecticut College. Trained with JoseLimón, Martha Graham, Merce Cunningham, andViola Farber; performed with Dan Wagoner andDancers, Nancy Lewis, Mirjam Berns, Cork(Ireland) National Ballet; choreographer, DanceAlliance of New Haven, Roxanne DanceFoundation, Swamp Gravy, and independentproductions; recipient of choreography grantsfrom the Connecticut Commission on the Arts;teaches dance and movement workshopsthroughout the United States and in Canada,France, Sweden, Australia, and New Zealand.SLC, 1988–

David Diamond Theatre

Mary Dillard HistoryBA, Stanford University. MA, PhD, University ofCalifornia-Los Angeles. Special interests includehistory of West Africa, particularly Ghana andNigeria; history of intelligence testing andexternal examinations in Africa; history ofscience in Africa; and gender and education.Recipient of a Spencer fellowship and MajorCultures fellowship at Columbia University’sSociety of Fellows in the Humanities. SLC,2001–

Beth Ann Ditkoff BiologyBA, Yale University. MD, The Johns HopkinsSchool of Medicine. Former surgical oncologistat New York-Presbyterian Hospital, ColumbiaUniversity Medical Center; Department ofSurgery, College of Physicians & Surgeons,Columbia University. Author of The ThyroidGuide (HarperCollins, 2000) and Why Don’t YourEyelashes Grow? Curious Questions Kids AskAbout the Human Body (Penguin, 2008). SLC,2010–

Jonathan Dixon WritingBA, Boston University. MFA, Hunter College.Author of Beaten, Seared, and Sauced (ClarksonPotter, 2011). Music, book, film, and televisioncritic for the Boston Phoenix (1992-2002). Staffwriter at Martha Stewart Living Omnimedia(2000-2006). Nonfiction and fiction haveappeared in New York Newsday, The New YorkTimes, Leite's Culinaria, Gilt Taste, Sleepingfish,and The Milan Review, among other publications.SLC, 2013-

Natalia Dizenko Russian

Jerrilynn Dodds Dean of the College—ArtHistory

BA, Barnard College. MA, PhD, HarvardUniversity. Work has centered on issues ofartistic interchange—in particular amongChristians, Jews, and Muslims—and how groupsform identities through art and architecture.Special interest in the arts of Spain and thehistory of architecture. Author of Architectureand Ideology in Early Medieval Spain and NYMasjid: The Mosques of New York and co-authorof Arts of Intimacy: Christians Jews and Muslimsin the Making of Castilian Culture, among otherbooks and publications. SLC, 2009–

Roland Dollinger GermanBA, University of Augsburg, Germany. MA,University of Pittsburgh. PhD, PrincetonUniversity. Special interest in 20th-centuryGerman and Austrian literature; author ofTotalität und Totalitarismus: Das Exilwerk AlfredDöblins and several essays and book reviews on19th- and 20th-century German literature;coeditor of Unus Mundus: Kosmos andSympathie, Naturphilosophie, and PhilosophiaNaturalis. SLC, 1989–

Aurora Donzelli AnthropologyBA, MA, University of Pavia, Italy. PhD,University of Milan-Bicocca. Special interests inlinguistic anthropology, political oratory andritual speech, vernacular practical philosophies,ethnopoetics, missionization, and the emergenceof colonial discourse genres; ethnographicfieldwork in Southeast Asia (upland Sulawesi andEast Timor); author of several articles onlanguage and ethnicity, local theories of action,power and emotions, verbal art, and languageideologies. FCT postdoctoral research fellow atInstitute of Theoretical and ComputationalLinguistics, Lisbon, and Endangered LanguagesAcademic Programme (SOAS), London. SLC,2009–

Charlotte L. Doyle Psychology (on leave fallsemester)

BA, Temple University. MA, PhD, University ofMichigan. A generalist in psychology withspecial interests in the creative process,psychological theory, and children’s literature.Articles written on the creative process in art, thefiction-writing episode, facilitating creativity inchildren, and the definition of psychology. Booksinclude Explorations in Psychology (a textbook)and seven picture books for children: Hello Baby,Freddie’s Spaghetti, Where’s Bunny’s Mommy?,

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You Can’t Catch Me, Twins!, Supermarket!, andThe Bouncing Dancing Galloping ABC. SLC,1966–

Kermit Driscoll Music

Jan Drucker Director, Child DevelopmentInstitute’s Empowering TeachersProgram—Psychology

BA, Radcliffe College. PhD, New YorkUniversity. Clinical and developmentalpsychologist with teaching and research interestsin the areas of developmental and educationaltheory, child development, parent guidance,clinical assessment and therapy with children andadolescents, and the development of imaginativeplay and other symbolic processes in earlychildhood and their impact on later development.Professional writings have centered on variousforms of early symbolization in development andin clinical work with children. SLC, 1972–

Jill Du Boff TheatreBA, The New School. Designed sound onBroadway, Off Broadway, and regionally.Designs on Broadway include: Picnic, OtherDesert Cities, Wit, Good People, The ConstantWife, The Good Body, Bill Maher: Victory…,Three Days of Rain (assoc.), Inherit The Wind(assoc.), Wit (national tour). Off Broadway:Atlantic, MTC, MCC, Playwrights Horizons,Public, Vineyard, Second Stage, NYTW, WP,New Georges, Flea, Cherry Lane, Signature,Clubbed Thumb, Culture Project, Actor’sPlayhouse, New Group, Promenade, UrbanStages, Houseman, Fairbanks, Soho Rep, Adobe.Regionally: Minneapolis Children’s Theatre, BayStreet, La Jolla Playhouse, Cincinnati Playhouse,Westport Country Playhouse, Berkeley Rep,Portland Stage, Long Wharf, The Alley, KennedyCenter, NYS&F, South Coast Rep, Humana,Williamstown, Berkshire Theatre, ATF. Ontelevision: Comedy Central Presents: Slovin &Allen, NBC’s Late Fridays. On film: We PedalUphill. On radio: contributing producer for PRI’sStudio 360, producer of Naked Angel’s NakedRadio. Contributor to the book, Sound and MusicFor The Theatre. Two Drama Desk nominations;four Henry Hewes nominations. Awards: RuthMorley Design Award, OBIE award for SustainedExcellence (2011), Lilly Award (2013). SLC,2009–

Scott Duce Visual ArtsMFA, Boston University. BFA, University ofUtah. Visual artist with multiple awards andgrants, including a National Endowment for the

Arts artist grant. Exhibitions include solo exhibitsin New York City, Chicago, Atlanta, Boston, andinternationally in Paris, Barbizon, Florence, andLima. Notable collections include RandomHouse, General Electric, IBM, McGraw-Hill,Petroplus Holdings, Switzerland, Seagrams-Montreal, and the US Embassy in Stockholm.Currently producing work for exhibitions,creating hand-drawn animated shorts, anddeveloping a series of e-book artist catalogues.SLC, 2012–

Niamh Duggan FrenchBA, University College Cork. MSt, St.Catherine’s College, Oxford. MPhil, New YorkUniversity. Dissertation on “Solitary Relation:Huysmans, Rachilde, Colette.” Research interestsinclude 19th- and 20th-century French literature;gender studies; queer theory; the relationshipbetween literature and ethics. SLC, 2013-

Glenn Dynner ReligionBA, Brandeis University. MA, McGillUniversity. PhD, Brandeis University. Scholar ofEast European Jewry with a focus on the socialhistory of Hasidism and the Haskalah (JewishEnlightenment). Author of the book Men of Silk:The Hasidic Conquest of Polish Jewish Society,which received a Koret Publication Award andwas a finalist for the National Jewish BookAwards. Received textual training in severalIsraeli yeshivas and the Hebrew University ofJerusalem. Additional interests include Polish-Jewish relations, Jewish economic history, andpopular religion. Recipient of the FulbrightAward. Member (2010-11), Institute forAdvanced Study, Princeton University. SLC,2004–

Jason Earle FrenchAB, University of Chicago. MA, MPhil, PhD,Columbia University. Area of specialization:20th-century French literature. Dissertation onsecret societies and conspiracies in interwarFrench literature. Research interests include 19th-and 20th-century French literature and culturalhistory, literature and politics, history and theoryof the novel, and the avant-garde. SLC, 2012–

Michael Early TheatreBFA, New York University Tisch School of theArts. MFA, Yale University School of Drama.Extensive experience off-Broadway and inregional theatre, television, and commercials;artist-in-residence, Oberlin College. SLC, 1998–

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June Ekman TheatreBA, Goddard College, University of Illinois.ACAT-certified Alexander Technique Teacher,1979. Inventor of an ergonomic chair, the Sit-a-Round; taught the Alexander Technique in manyvenues: the Santa Fe Opera, Riverside Studios inLondon, Utrecht in the Netherlands; dancer,Judson Dance Theatre, Alwin Nikolais, AnnaHalprin, and others; direction and choreographyoff-Broadway; appeared in Innovation (PBS);Off-Off Broadway Review Award, 1995-1996.SLC, 1987–

Matthew Ellis Christian A. Johnson Chair inInternational Affairs & Middle EasternStudies—History

BA, Williams College. M.Phil, University ofOxford. MA, PhD, Princeton University.Specializes in the social and intellectual history ofthe modern Middle East, with a particular focuson the relationship between place, ideology, andidentity in Egypt and the late-Ottoman Empire.His dissertation, “Between Empire and Nation:The Emergence of Egypt’s Libyan Borderland,1841-1911,” examines broader questionsconcerning the nature of Middle Eastern state-building projects, borders and nation-state space,and sovereignty and political authority. Articlespublished in History Compass and the Dictionaryof African Biography. Dissertation research wassupported by grants from the Social ScienceResearch Council and the American ResearchCenter in Egypt. Recipient of a Fulbright-IIEgrant to Egypt. Member of the AmericanHistorical Association and the Middle EastStudies Association of North America. SLC,2012–

Beverly Emmons DanceBA, Sarah Lawrence College. Designed lightingfor Broadway, Off-Broadway, regional theatre,dance, and opera in the United States and abroad.Broadway credits include Annie Get Your Gun,Jekyll & Hyde, The Heiress, Stephen Sondheim’sPassion, and The Elephant Man. Her lighting ofAmadeus won a Tony award. She has worked atthe John F. Kennedy Center, the Guthrie, ArenaStage, and the Children’s Theatre of Minneapolis.Off Broadway, she lit Vagina Monologues andworked for Joseph Chaikin and Meredith Monk;for Robert Wilson, Einstein on the Beach and TheCivil Wars, Part V. Her designs for dance includeworks by Martha Graham, Trisha Brown, AlvinAiley, and Merce Cunningham. She has beenawarded seven Tony nominations, the 1976Lumen award, 1984 and 1986 Bessies, a 1980

Obie for Distinguished Lighting, and severalMaharam/American Theater Wing design awards.SLC, 2011–

Design Faculty Theatre

Christine Farrell Director, Program inTheatre—Theatre

BA, Marquette University. MFA, ColumbiaUniversity. One-year Study Abroad, Oxford,England. Actress, playwright, director. Appearedfor nine seasons as Pam Shrier, the ballisticsdetective on “Law and Order.” Acting creditsinclude “Saturday Night Live,” “One Life toLive”; films: Ice Storm, Fatal Attraction; stage:Comedy of Errors, Uncle Vanya, Catholic SchoolGirls, Division Street, The Dining Room. Twopublished plays: Mama Drama and The OnceAttractive Woman. Directed in colleges, as wellas Off Broadway, and was the artistic director andco-founder of the New York Team forTheatreSports. Performed in comedyimprovisation throughout the world. SLC, 1991–

Melissa Febos WritingBA, The New School University. MFA, SarahLawrence College. Co-curator and host of thepopular monthly music and reading series, Mixer,on the Lower East Side. Articles published in TheNew York Times, Salon, BOMB, HungerMountain, and Glamour; featured guest on NPR’s“Fresh Air,” “Anderson Cooper,” and the coverof New York Post. A MacDowell Colony fellow(2010, 2011); a Bread Loaf fellow (2012); hermemoir, Whip Smart, was published by St.Martin’s Press/Thomas Dunne Books in March2010. She is currently at work on a novel and asecond memoir. SLC, 2011–

Kim Ferguson PsychologyBA, Knox College. MA, PhD, Cornell University.Special interests include cultural-ecologicalapproaches to infant and child development,children at risk (children in poverty, HIV/AIDSorphans, children in foster care andinstitutionalized care), health and cognitivedevelopment, and development in Africancontexts. Areas of academic specializationinclude infant categorization development and theinfluences of the task, the stimuli used, andinfants’ culture, language, and socioeconomicstatus on their performance; infant faceprocessing in African and American contexts; andrelationships between the quality of southernAfrican orphan care contexts and child outcomes.SLC, 2007–

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Esther Fernández SpanishBA, Wheaton College. MA, PhD, University ofCalifornia-Davis. Areas of specialization: 17th-century Spanish drama, Spanish drama from allperiods, erotic literature, performance studies, andCervantes. Publications: Los corrales decomedias españoles en el siglo XVII: espacios desensualidad clandestina; Jugando con Eros: Elerotismo metadramático en la Llamada deLauren de Paloma Pedrero; En busca de unteatro comprometido: La entretenida de Miguelde Cervantes bajo el nuevo prisma de la CNTC;El coto privado de Diana: El perro del hortelano,de un texto sexual a un sexo visual; Mirar ydesear: la construcción del personaje femeninoen El perro del hortelano de Lope de Vega y dePilar Miró. Co-authored, with Cristina Martínez-Carazo, La risa erótica de Sor Juana en “Losempeños de una casa.” SLC, 2008–

Angela Ferraiolo Visual ArtsBLS, State University of New York-Purchase.MFA, Hunter College. MFA (forthcoming),Brown University. Creator of Layoff (TiltfactorLabs, New York), Earth and Beyond (MMORPG,Westwood Studios/Electronic Arts), AidynChronicles (Nintendo 64, THQ). Her plays havebeen produced off-Broadway at The BrickPlayhouse, La Mama Galleria, and ExpandedArts. Her video work has been featured in DigitalFringe, Melbourne, Australia, and on dieGesellschafter.de, Bonn, Germany. Currently theElectronic Writing Fellow at Brown University,where she is working on new forms of interactivenarrative, she is also the Internet art and Webcinema reviewer for Furtherfield.org, an artscollective based in London. SLC, 2010–

Carolyn Ferrell WritingBA, Sarah Lawrence College. MA, City Collegeof New York. Author of the short-story collectionDon’t Erase Me, awarded the Art SeidenbaumAward of The Los Angeles Times Book Prize, theJohn C. Zachiris Award given by Ploughshares,and the Quality Paperback Book Prize for FirstFiction; stories anthologized in The BestAmerican Short Stories of the Century; GiantSteps: The New Generation of African AmericanWriters; The Blue Light Corner: Black WomenWriting on Passion, Sex, and Romantic Love; andChildren of the Night: The Best Short Stories byBlack Writers, 1967 to the Present; recipient ofgrants from the Fulbright Association, theGerman Academic Exchange (D.A.A.D.), the

City University of New York MAGNETProgram, and the National Endowment for theArts (Literature fellow for 2004). SLC, 1996–

Marjorie Folkman DanceBA summa cum laude, Barnard College. MA,Columbia University. PhD candidate, BardGraduate Center, New York City. Member andprincipal performer with Mark Morris DanceGroup (1996-2007), Martha Clarke’s Garden ofEarthly Delights off-Broadway (2008-2009);member of Merce Cunningham’s RepertoryUnderstudy Group under the direction of ChrisKomar; dancer and performer for Richard Colton/Amy Spencer, Neta Pulvermacher, KraigPatterson, Sally Hess, and Sara Rudner. Recentchoreographic projects have included productionsfor Boston Baroque (Pigmalion and Les IndesGalantes), L’Opéra Français de NewYork (Faust), Bard SummerScape (Der FerneKlang and Le Roi Malgré Lui), and collaborationswith new music ensembleContemporaneous. Teaching artist, LincolnCenter Institute; guest artist/instructor, PhillipsAcademy Andover, George Mason University,Richard Stockton College, North Carolina Schoolof the Arts, Mount Holyoke, and Smith College.Visiting assistant professor in Dance, Language& Thinking and First-Year Seminar, BardCollege. SLC, 2013–

Barbara Forbes DanceRoyal Academy of Dancing, London. Institute ofChoreology, London. Imperial Society ofTeachers of Dancing, Cecchetti Method.Previously on faculty of National Ballet School ofCanada, Alvin Ailey School, New YorkUniversity, and Finis Jhung Studio. Balletmistress and teacher, Joffrey Ballet, New OrleansBallet, and Chamber Ballet USA. CurrentlyFeldenkrais practitioner at Feldenkrais LearningCenter, New York City. SLC, 2000–

Joseph C. Forte Art HistoryBA, Brooklyn College. MA, MPhil, PhD,Columbia University. Special interest in art andarchitecture of the Italian Renaissance and the17th century, the history of architecture, and artand architectural theory; author of articles onItalian 16th-century drawings, French painting ofthe 17th century, and American 19th-centuryarchitecture. SLC, 1978–

T. Griffith Foulk Frieda Wildy Riggs Chair inReligious Studies—Religion

BA, Williams College. MA, PhD, University ofMichigan. Trained in Zen monasteries in Japan;

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active in Buddhist studies, with research interestin philosophical, literary, social, and historicalaspects of East Asian Buddhism, especially theCh’an/Zen tradition; co-editor in chief, Soto ZenText Project (Tokyo); American Academy ofReligion Buddhism Section steering committee,1987-1994, 2003-; board member, KurodaInstitute for the Study of Buddhism and HumanValues; recipient of Fulbright, Eiheiji, and JapanFoundation fellowships and grants from theAmerican Council of Learned Societies and theNational Endowment for the Humanities. SLC,1995–

Marvin Frankel PsychologyBA, City College of New York. PhD, Universityof Chicago. Clinical internship in client-centeredtherapy, Counseling Center of the University ofChicago; postdoctoral fellowship at EducationalTesting Service, Princeton, New Jersey.Contributed recent chapters and articles that dealwith the changing nature of the psychotherapeuticrelationship, the anatomy of an empathicunderstanding, we-centered psychotherapeuticrelationships, and the clinical education ofnondirective and directive psychotherapists. SLC,1972–

Melissa Frazier Russian, LiteratureAB, Harvard University. PhD, University ofCalifornia-Berkeley. Special interests include the19th-century novel and literature and the literarymarketplace. Author of articles and books ontopics including Pushkin, Senkovskii, Gogol,Tolstoy, and Russian Formalism. Awarded the2007 Jean-Pierre Barricelli Prize for “Best Workin Romanticism Studies” by the InternationalConference of Romanticism for RomanticEncounters: Writers, Readers, and the “Libraryfor Reading” (Stanford University Press, 2007).SLC, 1995–

Will Frears TheatreSarah Lawrence College. Yale School of Drama.Film: Coach, All Saints’ Day (winner, bestnarrative short, Savannah Film Festival),Beloved. Off Broadway: Year Zero (SecondStage Uptown), Still Life (MCC); Rainbow Kiss(The Play Company), The Water's Edge (SecondStage), Pen (Playwrights Horizons), Terrorism(The New Group/The Play Company), OmniumGatherum (Variety Arts), Where We’re Born andGod Hates the Irish (both at RattlestickPlaywrights Theatre), Get What You Need(Atlantic 453) and Kid-Simple (Summer PlayFestival). Regional: Build at the Geffen

