Current and Future courses (extended abstracts at bottom of page)

Fall 2018 

CST 210 (CRN 43098) / HMR 200B (CRN 43145) – Memory, Culture, and Human Rights
PFS298 (CRN 34660) – Performance Writing Jon Rossini. W 10a-12p Wright 222
 “Critical and Creative Embodiment: Practicing Research and Researching Practice” with Joe Dumit Tue 2-5p, Wright 222
Comp. Lit. 210 (CRN 16710) Chinese Cinema (4 units)Sheldon Lu R 2:10-5:00P 3 Wellman Hall

Winter 2019
PFS 265C Performance and Society with Fiamma Montezemolo M 0300 – 0600 Shrem
ANT 206 Grant Writing with Joe Dumit Wed 2-5p, SSH 1246

Spring 2019

PFS 265D Black Performance Theory Danielle Heard TBA
STS 250 (counts as PFS 265B) – Bodies, Embodiments, Affects, Movements, Joe Dumit
DRA 251 – Scripting and Scoring


Spring 2018
PFS 265 B – Signification and the Body, Maxine Craig
MUS 221 – Topics in Music History, Carol Hess
MUS 223 – Ethnomusicology, Juan Diego Diaz
CRI 200C – Sovereignty, Kriss Ravetto
FMS 125 – Epic Television: The Golden Age of TV? Jaimey Fisher

Winter 2018
GER 241 –  The German Drama: The Anti-Aristotelian Tradition, Gail Finney
MUS 210C – Proseminar in Ethnomusicology, Henry Spiller
AHI 190/290 – Cultural Heritage in Wartime Professor Watenpaugh
CRD 249  – Innovative Media and Community Development  Jesse Drew
PFS 259 – Trans Feminist Performance: Queering Ecology Jean Vaccaro
PFS 259 – Voice For Performance Margaret Kemp
PFS 259 – First Person: Embodiment and Performativity in Virtual Reality Patrick LeMieux
PFS 265A (CRI 200C) – History of Critical Theory, Kriss Ravetto-BiagioliE
N 290 – Creative Writing: Hybrid Writing Practices Corin, Lucy
PFS 265C (NAS 224) – Performance in the Americas Zoila Mendoza
CDM 163 – Between the White Cube and the Black Box Fiamma di Montezemolo
EDU 230 – Critical Race Theory in Education, Patricia Quijada
WMS 201 – Feminist Science and Democracy.  Sara Giordano
Fall 2017
MUS 210B – Proseminar in Musicology/Criticism, Beth Levy
PFS 298 Sec. 10 – Performance Writing, Jon D. Rossini
W 12:10-2:00 PM Wright 222 CRN: 54493
DES 225 – Studio Practice in Design, Glenda Drew
M 9-11:50 AM Cruess Hall 256
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

Spring 2017

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

Winter 2017
PFS 259 / DRA 253 – Larry Bogad – Approaches to Collaboration: Performance of Non-Fiction – Wed 10-12:50pm
PFS / DRA 265A –  Lynette Hunter –  M 2:10 – 5, Wright 220
PFS 259 –  Gina Bloom – Theorizing Media and Performance – W 2:10 – 5, 248 Voorhies
GSW 200A – Feminist Theory – Wendy Ho
GSW  – Beth Freeman (ENL) –
CRI 200A – Kris Fallon (CDM) – Approaches to Critical Theory –  Wednesdays, 2:10-5:00pm
ANT 210 – Cristiana Giordano (ANT) – Affect and Representation
Fall 2016
PFS 200 – Fiamma Montezemolo (CDM) – (Core) Methods and Matters – Tue 2:10 – 5 PM
ANT 210 – Joseph Dumit (STS/ANT) & Joe Masco – Conspiracy/Theory – Wed 12:10-3 PM
ANT 201 – Tarek Elhaik (ANT) – Reading Ethnography – Wed 9-11:50 AM
GER 262 – Gail Finney – Studies in Turn-of-the-Century Culture – Wed 2-5 PM
CST 204 – Christina Perez (visiting scholar) – History and Theory of Sexualities
Art History 200A -Heghnar Watenpaugh – Visual Theory – Wed 2:10-5 PM
ANT ??? – Cristiana Giordano, Greg Perotti – Research, Narrative, and Performance – Weekends (see below)
SOC 292a -Laura Grindstaff – Field Methods – Wed 3:10-6pm
ENL 262 -Danielle Heard – Lady Sings the Blues: Blues, Literature, and Black Feminism


Winter 2016
PFS 259 – Lynette Hunter – Contemporary Performance
PFS 265C – Larry Bogad – Performance and Society
Fall 2015
PFS 200 –  Lynette Hunter – Methods and Materials in Theatre Research
Spring 2015
PFS 265B – Maxine Craig – Signification and Body
Winter 2015
PFS 265A – Lynette Hunter- Modes of Production
PFS 259 – Larry Bogad – Contemporary Performance

Fall 2018 – Abstracts

CST 210 (CRN 43098)/HMR 200B (CRN 43145). MEMORY, CULTURE, & HUMAN RIGHTS Professor Lazzara Hart Hall 3114, Wednesdays 1:10-4 p.m.

