AHI 200A – Visual Theory, Professor Watenpaugh
TR 3:10-6 PM
STS 200 – Theories and Methods in Science and Technology Studies, Colin Milburn
T 9 AM-12 PM STS Seminar Room (SS&H 1246)
REL 230F– Visual, Cultural, Media Technology Circulation of Culture: South Asian Documentary Cinema, Gargi Sen W 3:10-6:00 PM
GER297 – Graduate Film Studies; The Case of Cinema in Germany, Professor Fisher
ENL 280: Digitizing the Early Modern M 12:10-3:00 PM
AHI 190/290 – Cultural Heritage in Wartime Professor Watenpaugh M 2-5 PM
WMS 200B 001 – Feminist Research – Rana Jaleel
MUS 221 – Music and Nature/Ecomusicology – Beth Levy
FMS ??? – Graduate Film Studies: The Case of Cinema in Germany – Jaimey Fisher
DRA 158 – Tactical Performance – Lawrence Bogad
PFS 259 – Gina Bloom – Theorizing Media and Performance – W 2:10 – 5, 248 Voorhies
MUS 210B Proseminar in Musicology/Criticism, Beth Levy
This course provides a historical, theoretical, and practical overview of musicology–its intellectual history, the issues that have helped define the field, and some of its typical methods, tools, and genres of scholarly writing. We will read widely and engage critically with some of the most important musicological writings and the debates they have engendered; we will also practice some musicology of our own through a series of short exploratory projects designed to give you hands-on experience with diverse aspects of musicological work.
REL 230F- VISUAL, CULTURAL, MEDIA TECHNOLOGY CIRCULATION OF CULTURE: SOUTH ASIAN DOCUMENTARY CINEMAWednesday 3:10-6:00 PM Gargi Sen
This seminar explores how the local and global impact and shape the other and consequently how culture circulates through an examination of South Asian Documentary Cinema. We will examine issues around representation, meaning creation and structures of power through the study of documentary films. Understand issues of gender, labor, ecology, development and culture from a rights based perspective.
The seminar is based on viewing and discussing documentaries; its content, form, aesthetics and practice. In each session we will view film/s and clips to study the issues in depth, identify overlaps and commonality of issues across histories and times. Relevant readings about documentary cinema and issues for each session will help frame the discussion. Our focus will be on the decades from the 1990s to today, and will look at how the documentary form changes to accommodate the complexities of the subjects/ representation.
Cinema will provide a visual entry into a myriad set of subjects and explore those in depth. It will place the human at the centre of social, political and economic change and study the different points of view. The post screening discussions will study the film as an art form, the position taken by the filmmaker/s, the context of the film, the time when it was made, the subjective versus the objective, the ‘real’ versus the constructed and the documentary practice.
Through the seminars students will learn how to read documentary text, deconstruct representation, understand meaning creation, and structures of power.
Gargi Sen is a Fulbright-Scholar in Residence in the Department of Religious Studies. She is a New Delhi-based filmmaker, producer and curator of films, and runs Magic Lantern Movies. Please contact Gargi Sen at email@example.com, with any questions.
PERFORMANCE WRITING PFS 298 Section 10 Fall 2017 W 12:10-2:00 Wright 222 Instructor: Jon D. Rossini CRN: 54493
This is a 2-unit course, primarily for PFS PhD students, but open to other interested and qualified graduate students. The goal of the course is to think critically and carefully about performance writing and more importantly, to actually do some. We will meet once per week and meetings will consist of a combination of discussion of writing and the practice of writing, both our own and others, which will involve reading both creative and critical work, as well as actual writing practice. In addition to preparation for each weekly meeting, each student will work on and “complete” two projects—one is a piece of writing that falls somewhere near the category of performance writing, writing for performance, performative writing, scriptwriting, playwrighting, performative lecture (or creative critical writing for performance), performance score, or any other form that suggests embodied engagement in some form. The scope, scale and form of this work, as well as the level of “completeness” will be subject to negotiation with the instructor (for the purposes of evaluation), but examples might include short plays or screen plays, solo performance works, choreopoems, and many others, as well as substantial beginnings of longer work(s). The second project will be a reflection on the individual’s practice of writing, hopefully shaped in part by their engagement in this space. Depending upon the size of the class we will do some small group workshopping of our writing, but this will not be structured like a traditional workshop where the bulk of the meeting will be centered on discussion of pre-written work. Rather, much of what we do in the space will be experimenting and playing with our work, trying new strategies to generate material, experimenting with various modes of structuring a workshop space, and partially sharing in the moment as we create. All experience levels are welcome. Questions? firstname.lastname@example.org
STS 200: Theories and Methods in Science and Technology Studies
Instructor: Colin Milburn, Tuesdays 9am-12pm, STS Seminar Room (SS&H 1246)
This graduate seminar focuses on theories and methods in science and technology studies (STS). Students will be introduced to major authors, works, and movements that have shaped the interdisciplinary field of STS, attending to intersections of the history and philosophy of science, the anthropology and sociology of science, and literary and cultural studies of science. Students will gain a strong foundation in a variety of STS approaches and concepts: constructivism; sociology of scientific knowledge (SSK); actor-network theory; gender studies of science; rhetoric and semiotics of scientific writing; scientific trading zones; experimental systems; and others. The seminar is designed for graduate students interested in adding STS methods to their scholarly toolkits. The seminar also fulfills the STS 200 requirement for the Designated Emphasis in Science and Technology Studies, but enrollment in the DE program is not required.
DES 225 – Studio Practice in Design, Glenda Drew, M 9-11:50 AM Cruess Hall 256
DES 225 will be reading about collaboration and design processes and working on a collaborative exhibition for the Design Museum in December that relates to the Campus Community Book Project, Redefining Realness. Students work together on a collective project to experience the multiple phases of design through an iterative process. Design projects will be geared towards relevance in contemporary social, cultural and political contexts.