Playhouse; Some Lovers at the Old GlobeTheatre; Romeo & Juliet, Bus Stop, The Water'sEdge, and A Servant of Two Masters at theWilliamstown Theatre Festival; The Pillowman atGeorge Street Playhouse; Hay Fever and ThePrice at Baltimore CenterStage; Sleuth at the BayStreet Theatre; Our Lady of 121st Street(Steppenwolf Theatre); Omnium Gatherum(Actor’s Theatre of Louisville). Artistic Director:Yale Cabaret (1999-2000). Recipient of the BorisSagal and Bill Foeller directing fellowships and acontributor to The Paris Review, New YorkMagazine, Harper’s, and The London Review ofBooks. SLC, 2010–

Marek Fuchs WritingBA, Drew University. Wrote “County Lines”column in The New York Times for six years anda book, A Cold-Blooded Business, based on amurder case he covered in The New York Times,which Kirkus Reviews called “riveting.” Producessyndicated online video column forTheStreet.com, often a lead feature on Yahoo!Finance. Served as editor-in-chief ofFertilemind.net; twice named “Best of the Web”by Forbes magazine. Awards include the SilverAward in 2007 from the League of AmericanCommunications Professionals; named the bestjournalism critic in the nation by Talking BizWeb site at the University of North CarolinaSchool of Journalism and Mass Communication.When not writing or teaching, serves as afirefighter in Hastings, New York. Most recentbook (2012) is on firefighters. SLC 2010–

Liza Gabaston FrenchGraduate, École Normale Supérieure (rue d’Ulm),Paris. Agrégation in French Literature, Doctoratein French Literature, Paris-Sorbonne. Dissertationon “Body Language in Proust’s À la recherche dutemps perdu” (Honoré Champion, 2011). BeyondProust and the narrative representation of thebody, interests include 19th- and early-20th-century literature, history and theory of the novel,and relationships between literature and the visualarts. SLC 2010–

Suzanne Gardinier WritingBA, University of Massachusetts-Amherst. MFA,Columbia University. Author of the long poem,The New World, winner of the Associated WritingPrograms Award Series in poetry; A World ThatWill Hold All the People, essays on poetry andpolitics; Today: 101 Ghazals (2008); the longpoem, Dialogue with the Archipelago (2009); andfiction published in The Kenyon Review, The

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American Voice, and The Paris Review. Recipientof The Kenyon Review Award for LiteraryExcellence in the Essay and of grants from theNew York Foundation for the Arts and theLannan Foundation. SLC, 1994–

Rico Gatson Visual ArtsBA, Bethel University. MFA, Yale UniversitySchool of Art. Working in painting, sculpture,and video, he employs the tropes of repetition,accumulation, and wit to shape his socialcommentary. Through the appropriation andcompression of multilayered symbols, heuntangles the power of these symbols andillustrates how they function in various publicspheres. He has co-organized several significantexhibitions, including: Intelligent Design atMomenta Art, Brooklyn, NY; Strand at NewYork Center for Art and Media Studies; and PacMan at Artist Curated Projects in Los Angeles.He has had numerous solo exhibitions, includingAfrican Fractals and Dark Matter at New York'sRonald Feldman Gallery, where he is represented.He has exhibited work in numerous groupexhibitions at major institutions, including TheStudio Museum in Harlem, The Reina Sofia inMadrid, P.S.1 Contemporary Art Center, TheWhitney Museum of American Art at Altria, TheBrooklyn Museum of Art, The New Museum ofContemporary Art, and MIT List Visual ArtsCenter. SLC, 2010–

Roy Germano Public PolicyBA, Indiana University. MA, University ofChicago. PhD, University of Texas, Austin.Research and teaching interests include the studyof international migration, both as a humandevelopment issue in migrant-sending countriesand as a policy issue in migrant-receivingcountries. Award-winning director of twononfiction films: The Other Side of Immigration(2010) and A Mexican Sound (2013. As aNational Science Foundation Graduate ResearchFellow, conducted extensive research in Mexicothat included a survey of 767 households. Invitedpresentations and film screenings at more than100 universities, film festivals, and publicinstitutions, including the American Museum ofNatural History, the San Antonio Film Festival,Princeton University, the Minnesota Departmentof Education, and the Texas Department of PublicHealth. Work featured by NPR, Univision, FoxNew, Telemundo, CNN en Español, TheEconomist, and others. SLC, 2013-

Graeme Gillis TheatreArtistic director of Youngblood, the company ofemerging playwrights at Ensemble Studio Theatre(2012 Obie Award). Director of the E.S.T./SloanProject, a $1.5 million program that fosters playsabout science, technology, and economics.Worked as a playwright at theatres throughout theUnited States and Canada, including E.S.T.(Youngblood, Marathon of One-Act Plays),Rattlestick, Cherry Lane, Vampire Cowboys,Williamstown Theatre Festival, Source Theatre(DC), Tarragon Theatre (Toronto). Published byDramatists Play Service and Applause Books.Member of the Actors Studio and E.S.T. SLC,2013–

Myla Goldberg WritingBA, Oberlin College. Author of the best-sellingnovel Bee Season (2000), which was adapted tofilm and was a New York Times Notable Book,winner of the Borders New Voices Prize, finalistfor the NYPL Young Lions Award and theHemingway Foundation/PEN award. Author ofthe novels Wickett’s Remedy (2005) and TheFalse Friend (2010) and of the essay collectionTime’s Magpie (2004) and the children’s bookCatching the Moon (2007). Short stories haveappeared in Harper’s. 2013 recipient of aSustainable Arts Foundation grant. SLC, 2008-

Myra Goldberg Writing (on leave fall semester)BA, University of California-Berkeley. MA, CityUniversity of New York. Author of Whistling andRosalind: A Family Romance; stories publishedin journals including The Transatlantic Review,Ploughshares, Feminist Studies, TheMassachusetts Review, and The New EnglandReview and in the book anthologies Women inLiterature, Powers of Desire, and The World’sGreatest Love Stories and elsewhere in the UnitedStates and France; nonfiction published in theVillage Voice and elsewhere; recipient ofLebensberger Foundation grant. SLC, 1985–

Martin Goldray Marjorie Leff Miller FacultyScholar in Music. 2010 Recipient of theLipkin Family Prize for InspirationalTeaching—Music

BA, Cornell University. MM, University ofIllinois. DMA, Yale University. Fulbright scholarin Paris; pianist and conductor, with specialinterests in 17th- through 20th-century music;performed extensively and recorded as pianistsoloist, chamber musician, and conductor;performed with most of the major new musicensembles such as the New Music Consort and

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Speculum Musicae; worked with composers suchas Babbitt, Carter, and numerous youngercomposers and premiered new works, includingmany written for him; toured internationally as amember of the Philip Glass Ensemble from1983-1996; conducted the premieres of severalGlass operas and appears on many recordings ofGlass’s music; has conducted film soundtracksand worked as producer in recording studios;formerly on the faculty of the ComposersConference at Wellesley College. SLC, 1998–

Peggy Gould DanceBFA, MFA, New York University, Tisch Schoolof the Arts. Certified teacher of AlexanderTechnique; assistant to Irene Dowd; privatemovement education practice in New York City.Other teaching affiliations: Smith College, TheAiley School/Fordham University, Dance Ireland/IMDT, 92nd St. Y/Harkness Dance Center,SUNY Purchase (summer), Jacob’s Pillow.Performances in works by Patricia Hoffbauer andGeorge Emilio Sanchez, Sara Rudner, Joyce S.Lim, David Gordon, Ann Carlson, CharlesMoulton, Neo Labos, T.W.E.E.D., Tony Kushner,Paula Josa-Jones. Choreography presented byDixon Place, The Field, P.S. 122, BACADowntown (New York City); Big Range DanceFestival (Houston); Phantom Theater (Warren,Vermont); Proctor’s Theatre (Schenectady, 2008/09 Dangerous Music Commission). Grants: Meetthe Composer, Lower Manhattan CulturalCouncil, Harkness Dance Center. SLC, 1999–

Michael Granne HistoryBA magna cum laude, Duke University. JD,Columbia University School of Law. A litigatorat Sullivan & Worcester, a law firm representinginternational clients in US courts, he has alsopracticed at Cleary Gottlieb Steen and Hamiltonand Wilmer Hale. His practice included generalcommercial litigation and white collarinvestigations, but his focus was specifically ontransborder issues, such as the Foreign SovereignImmunities Act, extraterritoriality, foreign affairspreemption and the Foreign Corrupt PracticesAct. He has been a member of the faculty atDuquesne University School of Law inPittsburgh, director of transnational programs andadjunct professor of Law at St. John’s UniversitySchool of Law in New York, and visitingprofessor at Seton Hall and Hofstra Law Schoolsin New Jersey and New York, respectively; hehas taught civil procedure, international litigationin US courts, international business transactions,international criminal law, transnational law, and

administrative law. While at Columbia, he servedas an articles editor on the Journal ofTransnational Law and was a Michael Sovernand a Harlan Fiske Stone Scholar. He also studiedat Oxford University and l’Universitá degli Studidi Bologna and served as a Peace CorpsVolunteer in the Republic of Cape Verde on theisland of Santo Antão, where he coached the highschool’s basketball team to its first nationalchampionship. He has published articles on theForeign Sovereign Immunities Act of 1976, aswell as the application of international law inUnited States courts. SLC, 2013–

Maggie Greenwald Visual ArtsWriter-director: “Songcatcher,” SundanceDramatic Competition and Special Jury Awardfor Ensemble Performance, Sloan FoundationAward, Deauville Film Festival Audience Award,two Independent Spirit Awards, GLAAD Awardnominations; “The Ballad of Little Jo,” LionsGate Entertainment, Independent Spirit Award,Fine Line Features; “The Kill-Off,” SundanceDramatic Competition, Munich (opening night),London, Deauville, Toronto, Edinburgh, Turin(Best Director Award) film festivals, listed byBritish Film Institute as one of “100 BestAmerican Independents, Cabriolet Films; “HomeRemedy,” Munich, London, and Turin filmfestivals, premiered at Film Forum in New YorkCity. Kino International Releasing. Televisionfilms as director: “Good Morning, Killer,” TNT;“Get a Clue,” Disney Channel; “Comfort & Joy,”“Tempted,” and “What Makes a Family”(GLAAD Award), Lifetime. Dorothy ArznerAward, Director’s View Film Festival. Board ofDirectors of Independent Feature Project,1994-2000;. Sundance Film Festival Jury, 1994.SLC, 2012–

Paul Griffin TheatreFounded City at Peace, Inc. in Washington, DC,in 1994, then founded and now leads City atPeace-National, a nonprofit that uses theperforming arts to empower teenagers totransform their lives and communities across theUnited States. Directed the creation andperformance of 10 original musicals written fromthe real-life stories of diverse groups of teens andhas overseen the creation of 30 more. City atPeace now has programs in seven US cities,several communities in Israel, and in Cape Town,South Africa. Prior to his work with City atPeace, he was co-director of the Theater ofYouth, a company member of the No-NeckMonster Theater Co. in Washington, D.C., a

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member of Impro-Etc. performing improvisedShakespeare classics in England and Scotland,and a student/performer with Ryszard Cieslakfrom Jerzy Grotowsky’s Polish Lab Theater.Honored as one of Tomorrow's Leaders Today byPublic Allies, he also received the Hamilton FishAward for Service to Children and Families. Heand City at Peace have appeared in numerousvenues across the country, including the ArenaStage, The Public Theater, “Nightline” with TedKoppel, and HBO in a documentary on the City atPeace program. SLC 2008–

Rachel Eliza Griffiths WritingMA English Literature, University of Delaware.MFA, Sarah Lawrence College. Special interestin photography, visual art, and mixed media.Photographer, painter/mixed media artist, poet;author of Miracle Arrhythmia (Willow Books,2010), The Requited Distance (Sheep MeadowPress, 2011), and Mule & Pear (New IssuesPoetry & Prose, 2011). Recipient of fellowships,including Provincetown Fine Arts Work Center,the Cave Canem Foundation, Vermont StudioCenter, New York State Summer WritersInstitute, and others. SLC 2011, 2014-

Charlie Gustafson-Barret PhilosophyBA, Sarah Lawrence College. MA, TulaneUniversity. Interests in philosophy and literature,ancient philosophy, and the history of philosophy.SLC, 2013-

Dave Hardy Visual Arts

Hilda Harris MusicBA, North Carolina Central University. Singerand actress; performer in opera, oratorio, andorchestral concerts in the United States andEurope; solo artist with Metropolitan OperaAffiliate Artist Program; freelance recordingartist, vocal division of the ChautauquaInstitution. SLC, 1992–

Matthea Harvey WritingBA, Harvard College. MFA, University of IowaWriters’ Workshop. Poet; author of Pity theBathtub Its Forced Embrace of the Human Form(Alice James Books, 2000); Sad Little BreathingMachine (Graywolf, 2004); Modern Life(Graywolf, 2007), winner of the Kingsley TuftsAward, a New York Times Notable Book of 2008,and a finalist for the National Book Critics CircleAward; and a children’s book, The Little Generaland the Giant Snowflake, illustrated by ElizabethZechel (Soft Skull Press, 2007). Contributing

editor for jubilat and BOMB. Has taught atWarren Wilson, the Pratt Institute, and theUniversity of Houston. SLC, 2004–

Kathryn Hearst HistoryBA (cum laude), University of Rochester. Institutd’Etudes Politiques de Paris, NYU in Paris. MFA,MPhil, PhD, Columbia University.Specializes in gender, race, sexuality, and class infilm and media; women’s and gender history;social and cultural history of the United Statesand Europe; cinema and media studies. Workedin television, film, and media development at ThePolone Company and Hearst Entertainment.Contributor to the Bancroftania, University ofCalifornia, Berkeley. Advisor to “Women FilmPioneers Project,” Center for Digital Researchand Scholarship, Columbia University. Advisor toMoMA’s “To Save and Project” film series.Member of Women Writing Women’s Lives,CUNY; Advisory Board, CBC of the AmericanMuseum of Natural History; Columbia UniversitySchool of the Arts Advisory Council. SLC, 2011-

Mark Helias Music

Ann Heppermann WritingA Brooklyn-based, independent, radio/multimedia documentary producer, transmissionsound artist, and educator, her stories airnationally and internationally on National PublicRadio, the BBC, and on numerous shows,including: “This American Life,” “Radio Lab,”“Marketplace,” “Morning Edition,” “Studio360,”and many others. A Peabody award-winningproducer, she has also received Associated Press,Edward R. Murrow, and Third Coast InternationalAudio Festival awards. A transmission artist withfree103point9, her work has been exhibited atUnionDocs, Chicago Center for the Arts, andother venues. She has taught classes andworkshops at Duke Center for DocumentaryStudies, Smith College, Columbia University, andthe CUNY Graduate School of Journalism; foryears, she was the director of radio at BrooklynCollege. She is a co-creator of Mapping MainStreet, a collaborative media project documentingthe nation’s more than 10,000 Main Streets,which was created through AIR’s MQ2 initiativealong with NPR, the CPB, and the BerkmanCenter at Harvard University. Her work has beenfunded by the Corporation for PublicBroadcasting, Association of Independents, theArizona Humanities Council, and the BerkmanCenter for Internet and Society at Harvard.Currently, she is a Rosalynn Carter for Mental

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Journalism Fellow and will be making amultimedia documentary about preteen anorexiain partnership with Ms. Magazine and NPR. SLC,2010–

Michelle Hersh BiologyAB, Bryn Mawr College. PhD, Duke University.Postdoctoral Research Associate, Bard College,Cary Institute of Ecosystem Studies. Communityecologist with a special interest in the connectionsbetween biodiversity and disease. Author ofarticles on how fungal seedling pathogensmaintain tree diversity in temperate forests andhow animal diversity alters the risk of tickbornediseases. Recipient of grants from the NationalScience Foundation. Previously taught at BardCollege and Eastern Michigan University. SLC,2013–

Sally Herships WritingAn independent journalist who has produced orreported for multiple shows and outlets, nationaland international, including NPR’s “All ThingsConsidered,” “Studio 360,” WNYC, and BBCWorld Service; she is also a regular contributor toNPR’s “Marketplace.” Her 2010 yearlonginvestigative project, “The Five Percent Rule,”was awarded the Third Coast Radio ImpactAward and a Front Page Award from theNewswomen's Club of New York. Her work hasbeen presented at UnionDocs, and she has taughtradio workshops at The New School, SmithCollege, Feet in Two Worlds, Willie Mae RockCamp for Girls, and Spark Summit for Girls, aswell as documentary audio at FordhamUniversity. SLC, 2012–

Calli Higgins Computer ScienceBS, Media Culture and Communications, NewYork University. MPS, InteractiveTelecommunications Program (ITP), New YorkUniversity. Former ITP Resident Researcher andIAC Research Fellow at Vimeo. She is a creativetechnologist, the founder of the mobilephotography application ThrowBack, front enddeveloper at the Estée Lauder Companies, andadjunct faculty member at SLC, NYU ITP, andNYC College of Technology. SLC, 2014-

Kathleen Hill WritingKathleen Hill’s novel Still Waters in Niger wasnominated for the International IMPAC DublinLiterary Award and named a Notable Book of theYear by The New York Times, Los AngelesTimes, and Chicago Tribune; the Frenchtranslation, Eaux Tranquilles, was shortlisted forthe Prix Femina Etranger. Who Occupies This

House, a second novel, was named an Editors’Choice at The New York Times. Her work hasappeared in Best American Short Stories 2000,Pushcart Prize XXV, and The Pushcart Book ofShort Stories. A short piece, “Forgiveness,” wasincluded in Best Spiritual Writing, 2013. And“Portrait” appeared recently as a Kindle Single, inthe Ploughshares Solo Series.

