Bard College

Contents

Academic Calendar, 20072008 iii Dance 205

Film and Electronic Arts 208
History of Bard 1 Music 218
Presidents of Bard College 7 Photography 232
Theater 235
Learning at Bard 8 Integrated Arts 239
The Curriculum 9
Academic Requirements and Division of Science, Mathematics,
Regulations 15 and Computing 244
Biology 246
Academic Programs 20 Chemistry 254
Computer Science 257
Division of Social Studies 23 Mathematics 261
Anthropology 23 Physics 266
Economics 34 Additional Courses in the Sciences 268
Economics and Finance 47 Historical and Philosophical
Environmental Studies 48 Courses in the Sciences 269
Historical Studies 51
Philosophy 75 Interdivisional Programs and
Political Studies 82 Multidisciplinary Studies 271
Psychology 96 Africana Studies 271
Religion 106 American Studies 274
Social Studies 116 Asian Studies 276
Sociology 118 Classical Studies 278
French Studies 281
Division of Languages and Gender and Sexuality Studies 282
Literature 125 German Studies 283
Literature 126 Global and International Studies 284
Writing Program in Fiction and Human Rights 286
Poetry 156 Irish and Celtic Studies 290
Foreign Languages, Cultures, Italian Studies 291
and Literatures 157 Jewish Studies 292
Latin American and Iberian Studies 295
Division of the Arts 185 Medieval Studies 298
Studio Arts 185 Middle Eastern Studies 300
Art History 191 Russian and Eurasian Studies 302

i
ii Contents

Science, Technology, and Society 303 The Bard Graduate Center for
Social Policy 304 Studies in the Decorative Arts,
Studies in Race and Ethnicity 305 Design, and Culture 352
Theology 306 Bard Center for Environmental
Victorian Studies 307 Policy 353
Multidisciplinary Studies 308 Master of Arts in Teaching Program 354
Bard College Conservatory of Music 355
The Bard College The Conductors Institute at Bard 355
Conservatory of Music 309
The Levy Economics
International Programs and Institute of Bard College 356
Study Abroad 314
The Bard Center 360
Additional Opportunities to Learn 319 Fellows of the Bard Center 361
Specialized Undergraduate Programs 319 Institute for Writing and Thinking 362
Professional Education 320 Bard Fiction Prize 364
Independent Work 322 Distinguished Scientist
Study at Another Academic Lecture Series 364
Institution in the United States 324 Intergenerational Seminars 365
Human Rights Project 324 Leon Levy Endowment Fund 365
Bard Prison Initiative 325 Cultural Programs 366
Rift Valley Institute 326 Summer Programs 369
Returning to College Program 327
Nonmatriculated Students Admission 370
and Auditors 328
Lifetime Learning Institute 328 Finances 373
Bard High School Early College 329 Financial Aid 373
Bard College at Simons Rock: Fees, Payment, and Refunds 382
The Early College 329
Bard College Clemente Course Scholarships, Awards, and Prizes 389
in the Humanities 330
Faculty 403
College Life 332
Campus Facilities 332 Honorary Degrees and
Student Activities and Services 342 Bard College Awards 508
Residence Life Program 348
Safety and Security 350 Boards and Administration 515

Graduate Programs 351 Bard Campus Map 528

Milton Avery Graduate School
of the Arts 351 Travel to Bard 530
International Center of
PhotographyBard Program in Index 531
Advanced Photographic Studies 351
Center for Curatorial Studies and
Art in Contemporary Culture 352
 Academic Calendar
20072008

Summer 2007
August 11, Saturday Arrival date and financial clearance for first-year students

August 12, Sunday Orientation for first-year students

August 13, Monday Workshop in Language and Thinking and

August 31, Friday orientation activities for first-year students

August 30, Thursday Matriculation ceremony

August 31, Friday Arrival date and financial clearance for transfer students

August 31, Friday Academic orientation and writing workshop for transfer students
September 2, Sunday

Fall Semester, 2007

September 2, Sunday Arrival date and financial clearance for all returning students