AHI 200A – Art History 200A. Visual Theory, Professor Heghnar Watenpaugh, Thursdays 3:10 to 6 PM CRN:30753
Art History 200A: Visual Theory is a foundational course in the graduate study of Art History. It is designed for advanced art history graduate students, and those from other disciplines who wish to pursue visual studies.
This seminar is neither a history of art history, nor does it provide a menu of methods for the study of art history, even though history and method will be among our key concerns. Instead, this seminar emphasizes the relationship between the aesthetic theories that drive our field and the social history of the institutions that sustain it, including museums.
NO PREREQUISITES, NO BACKGROUND IN ART HISTORY REQUIRED
GER297: Graduate Film Studies; The Case of Cinema in Germany
The seminar introduces graduate students to research and teaching in film studies, primarily by offering an overview of the history of German cinema. The course will take up the major periods of German film history, including the Weimar, the Nazi, the 1950s-60s, the New German Cinema, and the contemporary (Berlin-School) periods, but also probe this conventional periodization. The seminar will engage each film in its historical, political, and economic context and provide some theories of how these contexts can relate to film itself. Special attention will be to attendant theories of film and media as well as to how to effectively teach with them. The seminar will focus on the formal and technical aspects of these films, particularly how they represent via a technique that self-consciously mimics or resists (even when instrumentalizing) the classical Hollywood system. Among the historical and national themes this very rich cinema brought forth are: modernity and trauma in the Weimar era, the impact of the Nazi movement on media, postwar German reconstruction, feminism, political radicalism and terrorism in the 1970s, the “micropolitics” of the home and sexuality, and its relationship to Hollywood as well as to American political hegemony. Knowledge of German welcome, but not required.
ENL 280: Digitizing the Early Modern (Mondays 12:10-3:00 PM) Co-taught by Gina Bloom (English, Associate Professor of English) and Carl Stahmer (Director of Digital Scholarship, University Library)
This course investigates a wide range of digital projects in early modern studies in order to open up a conversation about the practical challenges and theoretical stakes of research in the digital humanities and arts. Although we will provide a bit of a backstage tour of the digital tools used to create these projects, the aim of the course is less to train students in the nuts and bolts of programming for a digital project than it is to understand what each digital project aims to do and how its design facilitates those aims. How have digital projects in early modern studies been enabled and handicapped by the affordances of the tools available for project design? What questions and approaches to early modern texts and topics are easiest to answer or pursue with these tools? What sorts of tools would need to be developed or altered to help early modernists pursue different questions or approaches?
As we study particular digital projects, we will read scholarship on and about these projects—much, though not all of it, produced by the project makers. In so doing, we hope to explore how digital projects are, simultaneously, objects of research as well as modalities for research, and to consider more broadly the relationship between making and theorizing. Although this course focuses on early modern material, it would be of interest to anyone interested in learning more about the digital humanities or contemplating doing work in this field.
NOTE: two weeks of the course will be devoted to work in theater and performance studies, though we will discuss music, theater, and performance during other weeks as well.
German 241: The German Drama: The Anti-Aristotelian Tradition (4 Units) [Two-Track: Conducted in English; Readings in Either German or English] Professor Gail Finney Wednesdays 2:10-5 pm CRN: 74255 Course format: Seminar – 3 hours, Term paper. Prerequisite: Graduate standing or consent of instructor.
Studies German theater that opposes the classical drama of Goethe, Schiller, Grillparzer, and others who adhere to the conventions established by Aristotle’s Poetics. Topics such as the following will be explored: the attractions and limitations of Aristotelian theory; romantic irony in the theater; the proletarian protagonist; politics and drama; the grotesque on stage; the doctrine of epic theater and its sexualization; the dramatic parable; women as playwrights; the critical folk play; socialist feminism and theater. Plays will be illuminated by theoretical and critical writings.
Authors such as the following will be treated:
MUS 210C Proseminar in Ethnomusicology, Henry Spiller
This course is designed to impart a working knowledge of the intellectual history and major concepts, premises, theoretical approaches, analytical techniques, and methodologies germane to the field of ethnomusicology as it has evolved in American and international scholarship. The quarter is divided into two sections: (1) shifting definitions of ethnomusicology; (2) an exploration of several basic questions, theoretical premises, and analytical paradigms employed in ethnomusicological scholarship.
MUS 221 Topics in Music History, Carol Hess
This course explores music of the Americas in terms of reception, politics, and where applicable, cultural diplomacy.
MUS 223 Ethnomusicology, Juan Diego Diaz
For the Spring term I am considering offering a seminar on groove studies where we will explore the following questions: What is musical groove? Why do we feel compelled to move to groove-based musics? What in the music produces the groove effect? and, What meanings do we give to this experience? We will explore these questions from various perspectives including analysis of musical structure, music cognition, embodied experience, and cultural and historical contexts.
CRI 200C – Sovereignty, Kriss Ravetto
“Political” derives from Greek (politikos, “of, or pertaining to, the polis”). Both Plato and Aristotle understood the polis to be based on a geographically specific collective brought together under common principles and agreements about authority. What constituted the common good, justice, the reach of authority, and the citizen have been open to debate. This course will focus on the emergence and transformation of politics, particularly as it relates to the following concepts: sovereignty, the commons, and the body politic.
Plato, The Republic
Locke, Treatise on Government
Rousseau, Social Contract
Marx, Economic and Philosophical Manuscripts
Foucault, Discipline and Punish
Arendt, On Revolution
Scott, Weapons of the Weak
Spivak, A Critique of Postcolonial Reason