James Hoch WritingPrior to joining the faculty at Ramapo College ofNew Jersey, James Hoch was a dishwasher, cook,dockworker, social worker and shepherd. Hispoems have appeared in Washington Post,American Poetry Review, Slate, Kenyon Review,New England Review, Virginia Quarterly Reviewand many others. His book, A Parade of Hands,won the Gerald Cable Award and was publishedin March 2003 by Silverfish Review Press. Hissecond book, Miscreants, appeared in 2007 fromWW Norton. He has received fellowships fromthe NEA(2007), Bread Loaf and Sewanee writersconferences, St Albans School for Boys, SummerLiterary Seminars, and was the 2008 ResidentPoet at The Frost Place and the 2008 SteinhardtVisiting Writer at Rutgers-Newark. He resideswith his wife and sons in Garrison, NY andSeattle, WA. SLC, 2012-

David Hollander WritingBA, State University of New York-Purchase.MFA, Sarah Lawrence College. David Hollanderis the author of the novel L.I.E., a finalist for theNYPL Young Lions Award. His short fiction andnonfiction have appeared in numerous print andonline forums, including McSweeney’s, PostRoad, The New York Times Magazine, Poets &Writers, The Collagist, Unsaid, The BlackWarrior Review, The Brooklyn Rail, and Swink.His work has been adapted for film andfrequently anthologized, most notably in BestAmerican Fantasy 2 and 110 Stories: New YorkWrites After September 11th. SLC, 2002–

Rona Holub Director, Graduate Program inWomen’s History—History

BA, The College of New Jersey. MA, SarahLawrence College. MA, PhD, ColumbiaUniversity. Special interest in US women’s,urban, 19-century social history, with particularemphasis on New York City, crime andcapitalism, and growth of the bourgeois narrative.Contributor to Jewish Women in America: AnHistorical Encyclopedia and Encyclopedia ofWomen in American History. Awarded GerdaLerner Prize. SLC, 2007–

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Cathy Park Hong Writing (on leave yearlong)BA, Oberlin College. MFA, University of IowaWriters’ Workshop. Poet; author of TranslatingMo’um (Hanging Loose Press, 2002) and DanceDance Revolution (W. W. Norton, 2007), whichwas chosen for the Barnard New Women’s PoetsSeries, and Engine Empire (W.W. Norton, 2012);recipient of a New York Foundation for the Artsfellowship, the National Endowment for the Artsfellowship, and a Fulbright grant for South Korea;work has been published in A Public Space,Poetry, Paris Review, McSweeney's, The Nation,Conjunctions among others; essays and articlespublished in the Village Voice, Guardian, Salon,and Christian Science Monitor. SLC, 2006–

James Horowitz LiteratureBA, New York University. MA, PhD, YaleUniversity. Special interests include Restorationand 18th-century literature, the history of thenovel, film and film theory, political history,Henry James, and gender studies. SLC, 2008–

Marie Howe Writing (on leave fall semester)BS, University of Windsor, Canada. MFA,Columbia University. Poet laureate of New YorkState; author of The Good Thief, selected byMargaret Atwood for the National Poetry Series;editor, with Michael Klein, of In the Company ofMy Solitude: American Writing from the AIDSPandemic; author of What the Living Do;recipient of the Peter I. B. Lavan Younger PoetPrize from the Academy of American Poets, theMary Ingram Bunting fellowship from RadcliffeCollege, and grants from the NationalEndowment for the Arts, the Massachusetts ArtistFoundation, and the Guggenheim. SLC, 1993–

Fanon Howell SociologyBA, Morehouse College. MA, New YorkUniversity. PhD. The New School for SocialResearch. Postdoctoral Fellow, Teachers College,Columbia University. Dissertation examined theeffects of New York City education reforms onpolicymaking, management culture, and theorganization of district bureaucracy from2003-2010. Special interests in urban sociology,structural inequality, sociology of education,social theory, sociology of culture, organizationaltheory, networks, and sociology of the body. Co-editor: Max Weber Matters: Interweaving Pastand Present. Author of Adorno’s Paradox,Weber’s Constructivism: Scrutinizing Theory andMethod, and Entropic Management:Restructuring District Office Culture in the NewYork City Department of Education

(forthcoming). Managerial experience with theNew York City Department of Education, theYMCA of Greater New York, the Center forAlternative Sentencing and EmploymentServices, and the International Journal of Politics,Culture, and Society. Teaching experience atColumbia University, The New School forLiberal Arts, CUNY, and Pratt Institute. SLC,2013-

Tishan Hsu Visual Arts (on leave springsemester)

BSAD, MArch, Massachusetts Institute ofTechnology. Sculptor and painter; one-person andgroup exhibitions in the United States, Mexico,and Europe; work included in major private andmuseum collections, including the MetropolitanMuseum of Art, High Museum, Centre GeorgesPompidou (Paris), and the Centro Cultural ArteContemporaneo (Mexico City); honorarymember, Board of Directors, White Columns,New York; recipient of grant from the NationalEndowment for the Arts. SLC, 1994–

Dan Hurlin Theatre, Dance (on leave springsemester)

BA, Sarah Lawrence College. Performances inNew York at Dance Theater Workshop, PS 122,La MaMa E.T.C., Danspace, The Kitchen, St.Ann’s Warehouse, and at alternative presentersthroughout the United States and the UnitedKingdom. Recipient of a Village Voice OBIEAward in 1990 for solo adaptation of NathanaelWest’s A Cool Million and the 2000 New YorkDance and Performance (“Bessie”) Award forEveryday Uses for Sight, Nos. 3 & 7; recipient offellowships from the National Endowment for theArts, the New Hampshire State Council on theArts, and a 2002-2003 Guggenheim fellowshipand of grants from Creative Capital, theRockefeller Foundation, the New York StateCouncil on the Arts, the Mary Cary FlaglerCharitable Trust, and the New EnglandFoundation for the Arts. Recipient of the AlpertAward in the Arts for Theatre, 2004. Formerteacher at Bowdoin, Bennington, Barnard, andPrinceton. SLC, 1997–

Meghan Jablonski PsychologyBA, Muhlenberg College. MA, PhD, The NewSchool for Social Research. Clinical psychologistwith special interests in attachment theory and theimpact of important relationships throughout life,the role of creative processes in wellness andresilience, and mindfulness practices. Currentwork includes psychodynamic/relational

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psychoanalytic approaches to life changes andadjustments, flow and mindfulness-basedinterventions promoting wellness beyondsymptom reduction, and mindfulness-basedinterventions for new and expecting parentsadjusting to parenthood. SLC, 2013–

James Jeter Music

Daniel Johnson PhysicsBS, University of Illinois at Urbana-Champaign.MS, PhD, Cornell University. Postdoctoralresearch associate, The Rockefeller University.Author of research papers in biophysics,molecular biology, cell biology, and plasmaphysics. Research interests include biophysics ofvirus assembly (e.g., HIV), motor proteins (e.g.,DNA helicases), and cell membrane dynamics.Currently developing novel microscopy imagingtechniques to quantitatively study biologicalsystems. SLC, 2013-

Kate Knapp Johnson WritingBA, Sarah Lawrence College. MFA, SarahLawrence College. NCPsyA, WestchesterInstitute. Special interests include Jungian studiesand religion; author of When Orchids WereFlowers, This Perfect Life, and Wind Somewhere,and Shade, which received the Gradiva Award;most recently published in Ploughshares, TheSalt Journal, Luna, and The Sun; recipient ofNew York Foundation for the Arts Award. SLC,1987–

Elizabeth Johnston PsychologyMA, St. Andrew’s University, Scotland. DPhil,Oxford University. Special interests in humanperception of three-dimensional shape, binocularvision, and the perception of depth from motion;author of articles and book chapters on shapeperception from stereopsis, sensorimotorintegration, and combining depth informationfrom different sources. SLC, 1992–

Alwin A. D. Jones LiteratureBA, Tufts University. MA, PhD, University ofVirginia. Special interests include AfricanAmerican literature and studies, 18th century tothe present; Caribbean literature and studies,literatures in English and/or translations; earlyAmerican/transatlantic literatures; postcolonialliteratures in English, particularly of the Africandiaspora; race, cultural, and postcolonial theory;black popular culture; performance poetry; andthe intersection of black music and resistanceinternationally. SLC, 2008–

Daniel Kaiser LiteratureBA, Columbia College. MA, Yale University.Special interest in 19th- and 20th-centuryAmerican and European literature, with particularemphasis on relationships between politics andliterature; recipient of French government-Fulbright fellowship for study at the Sorbonne.SLC, 1964-1971; 1974–

Shirley Kaplan Director, Theatre Outreach;Shirley Kaplan Faculty Scholar inTheatre—Theatre

Diploma in Sculpture and Painting, Academie dela Grande Chaumiere, Paris. Playwright, director,and designer, with productions throughout theUnited States and Europe; co-founder, OBIEAward-winning Paper Bag Players; founder, ThePainters’ Theatre. Directing credits includeEnsemble Studio Theatre, Playwrights Horizons,UBU Repertory, La MaMa E.T.C., EnsembleStudio Theatre, Music Theatre Group, New YorkPerformance Works; guest director/playwright,St. Archangelo, Italy; directed new works byRichard Greenberg, David Ives, Leslie Lyles,Eduardo Machado, Denise Bonal, Keith Reddin,and Arthur Giron. Writer/lyricist, Rockabye.Designer, Ben Bagley’s Cole Porter Shows, USand European tours; created interactive theatreworkshops for The Kitchen and New York Citymuseums; developed original ensembles on majorarts grants. Winner, Golden Camera Award, USIndustrial Film and Video Festival; finalist for theSusan Smith Blackburn Prize for her play, TheConnecticut Cowboy; recipient of WestchesterArts Council Award in Education and ExcellenceAward, the Ensemble Studio Theatre. Founderand codirector, Sarah Lawrence College TheatreOutreach. SLC, 1975–

Kenneth G. Karol BiologyBSc, University of Wisconsin-Madison. PhD,University of Maryland-College Park. Researchinterest in molecular systematics, classificationand evolution of green algae and land plants, andinterest in organellar genome evolution. Currentlyan assistant curator at the New York BotanicalGarden’s Cullman Molecular SystematicsProgram, adjunct faculty member at CityUniversity of New York, international collectorof algae, and author of more than 30 papers andbook chapters on algae and land plant evolution.SLC, 2008–

Susan Kart Art History (on leave yearlong)MA, MPhil, PhD (forthcoming), ColumbiaUniversity. Specialization in 20th-century African

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art, arts of the African diaspora, Islamic arts inAfrica, and colonial period African art. Primaryresearch based in Senegal, West Africa. Articlesand reviews published in Critical Interventions,African Studies Review, and the H-Net for AfricanArt. Additional academic interests include pre-Columbian and Latin American art. SLC, 2008–

Kuniko Katz JapaneseBA, Antioch College. MFA, Sarah LawrenceCollege. Columnist and frequent contributor tovarious Japanese newspapers and magazines inthe United States and Japan. Translator of articlesand the book Hide and Seek, by Theresa Cahn-Tober, into Japanese. SLC, 2006–

Kathy Kaufmann Dance

William Melvin Kelley Writing (on leave fallsemester)

Harvard College. Fiction writer and video maker;author of A Different Drummer, Dancers on theShore, A Drop of Patience, dem, DunfordsTravels Everywheres, and stories and nonfictionin The New Yorker, Esquire, Mademoiselle, andSaturday Evening Post; awards and grants fromthe American Academy of Arts and Letters, theRockefeller Foundation, the New YorkFoundation for the Arts, and the WurlitzerFoundation. SLC, 1989–

Brian Kilgo-Kelly FrenchBA, Barnard College. MA, MPhil, New YorkUniversity. Dissertation in progress, entitledHorse Time, is a study of the effects of horses onkinesthetic and narrative temporality in Diderot,Flaubert, and Simon. Research interests include18th-, 19th-, and 20th-century French literature,critical animal studies, motion studies, film,critical theory, queer culture, and gender. SLC,2013-

Daniel King The Sara Yates Exley Chair inTeaching Excellence —Mathematics

BS, Lafayette College. MS, PhD, University ofVirginia. Special interests in mathematicseducation, game theory, history and philosophy ofmathematics, and the outreach of mathematics tothe social sciences and the humanities. Author ofresearch papers in the areas of nonassociativealgebra, fair division theory, and mathematicseducation; governor of the Metropolitan NewYork Section of the Mathematical Association ofAmerica; member, Board of Editors, The CollegeMathematics Journal. SLC, 1997–

Jonathan King MusicBA, Amherst College. MS, University ofMontana. MA, MPhil, PhD candidate, ColumbiaUniversity. Special interests include Americanvernacular music, African musical traditions,Western art music, 20th-century popular music,improvisation, music and language. SLC, 2007–

David Klass Visual ArtsBA, Yale University. MA, University of SouthernCalifornia School of Cinema-Television. Haswritten more than 30 feature screenplays for theHollywood studios, including Kiss the Girls andWalking Tall. TV credits include on-staff writer-producer for “Law and Order: Criminal Intent”and developing an original medical drama,“Golden Hour,” for CBS. His feature movie,Emperor, starred Tommy Lee Jones as DouglasMacArthur. He has also published 18 novels,most of them for young adults. SLC, 2012–

Jason Krugman Visual ArtsBA, Tufts University. MPS, New YorkUniversity, Interactive TelecommunicationsProgram. Founded Jason Krugman Studio todevelop self-initiated and commissionedinteractive and illuminated artworks. Clientsinclude Wired Magazine, BMWi, NYC ParksDepartment, CW Television Network (GossipGirl) and Claremont University Consortium. Hiswork has been projected on the facade of the NewMuseum in New York City, commissioned by theSchuylkill Environmental Art Center, shown ingalleries in Barcelona and Milan, featured widelyin the international media, and blogged about bythe Creator’s Project and The New York Times.Previously a visiting artist and teacher at the NewSchool for Liberal Studies. SLC, 2012–

Justine Kurland Visual ArtsBFA, School of Visual Arts (New York). MFA,Yale University. New York-based photographer/artist with solo exhibitions at numerous galleriesand museums worldwide, including: Frank ElbazGallery, Elizabeth Leah Gallery, Monte FariaGallery, Mitchell-Innes & Nash, Monte ClarkGallery. Works represented in numerouspermanent collections, including: TheInternational Center of Photography (New York),Museum of Contemporary Photography(Chicago), Solomon R. Guggenheim Museum ofArt (New York), and Whitney Museum ofAmerican Art. Guest lecturer at ColumbiaUniversity, Columbia College of Art, Universityof California-Los Angeles, and numerous others.Her photos have been published widely and

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featured most notably in Art in Review, The NewYork Times, Vogue, The Washington Post, TheNew Yorker, and Harper’s Bazaar. Herphotography is featured in numerous books andcatalogues, including: Art Photography Now,Bright, Susan (Aperture Foundation, 2005), OldJoy, Jonathan Raymond (Artspace Books, 2004),and Justine Kurland: Spirit West, John Kelsey(Coromandel, 2002). SLC, 2011–

Peter Kyle DanceBA, Kenyon College. MFA, University ofWashington. Dancer, choreographer, teacher,filmmaker, and artistic director of Peter KyleDance; choreographic commissions across theUnited States and internationally in Scotland,Norway, Germany, Cyprus, and China. PeterKyle Dance has performed in New York City atOne Arm Red, Abrons Arts Center, ChezBushwick, Joyce SoHo, Symphony Space, DNA,3LD, and the 92nd Street Y, among other venues.Previously a solist with Nokolais and MurrayLouis Dance and performed in the companies ofMark Morris, Erick Hawkins, Gina Gibney, LauraGlenn, and P3/east, among others. Also teaches atMarymount Manhattan College, HC Studio, andNikolais/Louis Summer Dance Intensive andconducts residencies and workshopsinternationally. His Tiny Dance Film Series hasbeen installed internationally since 2006. SLC,2009–

Mary LaChapelle WritingBA, University of Minnesota. MFA, VermontCollege. Author of House of Heroes and OtherStories; stories, essays and anthologies publishedby New River’s Press, Atlantic Monthly Press,Columbia Journal, Global City Review, HungryMind Review, North American Review, Newsday,The New York Times; recipient of the PEN/Nelson Algren, National Library Association,Loft Mcknight and The Whiting FoundationAward; fellowships from the Hedgebrook,Katherine Anne Porter, Edward Albee, and Bushfoundations. SLC, 1992–

Eduardo Lago SpanishMA, Universidad Autónoma de Madrid, Spain.PhD, Graduate Center, City University of NewYork. Special interests in translation theory, theaesthetics of the Baroque, and the connectionsamong contemporary US Latino, Iberian, SpanishAmerican, and Luso-Brazilian fiction writers.Author of Ladrón de mapas (Map Thief), acollection of short stories published in September2007; Cuentos disperses (Scattered Tales), a

collection of short stories, and Cuaderno deMéjico (Mexican Notebook), a memoir of a trip toChiapas, both published in 2000. First novelLlámame Brooklyn (Call Me Brooklyn), in 2006won Spain’s Nadal Prize and the City ofBarcelona Award for best novel of the year, theFundación Lara Award for the novel with the bestcritical reception, the National Critics Award, andbest novel of the year in Spain by El Mundo.Recipient of the 2002 Bartolomé March Awardfor Excellence in Literary Criticism. Currentlydirector of Instituto Cervantes of New York.SLC, 1994–

Kevin Landdeck Merle Rosenblatt GoldmanChair in Asian Studies—Asian Studies

BA, Valparaiso University. MA, University ofMichigan-Ann Arbor. PhD, University ofCalifornia-Berkeley. Recipient of a ChiangChing-kuo Foundation dissertation grant forarchival research in Chongqing (China). Researchconcerns 20th-century China, specificallyKuomintang war mobilization and interior societyduring the Sino-Japanese War (1937-45).Dissertation, “Under the Gun: NationalistMilitary Service and Society in Wartime Sichuan,1938-1945,” presently being revised for futurepublication, examines the state-making projectsembedded within conscription and voluntaryenlistment in Chiang Kai-shek's army. Translatingthe confessions and jottings of a captured KMTspy, who spent 16 years undergoing self-reformin a communist prison, is a side project currentlyin progress. Key areas of interest include China’stransition from a dynastic empire to a nation-state; the role of war in state-making; modes ofpolitical mobilization and their intersection withsocial organization; and private life and selfhood,including national, regional, or local and personalidentities. Broadly teaches on modern (17thcentury to present) East Asian history, with afocus on politics, society, and urban culture. Inaddition to a course on war in 20th-century Asia,a personal involvement in photography hasinspired a course on photographic images andpractice in China and Japan from the 19th centurythrough the present. Member of the AmericanHistorical Association, Association of AsianStudies, and Historical Society for Twentieth-Century China. SLC, 2011–

Allen Lang TheatrePublished plays include Chimera and WhiteBuffalo in the French performance journal,Collages and Bricollages. Recipient of the LipkinPlaywright Award and Drury College Playwright

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Award. Plays produced in New York City at LaMama and other venues; directed plays in NewYork and regionally; acted and directed in NewYork City, in Yonkers at the Hudson RiverMuseum, and in regional theatre, on radio,television and film. Established The RiverTheatre Company in Central Wisconsin with acompany of eclectic players from all walks oflife. Directed and toured with the works ofSamuel Beckett, Eugene Ionesco, SlawomirMrozek, David Lindsay Abaire, John PatrickShanley, Terrence McNally, Wendy Wasserstein,David Ives. Performances were presented on NPRand in lofts, shopping malls, bus stops, parkinglots, abandoned stores, and traditional venues.Conducted theatre and creative writingworkshops for participants of all ages in NewYork City, South America, and throughout theUnited States. Recipient of grants from theNational Endowment of the Arts and TheWisconsin Council of the Arts. Co-director ofSarah Lawrence College Theatre Outreach andcreative director of the Sarah Lawrence Theatreprogram 2007-2010. SLC, 1998–

Ann Lauinger LiteratureBA, University of Pennsylvania. MA, PhD,Princeton University. Special interest in medievaland Renaissance poetry, particularly English.Author of papers and articles on Shakespeare andBen Jonson; of Persuasions of Fall (TheUniversity of Utah Press, 2004) and AgainstButterflies (Little Red Tree Publishing, 2013),both books of poems; and of poems published inConfrontation, Missouri Review, Parnassus, andother magazines. Recipient of Agha Shahid AliPoetry Prize, Ernest J. Poetry Prize, Thouron-University of Pennsylvania British-AmericanExchange Program scholarship; Woodrow WilsonFellow. SLC, 1973–

Joseph Lauinger LiteratureBA, University of Pennsylvania. MA, OxfordUniversity. MA, PhD, Princeton University.Special interest in American literature and film,the history of drama, and classical literature;recipient of the New York State Teacher ofExcellence Award and a grant from the NationalEndowment for the Humanities; fiction andpoetry published in Epoch, Lost Creek,Georgetown Review, Confrontation, and PigIron; plays performed throughout the UnitedStates and in the United Kingdom, Australia, andIndia; member of the Dramatists Guild. SLC,1988–