September 3, Monday Course registration for fall semester

September 4, Tuesday First day of classes

September 19, Wednesday Drop/add period ends

October 8, Monday Fall break

October 9, Tuesday

October 26, Friday Family Weekend

October 28, Sunday

November 2, Friday Moderation papers due

November 9, Friday Last day to withdraw from a course

November 21, Wednesday Thanksgiving recess

November 25, Sunday

December 3, Monday Senior Projects due for students graduating in December

iii
iv Academic Calendar

December 12, Wednesday Course registration for spring semester

December 21, Friday Last day of classes for fall semester

Intersession 2008
December 22, 2007, Saturday

January 25, 2008, Friday Winter intersession (no classes)

Spring Semester, 2008

January 25, Friday Arrival date for new first-year, transfer, and rematriculating
students

January 25, Friday Academic orientation and writing workshop for new first-
January 28, Monday year and transfer students

January 26, Saturday Optional arrival date for all returning students

January 26, Saturday Financial clearance for all returning students

January 28, Monday Course registration for spring semester

January 29, Tuesday First day of classes

February 13, Wednesday Drop/add period ends

March 28, Friday Moderation papers due

March 29, Saturday Spring recess

April 6, Sunday

April 11, Friday Last day to withdraw from a course

April 30, Wednesday Senior Projects due for students graduating in May

May 13, Tuesday Course registration for fall 2008 semester

May 20, Tuesday Last day of classes for spring semester

May 22, Thursday Baccalaureate service and Senior Dinner

May 24, Saturday Commencement

 History of Bard

Bard College was founded, as St. Stephens College, in 1860, a time of national crisis.
While there are no written records of the founders attitude toward the Civil War, a
passage from the Colleges catalogue of 1943 applies also to the time of the institutions
establishment: While the immediate demands in education are for the training of men
for the war effort, liberal education in America must be preserved as an important
value in the civilization for which the War is being fought. . . . Since education, like
life itself, is a continuous process of growth and effort, the student has to be trained to
comprehend and foster his own growth and direct his own efforts. This philosophy
molded the College during its early years and continues to inform its academic aims.

John Bard, who founded St. Stephens in association with the New York City leadership
of the Episcopal church, came from a family of physicians and teachers, whose country
estate, Hyde Park, lent its name to that Hudson River town. For its first 60 years, St.
Stephens offered young men a classical curriculum in preparation for entrance into the
seminaries of the Episcopal church. In support of this venture, John Bard donated the
Chapel of the Holy Innocents and part of his riverside estate, Annandale, to the College.

With the appointment in 1919 of Dr. Bernard Iddings Belleducator, writer, and
churchmanas warden, St. Stephens began a period of transition to a broader, more
secular mission. Social and natural sciences augmented the classical curriculum, and the
student body was recruited from a more diverse population. The 1920s were marked by
great teachers with distinctive views. In addition to Dr. Bell, whose social concerns and
polemical writings about education made him a figure of national significance, the faculty
included Lyford Trotsky Edwards, a pioneer in American sociology, and Albert Jay
Nock, the conservative historian, essayist, and new humanist, who had graduated from
the College in 1892.

In 1928 the College opened a radically new chapter in its history when it became an
undergraduate school of Columbia University. Donald G. Tewksbury of Columbia
was appointed dean in 1933, and in 1934 the name of the College was changed to Bard
in honor of its founder. Inspired in part by what he considered best in the great English
universities, Dean Tewksbury instituted a program that demanded of students indepen-
dent and disciplined study and encouraged them to pursue intensive study of their
already established interests and abilities as the basis for achieving a broad cultural out-
look and understanding. The tutorial and seminar system, a substantive examination
at the end of two years (later called Moderation), and what Tewksbury called the final

1
2 History of Bard

demonstration (to become the Senior Project) were established as part of his plan.
One of the hallmarks of the program was an emphasisunique at this period in
American educationon the place of the fine and performing arts in a liberal arts cur-
riculum. Although Tewksbury himself did not use the term progressive, his program
established Bard as a leader of the progressive movement then gaining prominence in
higher education. In the 1930s Bard anticipated by decades much of the current think-
ing about undergraduate education.