Although “memory” has been a topic for intellectual reflection since classical antiquity, it has experienced an upsurge in academia since the 1980s, particularly due to the rise of Holocaust Studies and the urgent need to reflect on gross human rights violations around the world. Crossing the social sciences and humanities, memory has become a category for critical inquiry as well as a political and ethical imperative that links intellectual reflection to political activism in the aftermath of authoritarian regimes, genocide, and situations of violence. Furthermore, “memory studies” now find spaces of institutional legitimacy in the U.S. and abroad as master’s programs and specialized journals promote scholarship in this area.

What are memory studies: an autonomous field, a space of inquiry that permits certain kinds of interdisciplinary work? What kinds of work can be done within the rubric of memory studies? What are the limits, drawbacks, and untapped potential of this framework? This course looks at the productivity of “memory” as a lens through which to do cultural studies work; in so doing, it explores the multiple convergences among memory, culture, and human rights. We will discuss how societal actors in different historical, cultural, and national settings construct meanings of past political violence, inter-group conflicts, and human rights struggles. We will also work to acquire the critical vocabulary that scholars working in this area regularly use.

Readings will mostly be theoretical or conceptual in nature, although we will also discuss a few “primary” texts derived largely from Latin America, an area in which memory studies have firmly taken root. Given the limited time we have in the seminar, primary texts will touch on the literary genres of fiction and testimony, although students are welcome to engage with other cultural objects—film, music, memorials, etc.—in their individual projects. Additionally, seminar participants will be encouraged to draw parallels to other contexts and geographies that are relevant to their individual research programs.

This course serves as one of the two core graduate seminars for the DE in Human Rights:

Comparative Literature 210 Section 001. Chinese Cinema (4 units)
Sheldon Lu R 2:10-5:00P 3 Wellman Hall CRN 16710

Course Description: This quarter we focus on the rich cinematic traditions of China. We begin with early Chinese cinema and move all the way to the twenty-first century. Students will explore the themes, styles, aesthetics, stars, and socio-political contexts of particular films as well as the evolution of entire film industries. Representative directors and internationally renowned filmmakers will be discussed, such as Xie Jin, Zhang Yimou, Chen Kaige, Ang Lee, Jiang Wen, Feng Xiaogang, and Jia Zhangke. We examine Chinese cinema as an outgrowth of indigenous, national roots as well as a necessary response to international film culture. We look at how films engage in social critique and cultural reflection, and how film artists react to the conditions and forces of socialist politics, capitalist economy, tradition, modernization, and globalization in Chinese-speaking regions.

Companion course to COM 180 for graduate students.

Prerequisite: Graduate standing in Comparative Literature, English, or a foreign-language literature, or consent of instructor (

Format: Discussion – 3 hours; Term Paper.


  • TBA
PFS 298 (CRN: 34659) “Critical and Creative Embodiment: Practicing Research and Researching Practice
As an anthropologist who studies the practice of research, I am very interested in “Practice as Research” (a term used in dance, art and performance work), “Research Creation” (in Canada and other places for the arts), and in general treating research as practice, and all practice as a type of research. Attending to practice indicates habits, sensitization, bodies, affects, embodiments, etc. Therefore my focus this fall is on how we practice (whoever joins the group is “we”) and whether that is the same as how we research (why, why not). One of the goals is that each of us learns more about what we do, and another is learning more how to talk about what we do, in terms of that are legible to others (for our future selves, for grants, for articles, and for collaborations).
There will be small readings each week to press upon these concepts and weekly practice and writing work – i really do believe that each style of writing (including academic) is a skill that gets better through practice and feedback.
Currently the class is scheduled for Tuesdays 2-5p. (I also have a slot Wed 12-3p that is possible). You sign up for it with the CRN 34659 – and let me know too so i can try to keep track. You have choose the credits and ideally you treat it as a 4-credit course.