Karen R. Lawrence President—LiteratureBA, Yale University. MA, Tufts University. PhD,Columbia University. Special interest in modernand postmodern literature, the novel, and travelwriting. Author of The Odyssey of Style inUlysses, Penelope Voyages: Women and Travelin the British Literary Tradition, and numerousessays on modern literature; editor ofTranscultural Joyce and Decolonizing Tradition:New Views of Twentieth-Century “British”Literary Canons. Current work includes thefiction and theory of Christine Brooke-Rose andcollected essays on James Joyce. Recipient of aJohn Simon Guggenheim Foundation Fellowshipand the Rosenblatt Prize for Excellence inResearch, Teaching, and Service from theUniversity of Utah. Former chair of English at theUniversity of Utah and dean of humanities at theUniversity of California-Irvine. Former presidentof the International James Joyce Foundation andthe Society for the Study of Narrative Literature.President of Sarah Lawrence College, 2007–

Michelle Lee FrenchBA, MA, University of California-Santa Cruz.CPhil, University of California-Los Angeles.Area of specialization: 19th-century Frenchliterature. Dissertation on French travel writing toNorth Africa and Indian Ocean, photography, andthe novel. Research interests include 18th- and19th-century French literature and continentalthought and 20th-century francophone literature.SLC, 2013–

Tom Lee TheatreDesigner, director, performer, and puppet artistoriginally from Mililani, Hawai’i. He hasdesigned scenery, puppetry, and projections forEllen Stewart, Tom O’Horgan, CzechoslovakAmerican Marionette Theatre, Lone Wolf Tribe,Georgia Shakespeare Festival, ChristopherWilliams, and Yoshiko Chuma at theatres in NewYork City and internationally. Puppetryperformances include Disfarmer (St. Ann’sWarehouse and tour), Madama Butterfly(Metropolitan Opera), Le Grand Macabre (NewYork Philharmonic) and WarHorse (LincolnCenter Theatre). Ooriginal puppet theatre workincludes Hoplite Diary, Odysseus & Ajax,Ko’olau and The Secret History of the SwedishMarionette Cottage (with Matt Acheson). Hiswork has been supported by residencies in theUnited States and Bulgaria and by the JimHenson Foundation, The Japan Foundation, AsianCultural Council, TCG/ITI. Codirector St. Ann’sPuppet Lab (2008-2010). SLC, 2005–

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Eric Leveau FrenchGraduate of École Normale Supérieure,Fontenay-Saint Cloud, France. Agrégation inFrench Literature and Classics. Doctorate inFrench literature, Paris-Sorbonne. Special interestin early modern French literature, with emphasison theories and poetics of theatre, comedy andsatire, rhetoric, and the evolution of notions ofwriter and style during the period. SLC,2003-2006; 2008–

Linwood J. Lewis Anita Stafford Chair in ServiceLearning—Psychology

BA, Manhattanville College. MA, PhD, CityUniversity of New York. MS, ColumbiaUniversity. Special interests in the effects ofculture and social context on conceptualization ofhealth and illness, effects of the physicalenvironment on physical, psychological andsocial health, multicultural aspects of geneticcounseling, the negotiation of HIV withinfamilies, and the development of sexuality inethnic minority adolescents and adults. Recipientof a MacArthur postdoctoral fellowship and anNIH-NRSA research fellowship. SLC, 1997–

Wen Liu PsychologyBS, University of Washington. MPhil, CityUniversity of New York (CUNY). Currentlypursuing PhD in psychology at the CUNYGraduate Center. Central interests on theintersection of gender, sexuality, and laborthrough the lenses of Marxist-feminism, queertheory, and critical psychology. Current workfocuses on the meanings of human rights intransnational LGBT movements in the context ofneoliberal globalization. SLC, 2013–

Robert Lyons TheatrePlaywright, director, and the artistic director ofthe two-time OBIE Award-winning New OhioTheatre in Manhattan. Most recently, he was awriter on Lush Valley, which was developed atThe Playwright’s Center in Minneapolis andproduced at HERE Art Center in Fall 2011. Otherrecent productions include, Nostradamus Predictsthe Death of Soho, Red-Haired Thomas (“asweetly fractured fairy tale”—The New YorkTimes) and Doorman’s Double Duty (“Agem!”—The New York Times). Other playsinclude, PR Man, No Meat No Irony, The NakedAnarchist, Dream Conspiracy, Creature of theDeep, No Thanks/Thanks, Vater Knows Best, andFloor Boards, which have been presented in NewYork City by Soho Think Tank, HERE ArtsCenter, Project III Ensemble, Clubbed Thumb,

The Foundry, and Synapse Productions, amongothers. Commissioned adaptations range fromThe Possessed by Dostoevsky to How it Ended byJay McInerney. SLC, 2013–

Doug MacHugh TheatreBA, New England College. MFA, SarahLawrence College. Peace Corps, El Salvador.Writer of PSAs, commercials, industrials, anddocumentaries. Script writer and talent director atGates Productions for 80 hours of local andregional live television in Los Angeles; one oftwo conceptual designers for Mitsubishi’sWaterfront Project, creating 32 amusement parkattractions; creative producer of Red Monsoon, afeature film shot in Nepal. Film acting creditsinclude Clean and Sober, Alien Nation, Come Seethe Paradise, and Weird Science; televisionacting credits include “Guiding Light,” “Law andOrder,” “Cheers,” “Quantum Leap,” “LA Law,”and “Night Court”; stage credits include HolyGhost, End Game, Zoo Story, Fishing, and WatTyler; directing credits include Platypus Rex,Mafia on Prozac, The 17th of June, North ofProvidence, Only You, To Kill A Mockingbird,and The Weir. Co-director and co-producer ofSLC Web Series, “Socially Active,” Web featurefilm Elusive, and television pilot “Providers.”Recipient of two [Los Angeles] Drama-LogueCritics’ Awards for acting. SLC, 2000–

Greg MacPherson TheatreDesigned lighting for hundreds of plays andmusicals in New York and around the UnitedStates, as well as in Europe, Australia, Japan, andthe Caribbean. Designs have included originalplays by Edward Allan Baker, Cassandra Medley,Stewart Spencer, Richard Greenberg, WarrenLeight, Lanford Wilson, Romulus Linney, ArthurMiller, and David Mamet. Continues to designthe Las Vegas production of Penn & Teller and towork as resident designer for the 52nd StreetProject. Received an American Theatre WingMaharam Award nomination for his lightingdesign of E.S.T.’s Marathon of One-Act Plays.SLC, 1990–

Patrisia Macías Sociology (on leave yearlong)BA, Sarah Lawrence College. MA, PhD,University of California-Berkeley. Researchinterests include international migration, bordercontrols, human smuggling, the penal state, racerelations, ethnographic methods, and socialtheory; current project examines the role of states,smugglers, vigilantes, and NGOs in regulatingclandestine migrations at the United States-

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Mexico border; recipient of grants andfellowships from the National ScienceFoundation, Andrew Mellon Program in LatinAmerican Sociology, Social Science ResearchCouncil, and Center for Latino Policy Research atthe University of California-Berkeley. SLC,2007–

Merceditas Mañago-Alexander DanceBA, Empire State College (SUNY). Dancer withDoug Varone and Dancers, Pepatian, Elisa MonteDance Company, Ballet Hispanico, andindependent choreographers such as Sara Rudnerand Joyce S. Lim. Recipient of the OutstandingStudent Artist Award from the University of thePhilippines Presidents’ Committee on Culture andthe Arts. Taught at Alvin Ailey School; guestfaculty member, 92nd Street Y, MarymountManhattan College, Metropolitan Opera Ballet,New York University Tisch School of the Arts,Rutgers University Mason Gross School of thePerforming Arts. Participant/teacher, 2004 BatesFestival-Young Dancers Workshop; solo works:Free Range Arts, Dixon Place, Brooklyn ArtsExchange, and Danspace Project/St. Mark’sChurch. SLC, 2002–

Thomas Mandel TheatreBA, Bowdoin College. Songwriting with PaulSimon, New York University, 1969; taughtSinging Workshop with John Braswell at SarahLawrence (1971-77); scored musicals at SarahLawrence, Astor Place Theatre, and CafeLaMaMa, New York City; composed,orchestrated, and musical-directed three rockoperas off-off Broadway and at Sarah Lawrence.(The first, Joe’s Opera, was twice optioned forBroadway production; animated the second, TheSea of Simile, on a full-length DVD.) Toured andrecorded (1977-1998) from Vietnam to Vienna,New York City to Sun City, with Dire Straits,Bryan Adams, Cyndi Lauper, Tina Turner, BonJovi, B-52s, the Pretenders, Nils Lofgren, LittleSteven, Peter Wolf, Ian Hunter/Mick Ronson, twoformer NY Dolls, Live at CBGB’s, the Spinners,Shannon, John Waite, and Pavarotti. Returned toSarah Lawrence in 2000 to work with ShirleyKaplan, William McRee, and Thomas Young.Fields of expertise: Hammond organ, rock-and-roll piano, synthesizer programming andsequencing, piano accompaniment, popular andprogressive music of the 1950s-1990s. SLC,1971-77, 2000–

Rona Naomi Mark Visual ArtsBA, Hebrew University of Jerusalem. MFA,Columbia University. Award-winning writer,director, and producer. Festivals and awardsinclude: Best of Fest, Edinburgh InternationalFilm Festival; Audience Choice Award,Filmmaker Magazine; Scenario Award, CanadianInternational Film and Video Festival; Best Short(second place), Galway Film Fleadh; BestComedy/Best of Night, Polo Ralph Lauren NewWorks Festival; BBC’s Best Short Film Aboutthe Environment, Tel Aviv International StudentFilm Festival; opening-night selection, ThreeRivers Film Festival; Hong Kong InternationalJewish Film Festival; Irish Reels Film Festival;Seattle True Independent Film Festival; NewFilmmakers Screening Series; HobokenInternational Film Festival; Miami Jewish FilmFestival; Munich International Student FilmFestival; Palm Beach International Jewish FilmFestival; Pittsburgh Israeli Jewish Film Festival;Toronto Jewish Film Festival; Vancouver JewishFilm Festival; finalist, Pipedream ScreenplayCompetition; third prize, Acclaim TV WriterCompetition; second place, TalentScout TVWriting Competition; finalist, People’s PilotTelevision Writing Contest; Milos FormanAward; finalist, Academy of Motion Picture Artsand Sciences Student Film Awards. Currentfeature film projects include: screenwriter/director/producer, Strange Girls, Mdux Pictures,LLC; screenwriter/director, Shoelaces. SLC,2007–

James Marshall Computer ScienceBA, Cornell University. MS, PhD, IndianaUniversity-Bloomington. Special interests inrobotics, evolutionary computation, artificialintelligence, and cognitive science. Author ofresearch papers on developmental robotics, neuralnetworks, and computational models of analogy;author of the Metacat computer model of analogy.SLC, 2006–

Jeffrey McDaniel Writing (on leave fallsemester)

BA, Sarah Lawrence College. MFA, GeorgeMason University. Jeffrey McDaniel is the authorof five books of poetry, most recently Chapel ofInadvertent Joy (University of Pittsburgh Press,2013). Other books include The Endarkenment(Pittsburgh, 2008), The Splinter Factory (ManicD, 2002), The Forgiveness Parade (Manic DPress, 1998), and Alibi School (Manic D, 1995).His poems have appeared in numerous journalsand anthologies, including Best American Poetry

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1994 and 2010. A recipient of an NEAFellowship, he teaches at Sarah LawrenceCollege and lives in the Hudson Valley

Stephen McFarland GeographyBA, Trinity College. MRP, Cornell University.Currently completing PhD in Geography atCUNY Graduate Center. Central interests inurban geography, critical GIS, labor studies, cityplanning, social movements, political economy.Dissertation research focuses on union halls in theUS labor movement, 1880-1950. Taught atBrooklyn College, Hunter College, and theMurphy Institute for Worker Education. Fellow,Center for Place, Culture, and Politics. SLC,2013-

Dianne McIntyre DanceBFA, Ohio State University. Choreographer formodern dance, theatre, television/film. Formercompany Sounds in Motion toured the UnitedStates and Europe and operated a studio/school inHarlem. Collaborator with “jazz/blues/newmusic” composers. Choreography for Alvin AileyAmerican Dance Theater, DCDC, Dallas BlackDance Theatre, GroundWorks, Dancing Wheels,and more. Choreography/residencies: ADF,Bates, Jacob’s Pillow, and universities ofMichigan, Maryland, Western Michigan, Oberlin,Spelman, Illinois, Ohio State, Minnesota, StateUniversity of New York-Brockport and SUNY-Purchase. Recreated Helen Tamiris’ 1937 “HowLong, Brethren?” for current ensembles.Choreography for four Broadway plays, three OffBroadway, 30 regional theatres. TV/film:Beloved, Miss Evers’ Boys, Fun Size, for coloredgirls…. Dance dramas produced in theatre arenas.Honors: John S. Guggenheim fellowship, threeBessies; ADF Distinguished Teaching (2008),Helen Hayes Theatre Award, honorary doctorateSUNY-Purchase, numerous grants/fellowshipsfrom NEA and NYSCA. SLC, 2013–

William D. McRee Theatre (on leave springsemester)

BA, Jacksonville University. MFA, SarahLawrence College. Co-founder and artisticdirector for Jacksonville’s A Company of Players,Inc.; productions with The Actor’s Outlet,Playwrights Horizons, Summerfest, and theEnsemble Studio Theatre. SLC, 1981–

Angelia Means PoliticsPhD in Political Theory from Harvard’sGovernment Department and a JD from HarvardLaw School. She has taught political theory andpublic law for fifteen years at Harvard,

Dartmouth and the LSE. She has also worked forthe US Department of Justice and theInternational War Crimes Tribunal on the FormerYugoslavia. Her research deals with the bridgesbetween civil and human rights and democraticpolitical theory, especially with the way in whichthe articulation of minority and women’s rightsreiterates, expands, and gives concrete meaning tothe idea of universal rights, and with thedevelopment of democratic norms and proceduresthat can accommodate different types of argumentwhile still being committed to consensus. Recentarticles, including “Intercultural Political Identity:Are We There Yet?,” “The Rights of Others,”“'Genocide' in the Sudan,” “NarrativeArgumentation: Arguing with Natives,” and“Kant’s Art of Politics,” have appeared in leadingjournals. SLC, 2008-

Cassandra Medley TheatreProducer of plays, including American SlaveryProject (2012-13). Cell (2013), Ensemble StudioTheatre Marathon (2011), is pending publicationin the anthology Outstanding One-ActPlays—2012, Dramatists Play Service; Daughter,Ensemble Studio Theatre Marathon (2009),published by Broadway Play Publishing (2012).Noon Day Sun (August, 2008), Diverse CityTheatre Company, Theatre Row, New York City,was nominated for the August Wilson PlaywritingAward (2008); Noon Day Sun was also publishedby Broadway Play Publishing. Relativity, acommission from the Alfred P. Sloan Foundation,Ensemble Studio Theatre (2004), was producedby Kuntu Repertory of Pittsburgh, SouthernRepertory of New Orleans (2007), the EnsembleStudio Theatre (May 2006), St. Louis BlackRepertory Theatre (February 2006), and theMagic Theatre in San Francisco (June 2004);Relativity, published by Broadway PlayPublishing, also won the Audelco August WilsonPlaywriting Award (2006) and was featured onScience Friday on National Public Radio and inan online broadcast of the Los AnegelesRepertory Theatre (February 2008). Marathon(2004-06) was also published by Broadway PlayPublishing. Recipient of the “Going to the RiverWriters” Life Achievement Award (2004),Ensemble Studio Theatre 25th AnniversaryAward for Theatre Excellence (2002), theTheatrefest Regional Playwriting Award for BestPlay (2001), the New Professional Theatre Award(1995), and the Marilyn Simpson Award (1995);a finalist for the Susan Smith Blackburn Award inPlaywriting (1989) and winner of the NationalEndowment for the Arts Playwright Award

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(1990). Recipient of a New York Foundation forthe Arts Grant (1986) and a New York StateCouncil on the Arts Grant (1987). Taught at NewYork University and served as guest artist atColumbia University, the University of IowaPlaywrights Workshop, and Seattle University.Staff writer for ABC Television, "One Life toLive" (1995-97), and a playwright member of theEnsemble Studio Theatre and New RiverDramatists. SLC, 1989–

Jodi Melnick DanceBFA, State University of New York-Purchase.Choreographer, performer, and teacher. A 2012Guggenheim Fellow and recipient of the JeromeRobbins New Essential Works Grant(2010-2011), a Foundation for ContemporaryArts, 2011 Grants to Artists Award, and twoBessies (2001 and 2008). Her dances have beenperformed at the Joyce Theater and City Center inNew York City; her works have beencommissioned and presented by The Kitchen(Fanfare, with set décor by Burt Barr), DanceTheater Workshop, La Mama for OtherShoreDance Company, Jacob’s Pillow, The AmericanDance Festival, Barnard College, BenningtonCollege, Dance Box, Kansai, Japan, and openingthe Dublin Dance Festival (2011) at the IrishMuseum of Modern Art. She has worked with avast array of dance artists such as Twyla Tharpand Mikhail Baryshnikov and continues toperform with choreographers Sara Rudner, VickyShick, Jon Kinzel, John Jasperse, Liz Roche, andSusan Rethorst. Currently, she also teaches atBarnard College at Columbia University, NewYork University (in the Experimental TheaterWing), and Trevor Day School. SLC, 2013–

Nicolaus Mills LiteratureBA, Harvard University. PhD, Brown University.Special interest in American studies. Author ofWinning the Peace: The Marshall Plan andAmerica’s Coming of Age as a Superpower, TheTriumph of Meanness: America’s War Against ItsBetter Self, Their Last Battle: The Fight for theNational World War II Memorial, Like a HolyCrusade: Mississippi 1964, The Crowd inAmerican Literature, and American and EnglishFiction in the Nineteenth Century; editor ofGetting Out: Historical Perspectives on LeavingIraq, Debating Affirmative Action, ArguingImmigration, Culture in an Age of Money, BusingUSA, The New Journalism, and The New KillingFields; contributor to The Boston Globe, The NewYork Times, Chicago Tribune, San FranciscoChronicle, Newsday, The Nation, Yale Review,

National Law Journal, and The Guardian;editorial board member, Dissent magazine.Recipient of fellowships from the WoodrowWilson Foundation, American Council ofLearned Societies, and the RockefellerFoundation. SLC, 1972–

Greta Minsky TheatreBA, University of Kansas. MA, Sarah LawrenceCollege. Stage manager of original productions ofworks by Tom Stoppard, Neil Simon, LaurenceFishburne, Doug Wright, Charles Busch, Larry L.King, Ernest Abuba, and Lillian Garrett-Groag,among others. Broadway, Off Broadway, touring,dance, opera, and concert work includesproductions with Manhattan Theatre Club, CircleRep, WPA, Pan Asian Rep, Vineyard Theatre, LaMaMa E.T.C., The Women’s Project, Radio CityMusic Hall, Carnegie Hall, and New York CityOpera. Co-founder of Modern Times Theater.SLC, 1998–

Nike Mizelle GermanBA, Queens College. MA, MPhil, GraduateCenter of the City University of New York.Special interests in New German Cinema,German Romanticism, contemporary Germanauthors, and 20th-century art history. Translatorof articles on German music; contributor to ProHelvetia Swiss Lectureship. Monika MaronSymposium chairperson, Gent University,Belgium. SLC, 1987–

Ruth Moe TheatreProduction manager for the Sarah LawrenceCollege Theatre program. Other productionmanagement work includes seven seasons withthe Westport Country Playhouse, alsoShakespeare and Company, Classic StageCompany, The Working Theatre, The ColoradoFestival of World Theatre, East Coast ArtsTheatre, Berkshire Public Theatre, and The JerashFestival in Amman, Jordan. Production stagemanagement credits include productions with theBrooklyn Academy of Music, Mabou Mines,New York Theatre of the Deaf, and Fast FolkMusical Magazine. Member of AEA. SLC, 1999–

Angela Moger Literature, FrenchBA, Bryn Mawr College. MA, University ofPennsylvania. PhD, Yale University. Specialinterests include theory of narrative, Frenchliterature of the 19th century, decadence inpainting and literature, and semiotic andrhetorical approaches to the short story. Recipientof Yale University’s Mary Cady Tew Prize andthe Dwight and Noyes Clark fellowship.