The faculty was strengthened and enriched in the 1940s by the addition of distinguished
migrs from Europe. These scientists, artists, teachers, and writers included Stefan
Hirsch, the precisionist painter; Felix Hirsch, the political editor of the Berliner
Tageblatt; the violinist Emil Hauser, founder of the Budapest String Quartet and asso-
ciate of Pablo Casals; the distinguished Austrian labor economist Adolf Sturmthal; the
noted psychologist Werner Wolff; and the philosopher Heinrich Bluecher, husband of
Hannah Arendt.

In 1944 Bard became a coeducational institution. As a result, it severed its relationship

with Columbia University and became independent as a secular, nonsectarian liberal
arts college affiliated with the Episcopal church. A new company of scholars taught at
Bard during the late 1940s and 1950s. The list, which includes Mary McCarthy, A. J.
Ayer, F. W. Dupee, Ralph Ellison, Franco Modigliani, William Humphrey, Theodore
Weiss, Anthony Hecht 44, Saul Bellow, and Dwight Macdonald, indicates that Bard
had assumed a place of eminence in the teaching of literature and writing and was
attracting leading thinkers in the social sciences.

The faculty of this period set forth a statement of academic goals that continue
to inform Bards curricular philosophy. Based on the premise that the College should
transmit in living form an intellectual and artistic heritage, the student should:

develop a genuine interest in things intellectual and artistic sufficient to motivate

continuing self-education in several diverse fields

make a substantial start in formulating ethical standards as well as intellectual or

artistic standards in his or her fields of concentration and have some understand-
ing of the crucial role of standards in intellectual or artistic work

show ability, in more than one field, to attack an intellectual or artistic problem,
translate it into workable terms, organize procedures, locate and use relevant mate-
rial, synthesize findings, and produce a creditable result

whatever his or her major, be able to read English accurately and intelligently and
write it intelligently and clearly

master the materials, techniques, and methods necessary for beginning independent
work and making independent judgments
 History of Bard 3

develop the knowledge and confidence necessary to acquire new materials, tech-
niques, and methods and have a reasonable grasp of the extent of his or her field, its
history, its relations to other fields, and its place in the culture

have some grasp of human history and the broad lines of intellectual and artistic
development and achievement

In 1960 Reamer Kline began a 14-year tenure as president. Under his care, the number
of students and faculty increased; the curriculum was enlarged, particularly in science,
art, art history, and sculpture; a film department was created; and the study of anthro-
pology was added to the social sciences curriculum.

Bards 14th president, Leon Botstein, took office in 1975. Since then, the College has
expanded its program, building on the strands of its curricular history: the progressive
tradition developed from the Tewksbury program and the classical tradition of general
education emanating from St. Stephens and the migr faculty. The range and distinc-
tion of the faculty have grown. Among those who have taught at the College in recent
years are artists Roy Lichtenstein, Elizabeth Murray, Ken Noland, Judy Pfaff, Stephen
Shore, and William Tucker; writers Chinua Achebe, Ian Buruma, Norman Manea,
Edna OBrien, Cynthia Ozick, William Weaver, and Nobel laureates Orhan Pamuk
and Isaac Bashevis Singer; mathematician Abe Gelbart; chemist Carl Djerassi; theater
director JoAnne Akalaitis; poets John Ashbery, Robert Kelly, and Ann Lauterbach;
anthropologist John Ryle; composers Joan Tower and George Tsontakis; filmmaker
Arthur Penn; philosopher Peter Sloterdijk; and literary scholar Jerome Brooks.

Since 1975 Bard has developed a new model of the liberal arts college, as a central body
surrounded by significant institutes and programssatellitesthat strengthen its cur-
riculum. This model is distinctly different from the structure of a large university. While
it is flexible enough to include programs for research, graduate study, community out-
reach, and other cultural and educational activities, the undergraduate program remains
its focus. Each satellite program is designed to enhance the undergraduate course of study
by offering students opportunities for interaction with leading artists and scholars.

