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GRADUATE
COURSE OFFERINGS
SPRING 2007
List of Courses
(Click for Description)
Course Descriptions
PIC
604C 01 A SEM
Genealogy of
Discipline
John T. Tagg
T 4:25PM-
7:25PM
Outline: This seminar, open to all but mandatory for Master¿s students
and some doctoral students in art history, examines the emergence,
across a period of marked historical changes in Western Europe, of art
history as a discipline. Simultaneously incorporating and displacing
heterogeneous earlier practices, the formation of this discipline
involved the marking of new conceptual distinctions and the
articulation of new categories, the development of new conceptions of
history, and the coalescing of a new idea of human subjectivity. But it
was not just a question of theory. The emergence of art history as a
discipline and academic enterprise between the late eighteenth and the
early twentieth centuries also depended on the articulation of new
apparatuses and the solidification of new institutions, mobilizing new
technologies, harboring new practices and techniques, and inculcating
new modes of behavior. These novel institutional spaces, technical
practices and styles of conduct have themselves to be placed in a
landscape in which dramatic demographic shifts were taking place, in
which geographies were being rewritten, and in which the horizons of
the social world were being broken and recast. Across this landscape,
the institutions of art and history with which we will be concerned
came to form the salient of a particular deployment: the elaboration of
the nation state, as it sought to secure its imaginary hold on its
citizens through the enticements of identity and the capture of the
past. We are dealing, then, with situated phenomena, but the discursive
world that emerged did not see itself in this way. Not untypically, the
new discipline of art history claimed for itself a universal status,
even as it migrated and sought to expand the reach of its institutional
forms across a radiating geography, along whose borders the new
discipline encountered and attempted to absorb the difference of other
worlds of meaning. This is, then, the history of a voracious machinery
of knowledge that archives everything, even while claiming authority to
adjudicate the conflicts that its arrival brings. It is the history of
the devising of an ingenious trap for which the stakes are statehood,
heritage, identity and power. It is the history of art history. Format:
The seminar will revolve around weekly readings and will be conducted
as a structured reading group in which emphasis will be placed on the
close analysis of specific texts that will, however, be located in an
unfolding argument, from week to week. No prior knowledge of the
literature or terminology will be assumed, but a serious commitment to
the reading program will be essential. The seminar will include regular
student presentations and a variety of research tasks designed to
develop competence in research method but also to draw critical
attention to the theoretical assumptions that research tools,
techniques and methodologies carry within themselves. The final and
principal assignment will involve the preparation of a detailed
syllabus on an agreed topic, including a synopsis, structured outline,
readings and full bibliography. This assignment satisfies the
requirement of the Master¿s Comprehensive Examination in Art History.
PIC
606B
01
A
DIS
The African Novel
Isidore O. Okpewho
TR 10:05 AM- 11:30 AM
This course will explore the development of the novel in Africa both
historically and thematically. On the one hand, we shall trace the
formal growth of the genre, beginning with its emergence from the oral
narrative traditions of the continent, through its attachment to
certain European trends and techniques, to its present achievement in
blending various traditions (African and non-African) in the
presentation of key problems in contemporary African sociopolitical
life. On the other hand, we shall examine some of the key concerns that
have occupied one generation of writers after another: e.g., the
European presence; relationships between tradition and modernity;
apartheid; failures of the post-independence leadership; women in
African literature and society. REQUIREMENTS Undergraduates: Class
presentation, Three V to VII page papers Graduate Students: Class
presentation, one scholarly paper of 20-25
pages
PIC
606C
01
A
SEM
BodyMemNarr:Proust,Beckett,etc
Marilyn Gaddisrose
M 1:10 PM- 4:10 PM
Although Proust receives the credit for body memory, he may simply have
explained it, showing readers how to appreciate such memories of their
own. Beginning with Proust's Time Regained, the seminar will analyze
other instances in such works as Austen's Persuasion, Joyce's
Dubliners, Beckett's Eh Joe and Krapp's Last Tape, and Woolf's The
Waves. The seminar participants are invited to look for other
instances, even encouraged to fictionalize their own memory narratives.
PIC
607A
01
A
DIS
Knowledge is Dead
Nkiru Nzegwu
M 3:00 PM- 6:00
PM
Toll the bells. I bring you good news. Knowledge is Dead! Hasten and
bury it so we can finally be free. This course explores the
epistemological crisis in Knowledge in the last few decades and the
death throes of its hegemonic assumptions. How did it die, is a less
important question than, why did it die. Unless we understand the
deep-seated expectations about Knowledge and why it died we cannot even
begin to see the new structures that are rising in its place.