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Scholarly publications include essays in PMLA,Yale French Studies, Substance, and RomanicReview; the anthologies Nineteenth-CenturyLiterary Criticism and Maupassant Conteur etRomancier; and the books Hurdles and MovingForward, Holding Fast: The Dynamics ofMovement in Nineteenth-Century French Culture.Visiting professor at the Institut d’ÉtudesFrancaises d’Avignon. Dean of studies, SarahLawrence College, 1972-1975. SLC, 1971–

Mary Morris WritingBA, Tufts College. MPhil, Columbia University.Novelist, short-story writer, and writer of travelliterature. Author of the novels Crossroads, TheWaiting Room, The Night Sky, House Arrest, Actsof God, and Revenge; the short story collectionsVanishing Animals and Other Stories, The Bus ofDreams, and The Lifeguard Stories; the travelmemoirs Nothing to Declare: Memoirs of aWoman Traveling Alone and Wall to Wall: FromBeijing to Berlin by Rail; an anthology of thetravel literature of women, Maiden Voyages andAngels and Aliens: A Journey West. Recent workin Atlantic Monthly, Narrative, andPloughshares; recipient of the Rome Prize inLiterature and grants from the GuggenheimFoundation, National Endowment for the Arts,and Creative Artists Public Service Awards. SLC,1994–

Bari Mort MusicBFA, State University of New York-Purchase.MM, The Juilliard School. Pianist, winner ofArtists International Young Musicians Auditions;New York recital debut at Weill Recital Hall atCarnegie Hall. Member of New York ChamberEnsemble; performed with International StringQuartet, Musica de Camera, Da Capo ChamberPlayers, Colorado String Quartet, AmericanSymphony Orchestra, Columbia Artists’Community Concerts. Broadcasts include PBSLive from Lincoln Center and NPR in New Yorkand San Francisco. Recorded for ERM Recordsand Albany Records; faculty member, BardCollege, 1997-2006. SLC, 2008–

Brian Morton Director, Program inWriting—Writing

BA, Sarah Lawrence College. Author of thenovels The Dylanist, Starting Out in the Evening,A Window Across the River, Breakable You, andFlorence Gordon (forthcoming in September). Hehas been the recipient of the Guggenheim award,the Award in Literature from the AmericanAcademy of Arts and Letters, and the Koret

Jewish Book Award for Fiction, and has been afinalist for the PEN/Faulkner award. A WindowAcross the River was a Today show book clubchoice, and Starting Out in the Evening was madeinto a motion picture, which premiered at theSundance festival in 2007. SLC, 1998–

April Reynolds Mosolino WritingBA, Sarah Lawrence College. Taught at the 92ndStreet Y and New York University. Her shortstory, Alcestis, appeared in The Bluelight Corner:Black Women Writing on Passion, Sex, andRomantic Love; her fiction work has appeared inthe anthology Mending the World With BasicBooks, 110 Stories: New York Writes AfterSeptember 11 (New York University Press), andThe Heretics Bible (Free Press). Her first novel,Knee-Deep in Wonder, won the Zora NealeHurston/Richard Wright Foundation Award. Hersecond novel, The Book of Charlemagne, isforthcoming (Free Press/Simon & Schuster).SLC, 2003–

Jamee K. Moudud EconomicsBS, MEng, Cornell University. MA, PhD(Honors), The New School for Social Research.Current interests include the study of industrialcompetition, the political economy of thedevelopmental welfare state, the determinants ofbusiness taxes, and the study of Schumpeter’sanalysis of the tax state. SLC, 2000–

Patrick Muchmore MusicBM, University of Oklahoma. Composer/performer with performances throughout theUnited States; founding member of New York’sAnti-Social Music; theory and compositioninstructor at City College of New York. SLC,2004–

Joshua Muldavin GeographyBS, MA, PhD, University of California-Berkeley.Special interests in China, Japan, and Asia,policy, rural development, international aid,agriculture and food, climate change,environment, political economy, and politicalecology. Current research projects analyzeinternational environmental policy and impactson local resource use and vulnerability in theHimalayan region; climate change policy;socialist transition’s environmental and socialimpacts in China; sustainable agriculture and foodsystems; global resource and developmentconflicts via capital flows to Africa, LatinAmerica, and South/Southeast Asia; and aid toChina since 1978. Twenty-eight years of fieldresearch, primarily in rural China. Recipient of

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grants from National Science Foundation, SocialScience Research Council, Ford Foundation,MacArthur Foundation, and Fulbright. Invitedlecturer at Princeton, Yale, Oxford, JohnsHopkins, US Congressional Commission,European Parliament. Executive director of theAction 2030 Institute. Contributor to ThePolitical Geography Handbook, EconomicGeography, Geopolitics, Environment andPlanning A, Geoforum, and Annals of theAssociation of American Geographers,International Herald Tribune, BBC World News,and other media outlets. SLC, 2002–

Priscilla Murolo HistoryBA, Sarah Lawrence College. MA, PhD, YaleUniversity. Special interest in US labor,women’s, and social history; author, TheCommon Ground of Womanhood: Class, Gender,and Working Girls’ Clubs; co-author, From theFolks Who Brought You the Weekend: A Short,Illustrated History of Labor in the United States;contributor to various encyclopedias andanthologies and to educational projects sponsoredby labor and community organizations; reviewerfor Journal of American History, Journal ofUrban History, International Labor and WorkingClass History, and other historical journals;contributor and editorial associate, RadicalHistory Review; recipient of Hewlett-Mellongrants. SLC, 1988–

Katie Murray Visual ArtsBFA, Yale University School of Visual Arts.MFA, Yale University School of Art.Photographer and video artist, whose workconcerns itself with the primal and mythological.Solo and group shows include: ThePhotographers’ Gallery, UK Chashama Gallery,New York (2013); College of the Canyons ArtGallery (2012; HomeFront Gallery, NY (2011);World Class Boxing, Miami (2010); Kate WerbleGallery, NY (2009), International Center forPhotography (2008) White Columns, NY (2004)Jen Bekman Gallery (2004), Queens Museum ofArt, New York (2004); and The Yale Art Gallery(2000). Received the New York State ResidentsGrant for Excellence in Photography (1996), theRobin Forbes Memorial Award in Photography(1997), the Barry Cohen Award for Excellence inArt (2000), and an NYFA grant (2012). Her workhas been published in various magazines, books,and catalogues; All The Queens Men, (DaylightBooks, 2013), her first monograph, is a decade-long investigation into masculinity. Faculty

member at Hunter College, New York University,and School of Visual Arts in New York City.SLC, 2013–

Catherine Muther EconomicsBA, Sarah Lawrence College. MA, CambridgeUniversity. MBA, Stanford University GraduateSchool of Business. Executive in the Internetinfrastructure industry as senior marketing officerof Cisco Systems. Founder of Astia, a businessaccelerator for women technology entrepreneurs.Founding chair of the board of Acumen Fund, asocial venture fund investing in enterprisesdeveloping affordable goods and services for thepoor in India, Pakistan, and Sub-Saharan Africa.Board member of BRAC and PolicyLink.Member of the Advisory Boards of DukeUniversity Center for the Advancement of SocialEntrepreneurship, Global Philanthropy Forum,and Acumen Fund. Current interests include thepower and limits of social entrepreneurship toachieve sustainable change—and teaching. SLC,2012–

Chieko Naka JapaneseBA, Ochanomizu University, Japan. MA,University of Windsor, Canada. Special interestin intercultural communications. Taught Japaneseas a second language at secondary schools anduniversities in Canada, The Philippines, Republicof Korea, and the United States. Trained Filipinoteachers in the Japan Foundation program inManila. Wrote featured articles in the dailyJapanese newspaper, Kitanihon Shinbun. SLC,2010–

Evan Neely Art HistoryBFA, Parsons School of Design, PhD, ColumbiaUniversity. Teaches 19th-21st century Americanart, covering the relations between labor,technology, and the visual arts. Special interestsin modern philosophy, American literature, andthe history of comics. Contributor toInterventions Journal, Dossier Journal, TheConcord Saunterer: A Journal of the ThoreauSociety, and therumpus.net. SLC, 2013-

Maria Negroni Spanish (on leave yearlong)BA, Universidad de Buenos Aires. MA, PhDColumbia University. Author of numerous booksof poetry, three books of essays, two novels, anda book-object, Buenos Aires Tour, incollaboration with Argentine artist Jorge Macchi;translated from French and English the works ofseveral poets, including Louise Labé, ValentinePenrose, Georges Bataille, H.D., Charles Simic,and Bernard Noël. Her work has appeared in the

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United States in The Paris Review,Circumference, Lumina and BOMB (New York).Recipient of Guggenheim (1994), Rockefeller(1998), Fundación Octavio Paz (2001), The NewYork Foundation for the Arts (2005), and theCivitella Ranieri (2007) fellowships; the PENAward for “Best Book of Poetry in Translation”for Islandia; and, in Mexico City, the Siglo XXIInternational Prize for Essay Writing for her bookGalería Fantástica. SLC, 1999–

Ellen Neskar Asian StudiesBSc, University of Toronto. MA, MPhil, PhD,Columbia University. Special interest in thesocial and cultural history of medieval China,with emphasis on the intersection of politics andreligion; author of Politics and Prayer: Shrines toLocal Worthies in Sung China; member,Association of Asian Studies; recipient of anAmerican Council of Learned Societies grant.SLC, 2001–

David Neumann Theatre (on leave springsemester)

As artistic director of the advanced beginnergroup, work presented in New York City at P.S.122, Dance Theatre Workshop, Central ParkSummerStage (collaboration with John Giorno),Celebrate Brooklyn, and Symphony Space(collaboration with Laurie Anderson). Featureddancer in the works of Susan Marshall, JaneComfort, Sally Silvers, Annie-B Parson & PaulLazar’s Big Dance Theatre, and club legend WilliNinja; previously a member of Doug Varone andDancers and an original member and collaboratorfor eight years with the Doug Elkins DanceCompany. Over the past 20 years, choreographedor performed with directors Hal Hartley, LaurieAnderson, Robert Woodruff, Lee Breuer, PeterSellars, JoAnn Akalaitis, Mark Wing-Davey, andLes Waters; recently appeared in Orestes atClassic Stage Company, choreographed TheBacchae at the Public Theater, and performed in aduet choreographed with Mikhail Baryshnikov.SLC, 2007–

Erica Newhouse Theatre

Dennis Nurkse WritingBA, Harvard. Author of nine books of poetry(under “D. Nurkse”), including The BorderKingdom, Burnt Island, The Fall, The Rules ofParadise, Leaving Xaia, and Voices over Water;poems have appeared in The New Yorker andAtlantic Monthly; recipient of a Literature Awardfrom the American Academy of Arts and Letters,a Guggenheim fellowship, a Whiting Writers’

Award, two National Endowment for the Artsfellowships, two New York Foundation for theArts fellowships, and two awards from ThePoetry Foundation. SLC, 2004–

John O’Connor Visual ArtsBA, Westfield (Mass.) State College. MFA, MSin Art History, Pratt Institute. Attended theSkowhegan School of Painting and Sculpture andwas a recipient of a New York Foundation for theArts grant in painting and the Pollock-KrasnerFoundation grant. Taught at Princeton University,Pratt Institute, and New York University. Recentexhibitions at Pierogi Gallery in Brooklyn, MartinAsbaek Projects in Copenhagen, Fleisher OllmanGallery in Philadelphia, and The Lab in Dublin(Ireland). His work is included in the collectionsof the Museum of Modern Art, Whitney Museumof American Art, Southern Methodist University,and New Museum of Contemporary Art. SLC2010–

Stephen O’Connor WritingBA, Columbia University. MA, University ofCalifornia-Berkeley. Author of Here ComesAnother Lesson, short fiction. Rescue, shortfiction and poetry; Will My Name Be ShoutedOut?, memoir and social analysis; OrphanTrains: The Story of Charles Loring Brace andthe Children He Saved and Failed, history/biography. Fiction and poetry have appearedin The New Yorker, Conjunctions, One Story,Electric Literature, Threepenny Review, TheMissouri Review, The Quarterly, PartisanReview, The Massachusetts Review, and manyother places. Essays and journalism have beenpublished in The New York Times, DoubleTake,The Nation, AGNI, The Chicago Tribune, TheBoston Globe, and New Labor Forum, amongothers. Recipient of the Cornell WoolrichFellowship in Creative Writing from ColumbiaUniversity, the Visiting Fellowship for HistoricalResearch by Artists and Writers from theAmerican Antiquarian Society, and the DeWittWallace/Reader’s Digest Fellowship from theMacDowell Colony. SLC, 1997, 2002-Present.

Tara Helen O’Connor Music

Leah Olson BiologyBA, Evergreen State College. PhD, StateUniversity of New York-Albany. Special interestin the neurobiology of circadian rhythms and theneurobiology of learning and memory; researchand papers on circadian rhythms. SLC, 1987–

Philip Ording Mathematics

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Dael Orlandersmith TheatreOBIE Award for Beauty’s Daughter, which shewrote and starred in at American Place Theatre.Toured extensively with the Nuyorican PoetsCafe (Real Live Poetry) throughout the UnitedStates, Europe, and Australia. Her play, Monster,premiered at New York Theatre Workshop inNovember 1996. Attended Sundance TheatreFestival Lab for four summers developing newplays. The Gimmick, commissioned by theMcCarter Theatre, premiered on its Second Stageon Stage and went on to the Long Wharf Theatreand New York Theatre Workshop. Yellowmanwas commissioned by and premiered at theMcCarter in a co-production with the WilmaTheater and the Long Wharf Theatre; VintageBooks and Dramatists Play Service publishedYellowman and a collection of earlier work.Pulitzer Prize award finalist and Drama Deskaward nominee as an actress in Yellowman, whichpremiered at Manhattan Theatre Club in 2002.Susan Smith Blackburn award finalist with TheGimmick in 1999 and won for Yellowman.Recipient of an NYFA grant, the Helen MerrillEmerging Playwrights award, a Guggenheim, andthe 2005 Pen/Laura Pels Foundation Award for aplaywright in mid-career. Won a Lucille LortelPlaywrights Fellowship in 2006. In 2007,completed a new commission, called Bones, forthe Mark Taper Forum and premiered a newwork, The Blue Album, in collaboration withDavid Cale at Long Wharf. Currently working ona play called Horsedreams and Dancefloors, aswell as a memoir, Character. SLC, 2008–

Marygrace O’Shea Visual ArtsBA, Haverford College. MFA, ColumbiaUniversity Graduate School of Film. Film andtelevision writer with credits that include NBCUniversal/Wolf Films: “Law & Order: SpecialVictims Unit” and “Law & Order: CriminalIntent”; HBO: “In Treatment,” Season 2;Fox Television: “Golden Parachutes/Thieves LikeUs” (creator, writer, and executive producer forthe original TV series pilot), “CarnegieHeights” (creator, writer, and executive producerfor the program in development). Member,Writers Guild of America, East. Recent awards:2013 Winner, Writer’s Guild of America EastScreenplay Reading Series; winner, New YorkWomen In Film Screenplay Readings; winner,American Accolades Screenwriting Competition.Honors: Hudson Valley Short FilmFestival, Manhattan Short Film Festival, AustinFilm Festival. SLC, 2013–

Sayuri I. Oyama JapaneseBA, Yale University. MA, PhD, University ofCalifornia-Berkeley. Special interests includemodern Japanese literature, narratological andpolitical approaches to literature, ethnic and otherminorities in Japan. Articles and presentations onShimazaki Toson. Recipient of a JapanFoundation fellowship, University of California-Berkeley Townsend Center for the HumanitiesFellow. SLC, 2002–

Yekaterina Oziashvili PoliticsBA, Barnard College. PhD, Graduate Center, CityUniversity of New York. Research and teachinginterests include ethnic conflict, ethnofederalism,political parties and electoral systems inmultinational states, constitutional and electoralengineering, American constitutional law, and,more broadly, American political development.Recent awards include Fulbright/IIE DissertationFieldwork Fellowship and the Social ScienceResearch Council’s International DissertationResearch Fellowship. Conducted field research inRussia. Taught courses in comparative andAmerican politics at City University of NewYork’s Hunter College and Baruch College. SLC,2012–

Ted Partin Visual ArtsMFA, Yale University School of Art. BA,Fordham University Lincoln Center. Soloexhibitions: Eyes Look Through You,Kunstmuseum Krefeld, Museum Haus Esters,Krefeld, Germany; Who Are You This Time,Galerie Thomas Flor, Düsseldorf, Germany.Taught previously at Hunter College and TheCooper Union, New York City. SLC, 2012–

Michael Peixoto HistoryB.A., University of California, Santa Barbara.Ph.D., New York University. Interested in thecultural and documentary history of MedievalEurope with a particular emphasis on the KnightsTemplar and the Crusades in Northern France.Author of several articles on the organization andpatronage networks of Templar commanderies inthe county of Champagne. SLC, 2013-

Carol Ann Pelletier TheatreBA, Brandeis University. Costume designer forPing Chong & Company; resident designer forUBU Repertory Theatre; founding member ofYara Arts Group; extensive work in off-Broadway and experimental theatre; venuesinclude La MaMa E.T.C., Theatre for the New

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City, UBU Rep, and Theatre Row, along withfestivals in Kiev, Lviv, and Kharkiv, Ukraine.SLC, 1993–

Gilberto Perez The Noble Foundation Chair inArt and Cultural History—Film History

BS, Massachusetts Institute of Technology. MA,Princeton University. Author of The MaterialGhost: Films and Their Medium and of numerousarticles for the London Review of Books, Raritan,The Yale Review, The Nation, The HudsonReview, Sight and Sound, and other publications;recipient of a Noble fellowship for AdvancedStudies in the Visual Arts at the Museum ofModern Art, a Mellon Faculty fellowship atHarvard University, the Weiner DistinguishedProfessorship in the Humanities at the Universityof Missouri, and other awards. SLC, 1983–