A number of important educational initiatives developed within the framework of The

Bard Center, which was created in 1978 to organize programs that complement and
enhance the undergraduate College and address issues and problems of national and
regional import. The Center conceives and presents artistic and intellectual programs
and appoints Bard Center Fellowsvisiting artists and scholars who present seminars
and lectures to undergraduates and the public. Among its programs is the Distinguished
Scientist Lecture Series, which has brought to Bard more than a hundred scientists,
including four Fields medalists and 45 Nobel laureates. The nationally known Institute
for Writing and Thinking has had a major impact on the teaching and learning of writ-
ing and reasoning at high schools and colleges around the country and in Sweden.

In 1979 Bard assumed control and ownership of Simons Rock Early College (now
called Bard College at Simons Rock: The Early College) in Great Barrington,
4 History of Bard

Massachusetts. While Bard and Simons Rock remain distinct and carry on separate
academic programs at their respective campuses, the relationship between the two
institutions gives Bard an exceptional opportunity to apply its experience as a liberal
arts college to the development of a strong curriculum for younger students.

In 1981 Bard established its first graduate program. The Milton Avery Graduate School
of the Arts extended the Colleges tradition of strength in writing and the arts by offer-
ing a program leading to a master of fine arts degree. In 1988 the College inaugurated its
second graduate program, the Graduate School of Environmental Studies, which offered
a master of science degree in environmental studies. The Bard Center for Environmental
Policy was created in 1999 to promote education, research, and public service on critical
issues pertaining to the natural and built environments. At the core of the Centers activ-
ities is an innovative graduate program leading to either a master of science degree in
environmental policy or a professional certificate in environmental policy. This graduate
program succeeds that of the Graduate School of Environmental Studies.

In 1986 Bard established The Levy Economics Institute of Bard College, which is dedi-
cated to improving the human condition through the study of economics and the
generation of effective public policy responses to important economic problems world-
wide. The Levy Institutes program includes research, conferences, workshops, lectures,
and publications. In addition, members of the Institute play an active role in promoting
public policy analysis in Washington. Through a cooperative arrangement with Christs
College, Cambridge University, in England, the Institute offers undergraduates exposure
to the highest levels of economic thought and possibilities for internships.

Furthering the Colleges efforts to promote freedom of inquiry internationally, in 1990

Bard initiated the Program in International Education, which brings students from
emerging democracies in Eastern and Central Europe, the former Soviet Union, and
southern Africa to Bard for a year to study issues of democratic transition. To date,
more than 200 students have come to Bard under this program.

In the same year, Bard became the publisher of Conjunctions, the semiannual literary jour-
nal. Edited by novelist Bradford Morrow, professor of literature, Conjunctions has published
the work of more than 1,500 writers, including many new and unknown talents.

In the summer of 1990 the Bard Music Festival presented its first season. Designed to
give listeners a deeper appreciation of the repertory of major composers, the festival
illuminates each year the work and era of a different composer through orchestral and
chamber performances, lectures, demonstrations, and a book of original scholarly
essays and translations published by Princeton University Press. The festival has taken
as its subject the music and times of Brahms, Mendelssohn, Richard Strauss, Dvork,
Schumann, Bartk, Ives, Haydn, Tchaikovsky, Schoenberg, Beethoven, Debussy,
Mahler, Jancek, Shostakovich, Copland, Liszt, and Elgar. With the opening in 2003
of The Richard B. Fisher Center for the Performing Arts at Bard College, the festival
had a brilliant new home, designed by renowned architect Frank O. Gehry.
 History of Bard 5

The Center for Curatorial Studies and Art in Contemporary Culture was founded at
Bard in 1990 by the collectors Marieluise Hessel and Richard Black. It is an exhibition
and research center dedicated to the study of art and exhibition practices from the
1960s to the present day. The Center initiated its graduate program in curatorial stud-
ies in 1994. It also mounts exhibitions and sponsors symposiums, publications, and
research fellowships. A recent expansion of its facility has enlarged the library and cre-
ated the CCS Bard Hessel Museum of Art, which houses the Marieluise Hessel
Collection of more than 1,700 works, on permanent loan to the Center.

