AHI 190/290 – Cultural Heritage in Wartime Professor Watenpaugh M 2-5 PM
PFS 259 – First Person: Embodiment and Performativity in Virtual Reality Patrick LeMieux W 3:10-6:00PM Sprocket 201
CRI 200C – History of Critical Theory, Kriss Ravetto-Biagioli T 12-3 PM 203 Wellman CRN: 48501
EN 290 – Creative Writing: Hybrid Writing Practices Corin, Lucy Time: R 12:10-3:00 120 Voorhies
NAS 224 – Performance in the Americas Zoila Mendoza T 2-5 PM Hart Hall 2405
CDM 163 – Between the White Cube and the Black Box Fiamma di Montezemolo T/R 12-3 PM Shrem Museum CRN: 46036
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
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
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.
Research, Narrative, and Performance: Explorations between the Arts, Social Sciences, and Humanities, Cristian Giordano. This cluster is open to new students and to those who participated last year, and it can be taken as a 299 for 3 or 4 credits depending on discussions with Professor Giordano. It is a year-long cluster, organized in the format of 2 workshops per quarter. Workshops will either be weekend long or one day long. We will continue working on Unstories, the performance that we did at the end of last year, adding new material to develop it into a full-length event. Please contact Cristiana Giordano, firstname.lastname@example.org for more information.
Here below is a shorter description, and attached is a longer one. I will lead most of the workshops with the collaboration of Greg Pierotti, Sarah Hart, and John Zibell.
These are the dates for our Fall workshops:
Saturday/Sunday, October 28-29 (both days 10 am- 12:30 pm; 2:30 pm – 5:30 pm)
Saturday, November 4 (10 am- 12:30 pm; 2:30 pm – 5:30 pm)
Saturday, November 18 (10 am- 12:30 pm; 2:30 pm – 5:30 pm)
Full participation in the cluster’s activities can be taken for 3 or 4 credits per quarter depending on discussion with Cristiana.
PFS 259 – First Person: Embodiment and Performativity in Virtual Reality
Patrick LeMieux (email@example.com)
W 3:10-6:00PM in Sprocket 201
Although the cultures and practices surrounding contemporary videogames often celebrate fantasies of disembodiment–the spectacular image, the dream of immersion, the mastery of control, the black box of technology–the body matters when we play. In this practice-based graduate seminar we will explore and experiment with techniques of embodiment and performativity in relation to virtual reality headsets like the HTC Vive and Oculus Rift. Engaging both new work in game studies (Darshana Jayemanne, Anne-Marie Schleiner, Anna Anthropy) as well as histories of the technical image (Anne Friedberg, Jonathan Crary, Jacob Gaboury), we will learn the tools and tricks of the trade by building our own VR experiences as theatrical, performative, poetic, or artistic interventions in the culture of twenty-first century immersive technology. To this end we will learn Unity, C#, and OpenVR as well as develop performance-based projects using head-mounted displays.
Designed in proximity to (but not requiring) Stephanie Boluk’s ENL 287: VR vs. Virtual (W12:10-3PM), previous game development or media production experience is not required, but this course will progress at a brisk pace and include hands-on prototyping, in-class discussion, and rigorous critique.
Critical Theory 200C History of Critical Theory
“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 Punishment
Arendt, On Revolution
Scott, Weapons of the Weak
Spivak, A Critique of Postcolonial Reason
Moreiras, selections from Infrapolitics
English 290 – Winter, 2018 Creative Writing: Special Topic Topic: Hybrid Writing Practices
Instructor: Corin, Lucy
Time: R 12:10-3:00
Location: 120 Voorhies
Hybrid Writing Practices
This will be a structured workshop course. We divide our time in class between discussing a range of model “hybrid” works, and workshopping pieces you write. “Hybrid” here will include work that upsets or blends characteristics of poetry/fiction/nonfiction; work that is based on the page but includes other media (sound, internet links, performance, image); work that is in sly or direct conversation with other works (such as collage or ekphrastic practices); and collaborative work. You will create writings within at least three of these four areas.
For models, we will read:
Renee Gladman: Calamities
Valeria Luiselli: The Story of My Teeth
Juliana Spahr: That Winter the Wolf Came
I will also distribute shorter exemplary works as we seem to need them in our conversations.
NAS 224 Performance in the Americas
Tuesday 2-5 p.m.
Office: Hart Hall 2405
Office Hours: T. R. 12-1 and by appointment
This seminar develops an interdisciplinary approach to the study of public performance in the Americas. It proposes new ways of looking at music, dance, rituals and other kinds of performances throughout the Americas while developing new methodological and theoretical frameworks to the study of society and culture in general.
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.