David Peritz PoliticsBA, Occidental College. DPhil, OxfordUniversity. Special interests in democracy inconditions of cultural diversity, social complexityand political dispersal, critical social theory,social contract theory, radical democratic thought,and the idea of dispersed but integrated publicspheres that create the social and institutionalspace for broad-based, direct participation indemocratic deliberation and decision-making;recipient of a Marshall Scholarship; taught atHarvard University, Deep Springs College, andDartmouth College; visiting scholar at ErasmusUniversity, Rotterdam, and the London School ofEconomics. SLC, 2000–

Lauren Petty TheatreMA, New York University. BA, NorthwesternUniversity. Digital media artist working in video,film, sound, installation, interactive design, andperformance and a long-time collaborator ofmulti-disciplinary artist Shaun Irons. Their workhas been exhibited in diverse locations in NewYork and internationally and was recently seen atthe Abrons Arts Center and The ChocolateFactory in New York City; The Center forContemporary Arts, Santa Fe; and The GovernorsIsland Art Fair, New York City; it was broadcaston PBS’s “Reel NY.” Their video design workhas been seen at venues such as St. Ann’sWarehouse, The Public Theater, HERE ArtsCenter, P. S. 122, The Kitchen, the PompidouCenter in Paris, Holland Dance Festival, theNoorderzon Festival, the Venice Biennale, andthe BAM Next Wave Festival. Awards includetwo NYFA Fellowships, grants from the NEA,NYSCA, Jerome Foundation, the Greenwall

Foundation, the Experimental TV Center, and theAsian Cultural Council, as well as residencyfellowships from the MacDowell Colony, Yaddo,and the Tokyo Wonder Site. Lecturer at TheInternational Center of Photography and PrattInstitute, as well as an Associate TeachingProfessor in the Department of Media Studies atThe New School. SLC, 2012–

Kris Philipps Mary Griggs Burke Chair in Art &Art History—Visual Arts

BFA, Alfred University. MFA, University ofSouth Florida. Studied at Royal College of Art,London, and held Tamarind Master Printerfellowship; exhibited in many national andinternational shows; one-person exhibitionsinclude the Newark Museum, Staempfli Gallery,and Condeso/Lawler Gallery, New York. SLC,1983–

Gina Philogene Psychology (on leave yearlong)PhD, Ecole des Hautes Études en SciencesSociales, Paris. Interests in social and culturalpsychology, history of psychology, race, andsocial identity, as well as social representations.Author of From Black to African American: ANew Representation; The Representations of theSocial: Bridging Theoretical Traditions (withKay Deaux); Racial Identity in Context: TheLegacy of Kenneth B. Clark; and the forthcomingHow the Right Made It Wrong: Names in theShadow of the Political Correctness. Recipient ofseveral grants, including the National ScienceFoundation and the American PsychologicalAssociation. Published several articles inprofessional journals and currently an associateeditor of the Journal of Community and AppliedSocial Psychology. SLC, 1998–

Eddye Pierce-Young MusicBM, MM, University of Colorado. Additionalstudy, Graz, Austria. Concert artist (soprano):national, European, and Asian stages; nationalfinalist in both the San Francisco Opera andMetropolitan Opera competitions; recipient ofawards and grants in the fields of vocalperformance and music education. SLC, 1989–

Kevin Pilkington Writing Coordinator—WritingBA, St. John’s University. MA, GeorgetownUniversity. Teaches a graduate workshop atManhattanville College. Author of six collections:Spare Change was the La Jolla Poets PressNational Book Award winner, and his chapbookwon the Ledge Poetry Prize; Ready to Eat theSky, published by River City Publishing as part ofits new poetry series, was a finalist for the 2005

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Independent Publishers Books Award; In the Eyesof a Dog was published in September 2009 byNew York Quarterly Books. Another collection,The Unemployed Man Who Became aTree, appeared in 2011 from Black LawrencePress. Poetry has appeared in many anthologies,including Birthday Poems: A Celebration,Western Wind, and Contemporary Poetry of NewEngland. Nominated for four Pushcarts and hasappeared in Verse Daily. Poems and reviews haveappeared in numerous magazines, including:Poetry, Ploughshares, Iowa Review, BostonReview, Yankee, Hayden’s Ferry, Columbia, andNorth American Review. SLC, 1991–

Maika Pollack Art HistoryBA, Harvard. MFA, Columbia. MA, PhD (ABD),Princeton. As a PhD candidate in the history ofart and architecture, her dissertation, OdilonRedon and the Color of the Unconscious, looks atpsychology, painting, and theories of vision infin-de-siècle France. Her writing on contemporaryart and culture has been published by Artforum,Interview, Flash Art, and numerous museum andgallery exhibition catalogues, including PS1Contemporary Art Center and the Museum ofContemporary Art, Cleveland. Co-founder ofSouthfirst, an innovative contemporary art spacein Williamsburg, Brooklyn, that has presentedemerging artists and artist-curated exhibitions formore than a decade. Her shows have frequentlybeen reviewed in The New York Times, The NewYorker, Art in America, and Artforum. Mostrecently a full-time lecturer in the PrincetonWriting Program and, since 2005, on the facultyfor the Language and Thinking Program at BardCollege. Museums critic (biweekly column) forthe New York Observer. Recipient of numerousgrants and fellowships. SLC, 2013-

Mary A. Porter AnthropologyBA, Manchester University. MA, PhD,University of Washington. Ethnographic studiesin East Africa, the United Kingdom, and theUnited States. Areas of expertise include kinshiptheory, postcolonial studies, feministanthropology, queer anthropology, educationalstudies, and oral history. Current work examinesdiscourses of race, class, and kinship embeddedin foster care and adoption, both domestically andtransnationally. Co-author of Winds of Change:Women in Northwest Commercial Fishing andauthor of articles on gender, kinship, education,and sexuality; grants include Fulbright-Hays

Doctoral Research fellowship and Spencerfellowship; consultant, UNESCO. Associate Deanof the College, 2007-2012. SLC, 1992–

Marilyn Power EconomicsBA, PhD, University of California-Berkeley.Special interests include economics of gender,race, and class; feminist economics; politicaleconomics of the environment; the history ofeconomic thought; and macroeconomics. Authorof articles in Feminist Studies, Review of RadicalPolitical Economics, Industrial Relations,Feminist Economics, and others. Co-author ofLiving Wages, Equal Wages: Gender and LaborMarket Policies in the United States (Routledge,2002). SLC, 1990–

Alex Priou PhilosophyBA, Political Science, University of Connecticut.MA, Liberal Arts, St. John's College. MA, PhD,Philosophy, Tulane University (ABD). Interestsin the emergence of Socratic philosophy out ofthe early Greek poets Homer and Hesiod andphilosophers Heracleitus and Parmenides, as wellas the reception of Socratic philosophy inmodernity in the works of Descartes, Rousseau,and Nietzsche. Author of essays on Plato'sParmenides, Plato's Theaetetus, and Hesiod'sTheogony and Works and Days. SLC, 2013-

Victoria Redel WritingBA, Dartmouth College. MFA, ColumbiaUniversity. Author of three books of poetryand four books of fiction, including her mostrecent collection of stories, Make Me Do Things(2013), for which she was awarded a 2014Guggenheim fellowship for fiction. Her novelsinclude The Border of Truth (2007), andLoverboy (2001, Graywolf /2002, Harcourt),which was awarded the 2001 S. Mariella GableNovel Award and the 2002 Forward SilverLiterary Fiction Prize and was chosen in 2001 asa Los Angeles Times Best Book. Loverboy wasadapted for a feature film directed by KevinBacon. Swoon (2003, University of ChicagoPress), was a finalist for the James LaughlinAward. Her work has been widely anthologizedand translated. Redel’s fiction, poetry and essayshave appeared in numerous magazines andjournals including Granta.com. Harvard Review,The Quarterly, The Literarian, The New YorkTimes, The L.A. Times, O the Oprah magazine,Elle, Bomb, More and NOON. SLC, 1996–

Nelly Reifler WritingBA, Hampshire College. MFA, Sarah LawrenceCollege. Author of short-story collection, See

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Through; fiction in magazines and journals,including BOMB, Post Road, McSweeney’s,Nerve, and Black Book, as well as in theanthologies 110 Stories: New York Writes AfterSeptember 11, Lost Tribe: New Jewish Fictionfrom the Edge, Found Magazine’s Requiem for aPaper Bag, and Tell: An Anthology of ExpositoryNarrative (forthcoming). Recipient of a HenfieldPrize in 1995, a UAS Explorations Prize in 1997,and a Rotunda Gallery Emerging Curator grantfor work with fiction and art in 2001. Codirectorof Pratt Institute’s Writers’ Forum, 2005-present;curator of Barbes reading series, Brooklyn;founder and president, Dainty Rubbish recordcompany. SLC, 2002–

Janet Reilly PoliticsAB, Duke University. MSt, Oxford University.MPhil and PhD, City University of New YorkGraduate Center. Research interests includemigration, human rights, citizenship,transnationalism, refugee protection and asylum,humanitarian relief, and international law.Current research project examines the Liberiandiaspora’s civic engagement in both the UnitedStates and in the process of post-conflictpeacebuilding in Liberia, paying particularattention to the role of migration and statepolicies in influencing civic participation in eachcountry. Worked at the United Nations HighCommissioner for Refugees (UNHCR) in Turkeyand Guinea and Save the Children Foundation inEthiopia. SLC, 2012–

Martha Rhodes WritingMartha Rhodes is the author of four collections ofpoetry: At the Gate (1995), PerfectDisappearance (2000, Green Rose Prize), MotherQuiet (2004) and The Beds (2012). Her poemshave been published widely in such journals asAgni, Columbia, Fence, New England Review,Pleiades, Ploughshares, TriQuarterly, and theVirginia Quarterly Review. She has also beenanthologized widely, her work appearing in Agni30 Years, Askold Melnyczuk editor,Extraordinary Tide: New Poetry by AmericanWomen, Susan Aizenberg and Erin Belieu, eds.,Columbia University Press, 2001, New York. TheNew American Poets: A Bread Loaf Anthology,Michael Collier, ed,. University Press of NewEngland, 2000, Hanover, NH. amongothers. Rhodes has taught at Emerson College,New School University, and University ofCalifornia at Irvine. She currently teaches atSarah Lawrence College and the MFA Programfor Writers at Warren Wilson College. She has

been a visiting or guest poet at many colleges anduniversities around the country and has taught atconferences such as the Fine Arts Work Center inProvincetown, The Frost Place , IndianaUniversity, Sarah Lawrence Summer Conference,and Third Coast. She serves on many publishingpanels throughout each year at colleges,conferences and arts organizations, and is aregular guest editor at the Bread Loaf WritersConference and the Colrain ManuscriptConference. In 2010, she took over thedirectorship of the Frost Place Conference onPoetry in Franconia, NH. Rhodes is a foundingeditor and the director of Four Way Books,publishers of poetry and short fiction, located inNew York City.

Edgar Rivera Colon Lesbian, Gay, Bisexual, andTransgender Studies

PhD. A sexuality/gender and medicalanthropologist, he has spent over a decadeengaged in training frontline African Americanand Latino/a LGBT HIV/AIDS preventionists inthe use of ethnographic research methods indeveloping community-level interventions. Hisdissertation, Getting Life in Two Worlds: Powerand Prevention in the New York City House BallCommunity, is an ethnographic study of HouseBall community leaders who are preventionistsand their efforts to fashion meaningful lives outof the material and symbolic resources affordedby both an autonomous African American andLatino/a LGBT alternative kinship system anddance performance circuit and the world of HIV/AIDS prevention and intervention not-for-profitorganizations. An expert in Latino gay malesexual cultures and HIV, he regularly trains state-level public health professionals in culturalcompetency in working with Latin@ LGBTcommunities in the United States. Most recently,he published “Between the Runway & the EmptyTomb: Bodily Transformation and ChristianPraxis in New York City’s House BallCommunity” in an edited volume by Dr. SamuelCruz entitled, Christianity and Culture in theCity: A Postcolonial Approach. Member,Community Advisory Board of Hetrick-MartinInstitute, New York City's premier LGBTQ youthservices; co-founder, Arbert Santana BallroomArchive and Oral History Project. SLC, 2013-

Sandra Robinson Asian StudiesBA, Wellesley College. PhD, University ofChicago. Special interest in South Asian cultures,religions, and literatures. Two Fulbright Awardsfor field research in India. Articles, papers, and

200 Current Faculty

poems appear in international venues;ethnographic photographs exhibited. Chair of theSouth Asia Council and member of the board ofdirectors of the Association for Asian Studies;administrative board of Harvard-RadcliffeCollege; senior fellow, Center for the Humanities,Wesleyan University; delegate to the UnitedNations summit on global poverty, held inCopenhagen; group leader for the Experiment inInternational Living; national selection boards forinstitutional Fulbright grants. SLC, 1990–

Judith Rodenbeck Art History (on leaveyearlong)

BA, Yale University. BFA, MassachusettsCollege of Art. PhD, Columbia University.Teaches 20th- and 21st-century European andAmerican art, covering intersections betweenmodernist literature, philosophy, and visual andtime-based arts. Special interest in technologyand feminist theory. Author of RadicalPrototypes: Allan Kaprow and the Invention ofHappenings; co-author of Experiments in theEveryday: Allan Kaprow and RobertWatts—Events, Objects, Documents; contributorto catalogues for the Guggenheim Museum, theAmericas Society, the Baltimore Museum of Art,and serial publications such as Artforum, GreyRoom, and October, among others. Editor-in-chief of Art Journal from 2006-2009. Recipientof 2009 Creative Capital/Warhol Foundation ArtsWriters Grant. SLC, 2000–

Liz Rodgers DanceBFA, University of California-Santa Barbara.New York State licensed massage therapist.Trained in a variety of touch techniques includingCraniosacral Therapy and Visceral Manipulation.Pilates trainer/movement educator in privatepractice in New York City and on staff ofBodywork in Westport, CT. Apprentice of IreneDowd, assisting in anatomy, visual assessment,and dancers’ clinic classes. Adjunct professor ofanatomy and kinesiology at ManhattanvilleCollege. Taught movement classes at MaryAnthony Dance Studio, New York City, andDowd’s “Spirals” at Movement Research.Performed with Beverly Blossom, Mimi Garrard,Mary Anthony, Bertram Rose, and SophieMaslow. SLC, 2007–

Patrick Romano MusicBM, MM, West Chester University. Currentlychoral director at the Riverdale Country School,Manhattan School of Music Preparatory Division.Member of the faculty of the Perlman Summer

Music Program. An established tenor soloistspecializing in the Baroque and classicalrepertoire; performed with the Waverly Consort,the American Bach Soloists, the Bethlehem BachChoir, and the Rifkin Bach Ensemble; guestsoloist, Marlboro Music Festival, the PabloCasals Festival, and the University of MarylandHandel Festival; recorded the Bach B minor Masswith the American Bach Soloists, the MozartRequiem with the Amor Artis Choir andOrchestra, and the Bach St. John Passion with theSmithsonian Chamber Players. SLC, 1999–

Tristana Rorandelli ItalianBA magna cum laude, Università degli Studi diFirenze, Florence, Italy. MA, PhD withdistinction, New York University. Areas ofspecialization: 20th-century Italian women’swritings; modern Italian culture, history, andliterature; fascism; Western medieval poetry andthought. Recipient of the Julie and Ruediger FlikTravel Grant, Sarah Lawrence College, forsummer research, 2008; the Penfield fellowship,New York University, 2004; and the HenryMitchell MacCracken fellowship, New YorkUniversity, 1998-2002. Publications: Nascita emorte della massaia di Paola Masino e laquestione del corpo materno nel fascismo inForum Italicum (Spring 2003). Translations, TheOther Place by Barbara Serdakowski andSalvation by Amor Dekhis in MulticulturalLiterature in Contemporary Italy (editorsGraziella Parati and Marie Orton, FairleighDickinson University Press, 2007). SLC,2001-2002, 2004, 2005–

Lucy Rosenthal WritingBA, University of Michigan. MS, ColumbiaUniversity Graduate School of Journalism. MFA,Yale University School of Drama. Fiction writer,critic, editor, playwright; author of the novel TheTicket Out and editor of anthologies GreatAmerican Love Stories, World Treasury of LoveStories, and The Eloquent Short Story: Varietiesof Narration; reviews and articles published inthe Washington Post, Chicago Tribune BookWorld, Ms., Saturday Review, The New YorkTimes Book Review, and Michigan QuarterlyReview; plays produced at Eugene O’NeillMemorial Theatre Center, Waterford,Connecticut; recipient, Pulitzer Fellowship inCritical Writing; served on Book-of-the-MonthClub’s Editorial Board of judges and as theClub’s senior editorial adviser. SLC, 1988–

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Shahnaz Rouse SociologyBA, Kinnaird College, Pakistan. MA, PunjabUniversity, Pakistan. MS, PhD, University ofWisconsin-Madison. Special student, AmericanUniversity of Beirut, Lebanon. Academicspecialization in historical sociology, withemphasis on the mass media, gender, and politicaleconomy. Author of Shifting Body Politics:Gender/Nation/State, 2004; co-editor, SituatingGlobalization: Views from Egypt, 2000;contributor to books and journals on South Asiaand the Middle East. Visiting faculty, Universityof Hawaii at Manoa and the American Universityin Cairo. Member, Editorial Advisory Board,Contributions to Indian Sociology, and pastmember, Editorial Committee, Middle EastResearch and Information Project. Past consultantto the Middle East and North Africa Program ofthe Social Science Research Council, as well asthe Population Council West Asia and NorthAfrica Office (Cairo). Recipient of grants fromthe Fulbright-Hays Foundation, the SocialScience Research Council, the American Instituteof Pakistan Studies, and the Council on AmericanOverseas Research Centers. SLC, 1987–

Sara Rudner Director, Program inDance—Dance

BA, Barnard College. MFA, Bennington College.Dancer and choreographer; participated in thedevelopment and performance of Twyla Tharp’smodern dance repertory; founded and directed theSara Rudner Performance Ensemble. Recentchoreographic projects include “Dancing-on-View,” one of a series of dance marathons, and“Heartbeat,” a fusion of technology and dance.Currently a member of “Ersaloly Mameraem,” adancers’ consortium. Past collaborations haveincluded Mikhail Baryshnikov, Dana Reitz, andChristopher Janney. Choreographer for theatreand opera productions at the Public Theater, theSalzburg Festival, the Santa Fe Opera, and theParis Opera. Awards include a Bessie, a JohnSimon Guggenheim Memorial fellowship, aDance Magazine award, and support from theNational Endowment for the Arts and the NewYork State Council on the Arts. SLC, 1999–

David Ryan WritingBA, University of Massachusetts. MFA,Bennington College. His fiction has appeared oris forthcoming in BOMB, Tin House, Fence,Several Mississippi Review Prize Issues,Encyclopedia (L-Z), Denver Quarterly, AlaskaQuarterly Review, New Orleans Review, Nerve,Salt Hill, Cimarron Review, Unsaid, failbetter,

and others. Anthologies include Flash FictionForward (W.W. Norton); Boston Noir 2: theClassics (Akashic); and The Mississippi Review:30 Years. Essays, reviews, and interviews in TheParis Review, Tin House, BOMB, BookForum,The Oxford Encyclopedia of American Fiction(Oxford University Press), and others. Recipientof a MacDowell fellowship and a Connecticutstate arts grant. Founding editor of Post RoadMagazine, where he currently edits the Fictionand Theatre sections. SLC, 2013–