Since 1993 The Bard Graduate Center for Studies in the Decorative Arts, Design, and
Culture has presented a unique, multidisciplinary, and broadly international approach
to the study of the decorative arts. The BGC offers master of arts and doctor of philos-
ophy degrees in the history of the decorative arts, design, and culture. It sponsors sev-
eral major exhibitions annually and presents diverse public programs for audiences
ranging from decorative arts professionals and collectors to schoolchildren. The BGC
is located in New York City, in two Beaux Arts town houses close to the citys leading
museums and galleries and in Bard Hall, a renovated residence facility.

The Bard faculty reviews the College curriculum periodically. In 1995 the faculty
adopted a revised curriculum that affirms the validity of traditional academic disci-
plines and retains the central features of the Bard education while it stimulates new
approaches to fields of study through the development of interdisciplinary programs.

In 1998 Bard further expanded its commitment to international education by founding

the Institute for International Liberal Education. The Institutes mission is twofold: to
develop long-term collaborations between Bard and other leading institutions around
the world and to encourage debate and experimentation that will lead to new forms of
international educational cooperation based on mutuality and equality. A partnership
established in 1996 between Bard and Saint Petersburg State University in St. Petersburg,
Russia, led to the creation of Russias first liberal arts program, which is offered at the
universitys Smolny College. Students enrolled in the program may earn credits toward
a dual B.A. degree offered by Bard and Saint Petersburg State University.

Since 2000, new initiatives for undergraduates have included:

the Bard Science Initiative, a program of curricular innovation, faculty hiring,

external opportunities, and new facilities aimed at improving the level of science lit-
eracy throughout the College. Examples of the science initiative include the Bard-
Rockefeller Program, in which Bard students may take courses and assist in
laboratory research at Rockefeller and take part in Rockefellers Summer
Undergraduate Research Fellows program; and The Gabrielle H. Reem and Herbert
J. Kayden Center for Science and Computation (scheduled to open in the fall of
2007), a new complex devoted to research, classes, and programs in the sciences.
the Bard Program on Globalization and International Affairs, a one- or two-semester
curriculum based in New York City that offers specialized study and internships
6 History of Bard

the Human Rights Project, interdisciplinary and humanities-based, in which stu-

dents learn about and take part in the contemporary human rights movement
the Bard Prison Initiative, led by a recent graduate, in which students are working
to restore higher education in New York State prisons

In 2001, in response to the crisis in American secondary education, Bard and the Board
of Education of New York City collaborated in the creation of a four-year alternative
to traditional high school. Called Bard High School Early College, the public school
program is designed for a diverse, highly motivated student body. Beginning in grades
9 and 10, students undertake studies in an alternative high school curriculum that pre-
pares them to do serious college work at the outset of grade 11. Graduates earn a New
York State Regents diploma and may also receive an associate of arts degree. They
begin college either with advanced standing or as first-year students.

Bard continues to add to its graduate programs. In collaboration with the Milton Avery
Graduate School of the Arts, the International Center of PhotographyBard Program
in Advanced Photographic Studies, based at the ICP facilities in Manhattan, awards
an M.F.A. degree in photography. The Master of Arts in Teaching Program at Bard
College offers an integrated curriculum leading to a master of arts degree and a teach-
ing certificate in adolescent education in one of four areas: English, mathematics, biol-
ogy, or history. Certification in additional fields will be offered in future years.

The spirit of innovation in arts and education continued at Bard with the fall 2005
opening of The Bard College Conservatory of Music. In a unique five-year program, all
Conservatory students pursue a dual degree, a bachelor of music and a bachelor of arts
in a field other than music. Among the distinguished musicians recruited for the
Conservatory faculty is Dawn Upshaw, internationally acclaimed soprano. In the fall of
2006, the Conservatory inaugurated a graduate program, offering an M.Music degree in
vocal arts, with a curriculum designed by Upshaw. At the same time, the Conductors
Institute at Bard, which offers an M.F.A. degree in conducting, became part of the
Conservatory.