PIC
608D
01
A
SEM
Politics of Women
of Color
Maria C. Lugones
M 6:00
PM-9:00PM
PIC
612B
01
A
DIS
Translation
Workshop: Literary
Carrol F. Coates
TR 11:40 AM- 1:05 PM
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| Specialized workshop
training students to translate literary works from another language to
English. Workshop is geared to graduate students; undergraduates may be
admitted with consent of instructor. FORMAT: Individual tutorials or
group sessions depending on language pairs and number of students.
PREREQUISITE: Fluency in a language other than English and effective
expression in English. |
PIC
612C
01
A
DIS
Translation
Workshop (Non-Lit)
Carrol F. Coates
T R 11:40 AM- 1:05 PM
Specialized workshop training students to translate from fields
dependent on translation (e.g., cross-cultural scholarship,
international affairs, world trade) from foreign language to English.
Students interested in German should register under the TRIP rubric.
FORMAT: Individual tutorials or group sessions depending on language
pairs and number of students. PREREQUISITES: Fluency in a foreign
language (Arabic, French, German or Spanish) and effective expression
in English.
PIC
612D
01
A
SEM
Intro
Computer-Assisted Trans
Olga J. Martin
M 1:10 PM- 4:10 PM
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| Spring 2009 - INTRO TO
COMPUTER-ASSISTED TRANSLATION TOOLS Credits: 4 Description: Practical
introduction to computer-assisted translation and terminology
management tools. This course will present a variety of computer tools
for translators, including both web-based applications and software
specially designed for translation and terminology management. There
will be an initial presentation of basic concepts in terminology
management and documentation, as well as an introduction to translation
project management. The course is not language-specific; the skills
will be useful for various disciplines. Format, books and notes may
vary by sections. Prerequisites: A basic knowledge of MS Office
programs, and at least some practical experience in translation. |
PIC
612F
01
A
SEM
The Politics of
Translation
ROSEMARY ARROJO
M 1:10 PM- 4:10 PM
On the basis of redefinitions of translation as a form of textual
transformation, we will be examining some of the most important
consequences of the essentially political role played by translators in
different contexts and times. The following are some of the topics and
interfaces we will be addressing: translation as activism, translation
as reparation, translation and gender studies, translation and
postcolonialim, translation and peripheral literatures.
PIC
645B
01
A
SEM
Tumult
Place,Fate,& Belonging
Jeffner M. Allen
M 3:30 PM-
6:30 PM
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| Recent innovative
narratives of African and Asian diasporic panoramas of memory, history,
and psychic emotion, shift and reshape understandings of cultural,
racial, and colonial relationalities. Impelled by trans-disciplinary,
interactive discussions, the course will focus on distinctive
narratives, yet in process, of tumultuous place, fate, and belonging at
the beginning of the 21st century. Questions of trans-literacies, of
foreignness, of diaspora with no margins, and of the narrator as
medium, will be considered in conjunction with experimentation in
listening, trans-generational interpretation, and imagination. Our
points of departure include diasporic and feminist mixed genre writing
such as that by Dionne Brand, Harold Sonny Ladoo and Dionne Brand, No
Pain Like This Body, Yunte Huang, CRIBS, Paul D. Miller¿s sonic essays,
selections from Aihwa Ong, Neoliberalism as Exception:Mutations in
Citizenship and Sovereignty, recent writing by Natsuo Kirino and Fatou
Diome, visual productions by Kimsooja and Okwui Enwezor, and the film
and video of Mansour Sora Wade, Ming-liang Tsai,, and Apichatpong
Weerasethakul. |
ENG593
Postcolonial
Theory and Film
Monika Mehta
W 1:10PM-
4:10PM
This course will focus on cinema's role in the production of
postcolonial nation-states. The topics that we will cover in this
course include orientalism, (post)colonial mimicry, nationalism,
subalternity, transnationalism, ethnography, globalization, diasporic
subjects, home/exile, and translation. In examining these issues, we
will draw upon theories, concepts, and ideas from the fields of
postcolonial and film studies, placing them in productive dialogue. We
will begin our inquiry by attending to one of the primary sites of
debate in post-colonial studies, namely, the term "post-colonial." In
order to tease out heterogeneous positions, we will ask what is at
stake in the process of naming this field and claiming this term. Some
of the other questions and issues that we will attend to include: How
has cinema as an institution participated in the process of
nation-building? How have the state and the nation (i.e. citizens,
diasporic communities, exiles, refugees) responded to filmic
representations of social, political and cultural issues? How have film
industries in postcolonial nation-states dealt with Hollywood's
hegemony? What has been the impact of globalization and new
technologies (e.g. DVDs, satellite television, Internet) on cinema as
an institution. In attempting to answer these questions, we will
consider the work of a range of writers including Homi Bhabha, Rey
Chow, Frantz Fanon, Stuart Hall, and Edward Said. *Please Note:
Screenings will be held for this course. If you cannot make it to the
screening, please watch the film before the class.*
Other
Semester Offerings
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