Claudia Salazar SpanishBA, Universidad Nacional Mayor de San Marcos,Lima, Peru. PhD, Latin American Literature andVisual Culture, New York University, with thedissertation: "Estrategias de las escrituras del yoen Iberoamérica contemporánea". Area ofspecialization: modern and contemporary LatinAmerican literature, with a special focus on SouthAmerica. Interests in literature and film; lifewriting; women, gender, and sexuality studies;crossings among memory, gender, and politicalviolence; trans-Atlantic studies; performance andvisual culture. Founder and director of Perufest:Festival of New Peruvian Cinema. Articles,essays, and short stories published in severalbooks and journals. Editor of the anthology"Voces para Lilith. Literatura contemporánea detemática lésbica en Sudamérica" (EditorialEstruendomudo: Lima, 2011). "La sangre de laaurora" (Animal de invierno: Lima, 2013) is herfirst novel. SLC, 2011-

Misael Sanchez Visual ArtsBFA, New York University. Certificate inProducing, The New School. Co-founder andDirector of Instruction at The International FilmInstitute of New York, currently working incollaboration with Sarah Lawrence College.Recent production credits include a feature-lengthdocumentary, Last Call (director andcinematographer), now in post-production andproducer on the feature-length narrative, CentralAvenue, scheduled to cast Marisa Tomei andLorraine Bracco. A book-in-progress oncinematography lighting techniques is titledLighting Tricks and ShortCuts. Staff, faculty andhead of the cinematography concentration atColumbia University’s Graduate Film Division,where he supervises students on thesisproductions. Past work includes four one-hourspecials on Latinos in the media for networktelevision, short documentary projects, films,music videos, and industrials. SLC, 2009–

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Wayne Sanders MusicBM, Roosevelt University. Voice teacher, coach,and pianist; collaborated and performed withKathleen Battle, Jessye Norman, Florence Quivar,and the late William Warfield; consultant to theHouston Grand Opera, the Savonlinna OperaFestival (Finland), and Munich’s MünchenerBiennale; provided musical direction forpresentations ranging from an all-star tribute toMarian Anderson at Aaron Davis Hall (NewYork) to Porgy and Bess in Helsinki andSavonlinna (Finland), Moscow, and Tallinn(Estonia). Co-founder of Opera Ebony, a historicAfrican American opera company based in NewYork; participated in touring performances ofOpera Ebony’s acclaimed Black Heritage concertseries and served as its conductor over the courseof its international run in Canada, Iceland, andSwitzerland. SLC, 1996–

Kristin Zahra Sands Harlequin Adair DammannChair Islamic Studies—Religion

BA, The New School. MA, PhD, New YorkUniversity. Special interests include Sufism,Qur’anic exegesis, religion and media, andpolitical theology. Author of Sufi Commentarieson the Qur’an in Classical Islam and aforthcoming translation of Abu’l-Qasim al-Qushayri’s Subtleties and Allusions, as well aspublished articles on mystical exegesis, teachingIslam, and Islam on the Internet. SLC, 2003–

Barbara Schecter Director, Graduate Program inChild Development/Psychology—Psychology

BA, Sarah Lawrence College. MA, PhD,Teachers College, Columbia University.Developmental psychologist with special interestsin cultural psychology, developmental theories,and language development; author and researcheron cultural issues in development and metaphoricthinking in children. SLC, 1985–

Fanchon Miller Scheier TheatreBA, Adelphi University. MFA, Sarah LawrenceCollege. Film, television, and theatre actress;member, Robert Lewis Acting Company andGreen Gate Theatre; director and actress, regionaland educational theatre; University of VirginiaArtist-in-Residence program; founder, In Stagestheatre company; recipient of two grants from theNew York State Council on the Arts; co-directorof London Theatre Intersession ’88. SLC, 1985–

Carsten Schmidt MusicKünstlerische Abschlussprüfung “mitAuszeichnung,” Folkwang-Hochschule Essen,

Germany. MM, Artist Diploma, IndianaUniversity. MMA, DMA, Yale University.Extensive performance and broadcast activities assoloist, chamber musician, and soloist withorchestras throughout Europe, North America,and Japan; numerous master classes, lectures, andworkshops at educational and researchinstitutions. Special interests include keyboardliterature and performance practices, earlykeyboard instruments, the music of Ernst Krenek,relationship of performance, analysis,hermeneutics, and recent gender studies,interaction of poetry and music in song repertoire.Member, artistic board, Volte Foundation forChamber Music, the Netherlands; artistic director,International Schubert Festival 1997; researchfellow, Newberry Library; fellow, GermanNational Scholarship Foundation. SLC, 1998–

Ursula Schneider Visual ArtsBA, Kunstgewerbeschule Zurich and KeramischFachschule Bern. MFA, San Francisco ArtInstitute. Painter and sculptor; one-person showsnationwide and in Europe; works represented inprivate and museum collections. Recipient ofSchweizer Kunststipendium and awards from SanFrancisco Art Festival, Oakland Museum, and theNational Endowment for the Arts. SLC, 1986–

Jonathan Schorsch ReligionBA, Columbia University. MA, GraduateTheological Union. PhD, University of California- Berkeley. Scholar of Early Modern JewishHistory and Culture, in particular that of theAtlantic Sephardim. Author of Jews and Blacks inthe Early Modern World and Swimming theChristian Atlantic: Judeoconversos, Afroiberiansand Amerindians in the Seventeenth-Century.Additional interests include mysticism,anthropology of religion. Has taught at EmoryUniversity and Columbia University. SLC, 2013

Anthony Schultz PhysicsBA, Sarah Lawrence College. PhD, CUNYGraduate Center. Author of research papers inhuman motion analysis, new media, and physicseducation. Current research in physiologicalcomputing and human performance. Taught atHorace Mann, SUNY Maritime, ManhattanCollege, and in the Department of Dance at SarahLawrence College. Recent participation inChoreography for Blackboards and AUNTS isDance. SLC, 2013–

Rebecca Sealander Theatre

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Samuel B. Seigle Classics, Greek, LatinBA, University of Pittsburgh. AM, HarvardUniversity. Classical philologist; scholar of Greekdance, Greek and Roman poetic structure,linguistics, ancient religions and mythology,political and social conventions of ancientcultures and their relationship to thecontemporary world; president (1973-1975) andcensor (1977-1993) of New York Classical Club.SLC, 1964–

Judith P. Serafini-Sauli ItalianBA, Sarah Lawrence College; PhD, JohnsHopkins University. Special interests 14th- and20th-century Italian literature. Publicationsinclude, Ameto by Giovanni Boccaccio,translation; Giovanni Boccaccio, Twayne WorldAuthors series; Clizia a Sarah Lawrence, Studiitaliani; The Pleasures of Reading: Boccaccio’sDecameron and Female Literacy, MLN.Recipient of a Fulbright fellowship, LipkinAward for Excellence in Teaching (SLC), andEsther Raushenbush Chair in the Humanities(SLC). SLC, 1981–

Ramin Serry Visual ArtsBA, University of Illinois. MFA, ColumbiaUniversity School of the Arts. Screenwriter,director; wrote and directed two feature films,Maryam (2002) and Loveless (2011). Serves onthe screenwriting faculty of ColumbiaUniversity’s School of the Arts and of HunterCollege. Awards include: Golden Reel Award forBest Film, The Tiburon International FilmFestival; and Emerging Filmmaker Award, St.Louis International Film Festival. SLC, 2011–

Vijay Seshadri The Michele Tolela Myers Chairin Writing—Writing

BA, Oberlin College. MFA, ColumbiaUniversity. Author of Wild Kingdom, The LongMeadow, The Disappearances (New and SelectedPoems; Harper Collins India), and 3 Sections(September, 2013); former editor at The NewYorker; essayist and book reviewer in The NewYorker, The New York Times Book Review, TheThreepenny Review, The American Scholar, andvarious literary quarterlies; recipient of the 2014Pulitzer Prize for Poetry, the James LaughlinPrize of the Academy of American Poets, theMacDowell Colony’s Fellowship forDistinguished Poetic Achievement, The ParisReview’s Bernard F. Conners Long Poem Prize;grants from the New York Foundation for theArts, National Endowment for the Arts, the John

Simon Guggenheim Memorial Foundation; andarea studies fellowships from ColumbiaUniversity. SLC, 1998–

William Shullenberger LiteratureBA, Yale University. MA, PhD, University ofMassachusetts. Special interests in Milton, 17th-century English literature, English Romanticism,African literature, theology and poetics, andpsychoanalytic criticism. Author of Lady in theLabyrinth: Milton’s ‘Comus’ as Initiation; co-author with Bonnie Shullenberger of Africa Time:Two Scholars’ Seasons in Uganda; essayspublished in Milton Studies, Renaissance Drama,and other journals and collections. SeniorFulbright lecturer at Makerere University,Uganda, 1992-1994; director of NEH SummerSeminars on the classical and the moderneEpic,1996 and 1999. SLC, 1982–

Michael Siff Computer ScienceBA, BSE., MSE, University of Pennsylvania.PhD, University of Wisconsin-Madison. Specialinterests in programming languages, cryptology,and software engineering; author of researchpapers on interplay between type theory andsoftware engineering. SLC, 1999–

Joan Silber Writing (on leave fall semester)BA, Sarah Lawrence College. MA, New YorkUniversity. Author of two story collections, Ideasof Heaven (finalist for the National Book Awardand the Story Prize) and In My Other Life, and offour novels, The Size of the World, Lucky Us, Inthe City, and Household Words—winner of thePEN/Hemingway Award; short storiesanthologized in The Scribner Anthology ofContemporary Short Fiction, The Story Behindthe Story, The O. Henry Prize Stories (2007 and2003), and two Pushcart Prize collections.Recipient of a Literature Award from theAmerican Academy of Arts and Letters andgrants from National Endowment for the Arts andNew York Foundation for the Arts. SLC, 1985–

Lake Simons TheatreBFA, University of North Carolina School of theArts. École Jacques Lecoq, Paris. Theatre workincludes designing sets, puppets, and costumesand directing, choreographing, and performing.Drawn to incorporating puppetry, movement, andlive music to the theatre, shows are frequentlymade from the ground up. Work seen in manyNew York theatres, including HERE Theatre, LaMama E.S.T., P.S. 122, St. Mark’s Church, DixonPlace, and One Arm Red. Past collaborative workincludes Electric Bathing, Wind Set-up, White

204 Current Faculty

Elephant, Alice’s Adventures inWonderland, What’s inside the egg?, How I FixedMy Engine With Rose Water, and EtiquetteUnraveled. As an artistic associate with the HipPocket Theatre in Fort Worth, Texas, designedsets and puppets for a multitude of productionsover the years, presented seven collaborativetheatre pieces, performed in more than 30 worldpremieres, and launched its Cowtown PuppetryFestival. Puppet/mask designer for New YorkShakespeare Festival, Signature TheatreCompany, My Brightest Diamond, Division 13,Kristin Marting, Doug Elkins, Cori Orlinghouse,Daniel Rigazzi, and various universities; puppetryassociate for War Horse on Broadway. Awardeda variety of grants and awards for theatre work.SLC, 2012–

Kanwal Singh Associate Dean of theCollege—Physics

BS, University of Maryland-College Park. MS,PhD, University of California-Berkeley.Postdoctoral research associate, University ofOslo, Norway. Special interests in low-temperature physics, science education andeducation policy, and scientific and quantitativeliteracy. Author of articles in theoreticalcondensed-matter physics (models of superfluidsystems) and physics teaching. Taught atMiddlebury College, Wellesley College, andEugene Lang College at The New SchoolUniversity. SLC, 2003–

David Sivesind PsychologyBA, University of Northern Iowa. AddictionStudies Graduate Certificate, University ofMinnesota. MA, PhD, New School for SocialResearch. Assistant professor of psychology,Mount Sinai School of Medicine; clinicalpsychologist with special interests in addiction,HIV treatment, chronic health condition identityadjustment, LGBT issues, and integratedpsychology practice in health-care settings. SLC,2013–

Lyde Cullen Sizer HistoryBA, Yale University. MA, PhD, BrownUniversity. Special interests include the politicalwork of literature, especially around questions ofgender and race; US cultural and intellectualhistory of the 19th and early-20th centuries; andthe social and cultural history of the US CivilWar. Authored The Political Work of NorthernWomen Writers and the American Civil War,1850-1872, which won the Avery O. CravenAward from the Organization of American

Historians. The Civil War Era: An Anthology ofSources, edited with Jim Cullen, was published in2005; book chapters are included in Love, Sex,Race: Crossing Boundaries in North AmericanHistory; Divided Houses: Gender and theAmerican Civil War; and A Search for Equity.SLC, 1994–

Jacob Slichter WritingBA, Harvard College. Author of So You WannaBe a Rock & Roll Star: How I Machine-Gunned aRoomful of Record Executives and Other TrueTales from a Drummer’s Life (Broadway Books,2004); contributor to The New York Times;commentator for National Public Radio’s“Morning Edition”; drummer for theMinneapolis-based band Semisonic. SLC, 2013-

Fredric Smoler The Adda Bozeman Chair inInternational Relations—Literature, History

BA, Sarah Lawrence College. MA, MPhil, PhD,Columbia University. Central interest inEuropean history and culture, with specialemphasis on military history and literature.Writes regularly for First of the Month andDissent; occasional contributor to The Nation,The Observer (London); former editor, Audacity;contributing editor, American HeritageMagazine; SLC, 1987–

Pamela Sneed Theatre

Scott Snyder WritingBA, Brown University. MFA, ColumbiaUniversity. Author of the short-story collection,Voodoo Heart (Dial Press). Stories have appearedin Zoetrope: All-Story, Epoch, Tin House, andOne Story, among other journals. SLC, 2006–

Sungrai Sohn Music

Collette Sosnowy PsychologyBA, Drew University. PhD, Graduate Center,City University of New York. Interdisciplinarysocial scientist with special interests in onlinenarrative, health information and social media,health equity and access to care, and participatoryand qualitative methods. Recent work focuses ononline narratives about life with chronic illness,knowledge-sharing, and online community in thecontext of contemporary health practices. SLC2013-

Michael Spano Visual ArtsBA, Queens College. MFA Yale University. One-person and group shows at the Museum ofModern Art, Fogg Art Museum, Cleveland

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Museum of Art, Memphis Brooks Museum ofArt, Brooklyn Museum of Art, and NationalPortrait Gallery. Works represented in thepermanent collections of the Whitney Museum ofAmerican Art, San Francisco Museum of ModernArt, St. Louis Art Museum, Baltimore Museum ofArt, Museum of Fine Art in Boston, Los AngelesCounty Museum of Art, Princeton Museum ofArt, Art Institute of Chicago, and Museum ofModern Art in New York. Recipient of grants andfellowships from New York Foundation for theArts, Camera Works, CAPS, Art Matters, and theGuggenheim Foundation. Author of TimeFrames: City Pictures and Auto Portraits. SLC,1999–

Laurel Sparks Visual ArtsMFA, Milton Avery Graduate School of Art,Bard College, Elaine De Kooning PaintingFellowship. MA, School of the Museum of FineArts, Boston. BFA, Tufts University. Soloexhibitions: Angels of Light, Pleasure Dome, andChristmas in July, Howard Yezerski Gallery,Boston; Against Nature, 443 PAS, New YorkCity; Clifford Smith Gallery, Boston. Taught atMassachusetts College of Art and Design,Boston; Art Institute of Boston at LesleyUniversity; Massachusetts College of Art. SLC,2012–

Rico Speight Visual ArtsBA, Boston University. MA, Emerson College.Postgraduate studies as a Revson Fellow atColumbia University School of the Arts,Graduate Film Division, and the ColumbiaUniversity Digital Media Center. Two-partdocumentary series on the parallel lives ofAfrican American and black South African youngpeople in postapartheid South Africa and post-9/11 America was broadcast on South AfricanBroadcasting Corporation TV (SABC) and PBSand screened at festivals in the United States andinternationally. Concurrent with his own work, hehas taught at New York University, PrattInstitute, City College, and Hunter College, all inNew York City. Recipient of artist fellowships infilm and video by the New York Foundation forthe Arts and honored by the Black FilmmakersHall of Fame for his narrative short, DeftChanges. SLC, 2007–

Stuart Spencer TheatreBA, Lawrence University. MFA, Sarah LawrenceCollege. Author of numerous plays performed inNew York and around the country, includingResident Alien (Broadway Play Publishing).

Other plays include In the Western Garden(Broadway Play Publishing), Blue Stars (BestAmerican Short Plays of 1993-94), and SuddenDevotion (Broadway Play Publishing). Aplaywriting textbook, The Playwright’sGuidebook, was published by Farrar, Straus andGiroux in 2002. Recent plays are AlabasterCity,commissioned by South Coast Rep, and JudyGarland Died for Your Sins. Former literarymanager of Ensemble Studio Theatre; fellow, theEdward Albee Foundation; member, DramatistGuild. SLC, 1991–

Robin Starbuck Visual ArtsBA, Salem College. MFA, School of the ArtInstitute of Chicago. Also studied at theExperimental Sound Studio in Chicago and at theGeorgia Institute of Technology. Currentlycompleting a certificate in documentaryproduction and editing from New YorkUniversity. Received multiple awards and grantsfor her work and exhibits, both nationally andinternationally. Current studio orientation is videoinstallation with elements of comic imagepainting and sculpture. For the past several years,studio work has included an application ofFreudian theory to American culture and identity.SLC, 2007–

Joel Sternfeld Visual ArtsBA, Dartmouth College. Photographer/artist withexhibitions at the Museum of Modern Art, the ArtInstitute of Chicago, and the San FranciscoMuseum of Modern Art. Recipient of twoGuggenheim fellowships and a Prix deRome. Author of American Prospects, On ThisSite, Stranger Passing, and 10 other books. SLC,1985–

Frederick Michael Strype Visual ArtsBA, Fairfield University. MFA, ColumbiaUniversity School of the Arts. Postgraduatestudy: American Film Institute, New YorkUniversity Tisch School of the Arts. Screenwriter,producer, director. Recent awards, grants,festivals: Grand Prize, Nantucket Film Festival,Tony Cox Award in Screenwriting; NantucketScreenwriters Colony; World Jewish FilmFestival, Askelon, Israel; Tehran InternationalFilm Festival; Berlin Film Festival Shorts;Uppsala Sweden Film Festival; USA FilmFestival; Washington (DC) Jewish Film Festival;Los Angeles International Children’s FilmFestival; Temecula Valley International FilmFestival “Best of the Fest”; Portugal Film FestivalPress Award; Fade In Magazine Award/Best

206 Current Faculty

Short Screenplay; Angelus Film Festival TriumphAward; Austin Film Festival ScreenwritingAward; Heartland Film Festival Crystal HeartAward; New Line Cinema FilmmakerDevelopment Award; Hamptons InternationalFilm Festival; Schomburg Cultural Grants.Raindance Pictures: projects developed forColumbia/Tristar/Sony, Lifetime, MTMProductions, Family Channel, FX, Alliance/Atlantis, Capella Films, Turman-FosterProductions, James Manos Productions, FX,Avenue Pictures. SLC, 2003–