In 2006 the College established two new endowed professorships. One chair was estab-
lished in memory of James Clarke Chace, who was director of Bards Program on
Globalization and International Affairs. It is held by award-winning writer and
MacArthur Fellow Mark Danner, who is also the Henry R. Luce Professor of Human
Rights and Journalism. The second chair honors Jacob Neusner, currently the
Distinguished Service Professor of the History and Theology of Judaism.

Bards continuing willingness to make changes and take risks, as reflected in its creation
of an innovative structure and reexamination of its curriculum, makes it a vital force for
excellence and coherence in undergraduate education. In the early years of a new cen-
tury, Bard seeks to strengthen its capacity to play a significant role in the revival of the
humanities and arts in the United States and in the reform of American education.
 History of Bard 7

Presidents of Bard College, 18602007*

George Franklin Seymour 18601861
Thomas Richey 18611863
Robert Brinckerhoff Fairbairn 18631898
Lawrence T. Cole 18991903
Thomas R. Harris 19041907
William Cunningham Rodgers 19091919
Bernard Iddings Bell 19191933
Donald George Tewksbury 19331937
Harold Mestre 19381939
Charles Harold Gray 19401946
Edward C. Fuller 19461950
James Herbert Case Jr. 19501960
Reamer Kline 19601974
Leon Botstein 1975

*Holders of the office have been variously titled president, warden, or dean.
 Learning at Bard

The liberal arts and progressive curricular traditions coexist in the Bard education, unit-
ing the goals of both the generalist and the specialist in a program of study that has
made Bard a place of innovation in higher education and a force for the rebirth of intel-
lectual thought in public life. The liberal arts tradition is evident in the First-Year
Seminar and in elective general courses that ground students in the essentials of inquiry
and analysis and present a serious encounter with the world of ideas. The progressive
tradition runs through Bards tutorial system and interdisciplinary curriculum, empha-
sizing independent and creative thought and the skills required to express that thought
with power and effect.

With a characteristic readiness to innovate, Bard continually rethinks its curriculum.

Recent curricular changes have included a greater emphasis on laboratory science and
quantitative methodologies for the nonscientist; an expanded literature requirement
that combines general knowledge with study of specific genres, periods, and writers; and
concentrations in several interdivisional areas and in period, multiethnic, and human
rights studies. An intensive-immersion language program allows students to gain flu-
ency in a language through a semester of intensive study at Bard combined with study
abroad. The program includes Arabic, Chinese, French, German, Italian, Japanese,
Russian, and Spanish. Bard has also developed an innovative cross-disciplinary language
program that incorporates upper-level foreign language education into course work and
tutorials in other fields.

The College enhances the undergraduate experience with compatible intellectual and
artistic ventures that contribute to the larger public and cultural life of the nation.
Bards satellite institutes and graduate programs expand undergraduate students oppor-
tunities to work with leading scholars and artists and lead to the integration of new
areas of study. For example, in New York City Bard undergraduates are offered special-
ized study with leading experts in international affairs in the Bard Program on
Globalization and International Affairs or, through the Bard Rockefeller Semester in
Science, the opportunity to do graduate schoollevel research in the internationally
distinguished laboratories of The Rockefeller University. Bards satellite model, unique
in the field of higher education, equips students to play active, engaged roles not only
for the sake of personal goals, but also in order to address the larger issues that face
humanity in our time.

8
 The Curriculum 9

Education is a safeguard against the disappearance of liberty, but only if it invites rigor-
ous scrutiny and open discussion of issues. The liberal arts and sciences, by strengthen-
ing free inquiry, build and protect the freedom to question old models, preserve the
past, and initiate change. Through four years of study of a broad range of areas and a
specific field of concentration, Bard students learn to utilize, criticize, and expand
knowledge and skills. In doing so they discover that education is not preparation for
life, but a lifelong enterprise in itself.

The Curriculum
Choice, flexibility, and rigor are the hallmarks of the Bard education. Students are not
expected to accept passively a rigid structure or prescribed plan of study, but rather are
required by the way in which the curriculum is structured to create their education by
making a series of active choices. Each student shapes the subject matter of his or her
education by the exercise of imagination and intellectual engagement.

In designing, adjusting, and reforming the curriculum, the faculty consider all of its ele-
mentsacademic organization (programs and divisions), course offerings, course con-
tent, and students progress through the four yearsin light of how these elements
interact with one another. The goal is to create a flexible system comprising courses
that work together and a planned series of intellectual steps that give coherence,
breadth, and depth to the four years of study.

The pillars of the Bard education are the structure of the first year, including the First-
Year Seminar; the program-based approach to concentration; Moderation; the concept
of distribution by modes of thought; and the Senior Project. Students move from the
Lower College (the first and second years), which focuses on general education and
introduces them to the content and methodology of the academic and artistic areas in
which they may specialize, to the Upper College (the third and fourth years), which
involves more advanced study of particular subjects and more independent work, all
the while maintaining equilibrium between breadth and depth. By the end of the four
years, the student has become knowledgeable across academic boundaries and is able
to think coherently within a disciplined mode of thought.

Structure of the First Year

All first-year students participate in a common curriculum and also take elective courses.
The common curriculum consists of the Workshop in Language and Thinking, the
First-Year Seminar, and first-year advising.
10 Learning at Bard

Workshop in Language and Thinking

The Workshop in Language and Thinking is an intensive, three-week writing program

that begins in early August. Students read extensively in several genres, work on many
different kinds of writing projects, and meet in small groups to discuss their reading and
writing. Through these activities, they learn to read and listen more thoughtfully, to
articulate ideas, to review their own work critically, and, most basically, to recognize
the link between thought and expression. The workshop is also an introduction to
college-level instruction and exchange and to the Bard community. Satisfactory com-
pletion of the Workshop in Language and Thinking is required for matriculation into
the College. Students failing to meet this requirement will be asked to take one years
academic leave.

First-Year Seminar

All first-year students are required to take the two-semester First-Year Seminar, which
introduces important intellectual, artistic, and cultural ideas that serve as a strong basis
for a liberal arts education as it develops in subsequent years at the College, regardless of
the field in which a student decides to specialize. These fundamental ideas are presented
in the context of a historic tradition and on as broad a scale as feasible within a frame-
work that emphasizes precise, analytical thinking through class discussions and frequent
writing assignments. The heart of the seminar is a series of core texts (which may include
a painting or a symphonic work) that focus on a common theme. Whatever the theme,
the spirit of the course is exemplified by the observation that in our daily lives we fre-
quently encounter (and ourselves invoke) ideas and concepts drawn from the texts stud-
ied in First-Year Seminar; but without a concrete historical and critical context, we risk
allowing others to define such ideas and concepts for us.

The current theme of First-Year Seminar is What Is Enlightenment? The Science,

Culture, and Politics of Reason. The seminar examines a series of crucial questions,
beginning with one framed by the philosopher Immanuel Kant in 1784, What is
enlightenment? It also revisits moments and texts in the history of European thought
from a distinctly 21st-century perspective. The yearlong course contains a number of
modules, each of which poses discrete critical problems pertaining to the formation of
the modern disciplines. Core texts for the fall semester include works by Plato, Ibn
Tufayl, Descartes, Galileo, Locke, Diderot, Equiano, Austen, and Defoe. Core texts for
the spring semester include works by Kant, Rousseau, Lu Xun, Weber, Marx,
Wollstonecraft, Mary Shelley, Nietzsche, and Freud. Guest lectures, panel presenta-
tions, and films supplement seminar readings and discussions.
 The Curriculum 11

First-Year Advising

All first-year students are assigned an academic adviser. The faculty member and the
student have a series of meetings at strategic points during each semester when the fac-
ulty member can be of optimal assistance: at registration; two weeks into the semester,
when course selection is final; shortly before midterm; two weeks after midterm; and just
prior to registration for the next semester. The first-year advising system is intended to
help students begin the process of selecting a program in which to concentrate, meet-
ing the requirements of that program, preparing for professional study or other activities
outside of or after college, and satisfying other interests. Advising may be particularly
important as students intellectual outlooks change and expand throughout the first year
at the College.