Sterling Swann TheatreBA, Vassar College. Postgraduate training atLondon Academy of Music and Dramatic Art(LAMDA), Sonia Moore Studio, and with DavidKaplan (author, Five Approaches to Acting).President and artistic director, CygnetProductions, National Equity Theatre for YoungAudiences Company; leading performer, BostonShakespeare Company; guest faculty at StormKing School, Western Connecticut StateUniversity, and Vassar College; certifiedinstructor, Society of American Fight Directors(SAFD); winner of the Society of American FightDirectors’ 2006 Patrick Craen award; designatedpractitioner, Stough Institute of BreathingCoordination; certified teacher, AlexanderTechnique. SLC, 1991–

Philip Swoboda HistoryBA, Wesleyan University. MA, MPhil, PhD,Columbia University. Special interest in thereligious and intellectual history of early modernEurope and in the history of Eastern Europe,particularly Russia and Poland. Author of articleson early 20th-century Russian philosophy andreligious thought; served on the executivecommittee of the Mid-Atlantic Slavic Conference.Previously taught at Columbia University, HunterCollege, Lafayette College, University ofWisconsin-Madison. SLC, 2004–

Rose Anne Thom Dance (on leave springsemester)

BA, McGill University. Labanotator andreconstructor; writer, critic for Dance Magazine,Collier’s Encyclopedia, and Society of DanceHistory Scholars; oral historian for the DanceCollection at the New York Public Library for thePerforming Arts and the School of AmericanBallet; consultant, New York State Council on theArts Dance Program; guest faculty, PrincetonUniversity, 2003; former teacher at State

University of New York-Purchase, SouthernMethodist University, American Ballet TheatreSchool. SLC, 1975–

Alice Truax WritingBA, Vassar College. MA, Middlebury College.Editor at The New Yorker, 1992-2002. Bookeditor, 2001-present. Book reviews have appearedin The New York Times Book Review, The NewYorker, Vogue, and The New York Review ofBooks. Edited books include Random Family byAdrian Nicole LeBlanc, Mostly True by MollyO’Neill, Aftermath by Joel Meyerowitz, TheSurrender by Toni Bentley, Send by WilliamSchwalbe and David Shipley, King’s Gambit byPaul Hoffman, and Violent Partners by LindaMills. SLC, 2004–

Malcolm Turvey Film HistoryBA, MA, University of Kent, UK. PhD, NewYork University. Author of Doubting Vision:Film and the Revelationist Tradition (OxfordUniversity Press, 2008) and The Filming ofModern Life: European Avant-Garde Film of the1920s (MIT Press, 2011). Co-editor ofWittgenstein, Theory, and the Arts (Routledge,2001) and Camera Obscura/Camera Lucida:Essays in Honor of Annette Michelson(University of Amsterdam Press, 2003). Editorand writer for October. Author of numerousarticles on film theory, the philosophy of film,avant-garde film, and film and modernism.Currently working on a book about Jacques Tati,modernism, and comedy. Winner of a residentialfellowship at the Stanford Humanities Center(2011-2012). SLC, 2000–

Marina Vitkin PhilosophyPhD, University of Toronto. Special interests inHegel and his predecessors (modern philosophy)and successors (19th- and 20th-centurycontinental philosophy), post-Hegelian Russianphilosophy, and philosophical problems ofintellectual diversity and pluralisticunderstanding. SLC, 2004–

Francine Volpe Theatre

Ilja Wachs Ilja Wachs Chair in OutstandingTeaching and Donning—Literature

BA, Columbia College. Special interest in 19th-century European and English fiction, withemphasis on psychological and sociologicalrelationships as revealed in works of Dickens,Tolstoy, Dostoevski, Balzac, Stendhal, James,Flaubert, and others. Dean of the College,1980-85. SLC, 1965–

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Catherine Weis DanceBA, MA, Bennington College. Dancer,choreographer, and videographer based in NewYork City; producer/director of Weisacres, ameeting/performing space where anything canhappen. Danced with the Louisville Ballet, tap-danced on the streets of San Francisco, and did astint as a disco queen. Documented the downtown(New York City) performance scene over a20-year period, creating a library of hundreds ofhours of footage capturing the spirit on the City’sstreets and stages. Developed a signature blend oflive performance and video, with which she hastoured both nationally and internationally; taughtWhen Technology and the Human Body BecomePartners, Who Leads, at universities in the UnitedStates and abroad; performs with Circus Amok.Recipient of a Bessie Award in 1996 and aGuggenheim Fellowship in 2002. SLC, 2013–

Gwen Welliver DanceBA, Pennsylvania State University. MFA,Bennington College. Dancer and choreographer;original work presented at Dance TheaterWorkshop, 92nd Street Y, Harkness DanceFestival, Movement Research at the JudsonChurch, Center for Performance Research.Performed with Doug Varone and Dancers(1990-2000); recipient of a Bessie Award forSustained Achievement (2000); rehearsaldirector, Trisha Brown Dance Company(2000-2007); also performed projects by DouglasDunn with Rudy Burckhardt, Helmut Gottschild(ZeroMoving Dance Company), Ohad Naharin,and Dana Reitz. Teaches worldwide atADF, Bates Dance Festival, Dansens Hus(Denmark), International Summer School ofDance (Japan), Kalamata International DanceFestival (Greece), P.A.R.T.S. (Belgium), TrishaBrown Studios, and TSEKH Summer School(Russia); guest teaching venues include BarnardCollege, Hampshire College, Hollins University,Hunter College, Mount Holyoke College,University of California-Santa Barbara, VirginiaCommonwealth College. Movement Research(New York City) faculty member, 1997-present;previously on the faculty of New York UniversityTisch School of the Arts (1995-2000, 2009-2011)and Bennington College (2007-2009 Fellow).SLC, 2011–

Jean Wentworth MusicDiploma, Juilliard School of Music. As part of theone-piano, four-hand team of Jean and KennethWentworth, has performed widely in the UnitedStates, Europe, the Middle East, and India and

recorded a wide variety of four-hand repertoire.Contributor to The Music Quarterly, The PianoQuarterly, and Key Note magazine; past recipientof Walter W. Naumburg Award; faculty member,Calcutta School of Music; recipient of AndrewW. Mellon grant for faculty development andHewlett-Mellon grant, 1988. SLC, 1972–

Kathy Westwater DanceBA, College of William and Mary. MFA, SarahLawrence College. Choreographer and dancer;choreography presented at Dance TheaterWorkshop, Brooklyn Museum of Art, and P.S.122, among other venues, and archived in theFranklin Furnace Archive and the Walker ArtsCenter Mediatheque Archive. Recipient of awardsfrom New York Foundation for the Arts and theDjerassi Resident Artists Program and ofcommissions from Dance Theater Workshop,Danspace Project at St. Mark’s Church, andSummer Stage’s Dance Festival. Previously aguest teacher at Bennington College, 92nd StreetY, and Trisha Brown Studio. Published writingsinclude “Technology and the Body,” an interviewwith Merce Cunningham in the MovementResearch Journal Millennial Issue, which sheguest edited. SLC, 2001–

Sarah Wilcox SociologyBA, Wesleyan University. MA, PhD, Universityof Pennsylvania. Areas of expertise includemedical sociology, the sociology of science andknowledge, gender and sexuality, and the massmedia; special interests in interactions amongexperts, laypersons, and social movements.Current project, entitled “Claiming Knowledge:Gay Communities, Science, and the Meaning ofGenes,” explores how ideas about biology andsexuality have been produced, circulated,contested, and negotiated within and outside ofscience; recent articles in Critical Studies inMedia Communication and the American Journalof Public Health. Recipient of GLAAD Center forthe Study of Media & Society grant for researchon coverage of the politics of sexuality in regionalmedia. Taught at the University of Maine andKent State University. SLC, 2005–

Sara Wilford Director, The Art of TeachingGraduate Program—Psychology

BA, Sarah Lawrence College. MSEd, EdM, BankStreet College of Education. Former earlychildhood and public elementary school teacher;keynote speaker and workshop leader forseminars and conferences on early childhoodeducation; member, editorial advisory board,

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Child magazine; contributor to Scholastic, Inc.publications; author, Tough Topics: How to UseBooks in Talking with Children About Life Issuesand Problems, What You Need to Know WhenYour Child Is Learning to Read, and NurturingYoung Children’s Disposition to Learn. Roy E.Larsen Chair in Psychology (2001-2006). SLC,1982–

Fiona Wilson LiteratureMA, University of Glasgow. MA, PhD, NewYork University. Scholar and poet. Specialinterests in 18th- to 21st-century British and Irishliterature, ecocriticism, poetry and poetics, andstudies in Scottish culture. Recipient offellowships and awards from the Institute of theAdvanced Study of the Humanities, University ofEdinburgh (2012), Keats-Shelley Association ofAmerica (2009), Hawthornden InternationalRetreat for Writers (2008), the Center for BookArts, New York (2007), and the Scottish PoetryLibrary (2006). Former chair of the ScottishLiterature Discussion Group of the ModernLanguage Association. Author of essayspublished in Teaching Robert Louis Stevenson(MLA, 2013), Edinburgh Companion to JamesHogg (Edinburgh University Press, 2012),Romanticism’s Debatable Lands (Palgrave,2007), Keats-Shelley Journal (2005), andelsewhere. Poetry published in LiteraryImagination, Edinburgh Review, From Glasgowto Saturn, Poetry Review, Literary Review. SLC,2008–

Matthew Wilson Music

Joe Winter Visual ArtsBA, Brown University. MFA, University ofCalifornia-San Diego. Work has been exhibited atvenues such as The Kitchen, Foxy Production, X-initiative, Eyebeam, the Museum ofContemporary Art (San Diego), Edith Russ Haus,and the Western Front. SLC, 2012–

Heather Winters Visual ArtsBA, Sarah Lawrence College. Studied atUniversity of London School of Visual Arts.Executive producer/producer/writer. Creditsinclude: Super Size Me; Anywhere, USA; ClassAct; Convention; Google Me; Fiornes: The Rest IMake Up; Thundercats; Silverhawks; MTV’s“Real World.” Awards include: Academy Awardnominee, Best Documentary; Sundance FilmFestival, Special Jury Prize, DramaticCompetition; Sundance Film Festival, BestDirector, Documentary; Sarah Lawrence CollegeAlumnae/i Citation of Achievement; TELLY

Award; Artivist Film Festival, Best Documentary;Rhode Island International Film Festival, FirstPlace, Best Documentary; AURORA Award,Platinum Best in Show; Chicago InternationalFilm Festival, First Place; US International Filmand Video Festival. Founder, Studio On Hudsonproduction company. SLC, 2011–

Daniel Wohl MusicBA, Bard College. MM, University of Michigan.Composer. Recipient of ASCAP Morton GouldYoung Composers award, New York YouthSymphony Competition, Definiens C3Composers Competition, ASCAP/Bang On a Canfellowship, among others; grants from Meet theComposer and Brooklyn Arts Council. Musicperformed by ensembles such as the AmericanSymphony Orchestra, St. Luke’s ChamberEnsemble, New York Youth Symphony, the DaCapo Chamber Players, Lunaire Quartet, and theUniversity of Michigan Philharmonia. Artisticdirector/composer-in-residence: TransitEnsemble. Freelance film composer. SLC, 2008–

Komozi Woodard HistoryBA, Dickinson College. MA, PhD, University ofPennsylvania. Special interests in AfricanAmerican history, politics, and culture,emphasizing the Black Freedom Movement,women in the Black Revolt, US urban and ethnichistory, public policy and persistent poverty, oralhistory, and the experience of anti-colonialmovements. Author of A Nation Within a Nation:Amiri Baraka and Black Power Politics andreviews, chapters, and essays in journals,anthologies, and encyclopedia. Editor, The BlackPower Movement, Part I: Amiri Baraka, FromBlack Arts to Black Radicalism; Freedom North;Groundwork; Want to Start a Revolution?:Women in the Black Freedom Struggle. Reviewerfor American Council of Learned Societies;adviser to the Algebra Project and PBSdocumentaries Eyes on the Prize II and America’sWar on Poverty; board of directors, UrbanHistory Association. SLC, 1989–

Alexandra Wright BiologyBA, Beloit College. PhD, University ofWisconsin–Milwaukee. Research interests inecology, the importance of biodiversity, andpositive interactions (facilitation) in high-diversity/high-density plant communities.National Science Foundation (NSF) graduateresearch fellow; author of papers on plantcommunity ecology in tropical and temperatesystems. SLC, 2012–

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John A. Yannelli William Schuman Scholar inMusic—Music, Dance

BPh, Thomas Jefferson College, University ofMichigan. MFA, Sarah Lawrence College.Composer, innovator in the fields of electronicmusic and music for theatre and dance, composerof traditional and experimental works for allmedia, specialist in improvisational techniques,and director of the Sarah LawrenceImprovisational Ensemble. Toured nationallywith the United Stage theatre company andconceived of and introduced the use of electronicmusic for the productions. Freelance recordproducer and engineer; music published bySoundspell Productions. SLC, 1984–

Mali Yin ChemistryBS, Shaanxi Normal University, China. PhD,Temple University. Postdoctoral researchassociate, Michigan State University. Researcherand author of articles in areas of inorganic,organic, and protein chemistry; special interestsin synthesis and structure determination ofinorganic and organometallic compounds by X-ray diffraction and various spectroscopictechniques, protein crystallography,environmental chemistry, and material science.SLC, 1996–

Mia Yoo Theatre

Thomas Young MusicCleveland Music School Settlement. ClevelandInstitute of Music. Singer, actor, and conductor;founder and conductor, Los Angeles VocalEnsemble; principal with San Francisco Opera,Royal Opera House, Opéra La Monnaie,Netherlands Opera, Opéra de Lyon, New YorkCity Opera, and Houston Grand Opera; festivalsin Vienna, Salzburg, Holland, Maggio, andMunich; two Grammy nominations; two Cleonominations; national tours, Broadway, OffBroadway, regional theatre, and television. SLC,1989–

Kate Zambreno WritingBSJ, Northwestern University. MA, University ofChicago. Novelist, essayist, and cross-genrewriter. Kate Zambreno is the author of twonovels, O Fallen Angel (Chiasmus Press), andGreen Girl (Harper Perennial). She is also theauthor of two works of innovative nonfiction,Heroines (Semiotext(e)'s Active Agents) andBook of Mutter (forthcoming from WesleyanUniversity Press in 2015). Kate currently teaches

in the writing programs at Columbia University,Sarah Lawrence College, and WesleyanUniversity. SLC, 2013-

Francine Zerfas TheatreBFA, New York University, Tisch School of theArts. MFA, New School University. Teacher ofvoice and speech at New York University’sPlaywrights Horizons Theater School andAtlantic Theater Acting School; adjunct professorat Brooklyn College. Conducted FitzmauriceVoicework™ and Shakespeare workshops inMelbourne, Australia (2005) and at the CentroEm Movimento in Lisbon, Portugal (1997, 1998),where she also coached Eugene O’Neill’sMourning Becomes Electra. Served as vocalconsultant on “666 Park Avenue” TV series andwas vocal coach for The Play What I Wrote(directed by Kenneth Branagh) on Broadway; MeMyself and I by Edward Albee (directed by EmilyMann) at Playwrights Horizons Theater; and TheFamily Weekend by Beth Henley (directed byJonathan Demme) for Manhattan Class CompanyTheater; as well as Stanley, an Off-Off Broadwayproduction (directed by Pulitzer Prize finalist LisaD’Amour) at HERE Arts Center. Master teacherof Chuck Jones Vocal Production and anassociate teacher of Catherine FitzmauriceVoicework™ and Level I, Alba EmotingCertification. She has studied yoga in New Dehli,India, has trained extensively in ballet andmodern dance, and performed with variousindependent choreographers and dance companiesin Minneapolis. Co-founder of Tiny MythicTheatre Company in New York City and both anactor and a writer for the company. In addition tonumerous roles for Tiny Mythic Theatre, somepast performances include leading roles in ADream Play by August Stringberg, When WeDead Awaken by Henrick Ibsen, Apocrypha byTravis Preston and Royston Coppenger at theCucaracha Theater, Two Small Bodies at theHarold Clurman Theatre, The Eagle Has TwoHeads at the Ohio Theater in Soho, andDemocracy in America at the Yale RepertoryTheatre and Center Stage. She has appeared inseveral films, including Irony, In Shadow City,and The Smallest Particle by Ken Feingold andThe Madness of the Day by Terrance Grace. As awriter, she has collaborated with both The PrivateTheatre and Tiny Mythic Theatre, creatingoriginal works. SLC, 2013–

210 Current Faculty

Charles Zerner Barbara B. and Bertram J. CohnProfessorship in EnvironmentalStudies—Environmental Studies

BA, Clark University. MArch, University ofOregon. JD, Northeastern University. Specialinterests in environmental ethnography; politicalecology; environmental justice, law, language,and culture; environmental security and publicpolicy. Ethnographic fieldwork with Mandarfishing communities of Sulawesi, Indonesia, andreef management in Indonesia’s Maluku Islands;former program director, the Rainforest Alliance.Contributor and editor, People, Plants, andJustice: The Politics of Nature Conservation andCulture and the Question of Rights: Forests,Coasts, and Seas in Southeast Asia. Co-editorof Representing Communities: Politics andHistories of Community-Based Natural ResourceManagement and, with Banu Subramaniam andElizabeth Hartmann, of Making Threats: Biofearsand Environmental Anxieties (AltaMira Press,2005). Residencies at the University ofCalifornia-Irvine, Humanities Research Institute,and the Woodrow Wilson International Center forScholars; grants include Fulbright-Haysfellowship for fieldwork in Indonesia, NationalEndowment for the Humanities, and the SocialScience Research Council. SLC, 2000–

Matilde Zimmermann History (on leave springsemester)

BA, Radcliffe College. MA, University ofWisconsin-Madison. PhD, University ofPittsburgh. Special interests in the Nicaraguanand Cuban revolutions, Che Guevara’s life andwritings, labor and social movements, Atlantichistory and the African diaspora in the Caribbeanand Latin America, history of Latinos/as in the

United States, environmental history. Author:Sandinista: Carlos Fonseca and the NicaraguanRevolution (Duke, 2000); Carlos Fonseca y larevolución nicaragüense (Managua, 2003); Bajolas banderas de Che y de Sandino (Havana,2004); A Revolução Nicaragüense (São Paulo,2005); Comandante Carlos: La vida de CarlosFonseca Amador (Caracas, 2008). Director, SarahLawrence College Study Abroad in Cubaprogram. SLC, 2002–

Carol Zoref Writing Coordinator—WritingBA, MFA, Sarah Lawrence College. Fictionwriter and essayist; recipient of fellowships andgrants from the Virginia Center for Creative Arts,Hall Farm Center for Arts, and In Our OwnWrite. Winner of I.O.W.W. Emerging ArtistAward and finalist for the Henfield and AmericanFiction Awards and Pushcart Prize. SLC, 1996–

Elke Zuern PoliticsAB, Colgate University. MA, MPhil, PhD,Columbia University. Research interests includesocial movements in new democracies, popularresponses to poverty and inequality, violence indemocratization processes, collective memory,memorials and reconciliation. Regionalspecialization: sub-Saharan Africa and extensivefieldwork in South Africa and research inNamibia. Author of The Politics of Necessity:Community Organizing and Democracy in SouthAfrica (University of Wisconsin Press, 2011).Recipient of a Mellon postdoctoral fellowship atAmherst College and a Lowenstein fellowship;articles in Democratization, ComparativePolitics, Politique Africaine, African Affairs,South African Labour Bulletin, Transformation,and African Studies Review. SLC, 2002–

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