First-Year Electives

A student selects three elective courses in each semester of the first year (the fourth
course each semester is the First-Year Seminar). The central purpose of the elective
track is to allow students to take courses in fields in which they know they are inter-
ested and, perhaps more important, to experiment with unfamiliar areas of study. The
electives help them expand their range of interests and knowledge and narrow the
choices from which to select a major.

Program Approach to Concentration

Students at Bard concentrate in a programa course of study designed by faculty (and

sometimes by students in conjunction with faculty) to focus on a particular area of
knowledge or a particular approach to an area. When a curriculum based on programs
replaces more traditionally defined departments and fields of concentration, faculty
members are forced to rethink traditional boundaries between divisions, disciplines, or
departments; to examine the content of their courses in terms of how the courses inter-
act with one another; and to design new courses to satisfy divisional and interdivisional
approaches. Within this more flexible framework, students can create individual plans of
study that integrate the content and methods of more than one field.

Courses are still listed in traditional categories (for example, history in the Division of
Social Studies and photography within the Arts), but majors (fields of concentration)
are not limited to these categories. Some programs have a divisional home (for example,
physics in the Division of Science, Mathematics, and Computing), and many are inter-
divisional (for example, American studies and Asian studies).
12 Learning at Bard

Each program, then, is not limited to its own faculty and course-list choices, but can
take advantage of the offerings of the entire College. For example, the Classical Studies
Program requires language courses (Division of Languages and Literature), classical art
history courses (the Arts), and civilization courses (which might be a theater course in
the Arts, philosophy in Social Studies, literature in Languages and Literature, or his-
tory of science in Science, Mathematics, and Computing).

Each program establishes requirements for Moderation, course work, and the Senior
Project; each contains courses that are considered required or recommended and are
related to its particular focus. A student may begin his or her studies by choosing a trial
concentration in one of the divisional or interdivisional programs, and may later
develop a multidisciplinary program of study. However, all students are required to
declare a concentration in a program in order to moderate from the Lower College to
the Upper College and become a candidate for the bachelor of arts degree.

Current programs are listed in this catalogue, but new programs will continue to be
developed to meet student and faculty interests and needs.

Moderation

Moderation is undertaken in the second semester of the sophomore year. Through this
process students make the transition from the Lower College to the Upper College and
establish their concentration in a program. (Transfer students entering with the equiva-
lent of two full years of credit should, if possible, moderate during the first semester of res-
idence, but in no case later than the second.) Moderation requires students to examine
their experience in the Lower College, their goals, and their interests; to evaluate their
performance and their commitment to their chosen field; and to plan their work in the
Upper College.

Each program specifies the course work that a student entering the program should be
in the process of completing at the time of Moderation. Each student prepares two
Moderation papers, the first assessing his or her curriculum, performance, and experi-
ence in the first two years, and the second identifying his or her goals and proposed
study plan for the last two years. The student also submits a sample of work he or she
has done in the program, for example, a long paper written for a course. The papers are
reviewed by a board of three faculty members, who then meet with the student for a
discussion that is likely to range from the content of the papers to the state of the field
in general to the students accomplishments and progress toward his or her goals. The
board evaluates the students past performance, commitment, and preparedness in the
field, makes suggestions for the transition from the Lower to the Upper College, and
approvesor deniespromotion of the student to the Upper College.
 The Curriculum 13

Distribution Requirements

The distribution requirements at Bard are a formal statement of the Colleges desire to
achieve an equilibrium between breadth and depth, between communication across
disciplinary boundaries and rigor within a mode of thought. Distribution exposes the
student to unfamiliar areas that might have remained unexplored. Investigating a range
of academic areas and approaches may help students discover the field on which they
want to focus, contribute to their specialized study by putting it in a wider perspective,
and expand their intellectual horizons.

In order to introduce the student to a variety of intellectual and artistic experiences,

and to foster student encounters with faculty members trained in a broad range of dis-
ciplines, each student is required to take one course in each of the nine categories listed
below. The categories are based on fundamental subject areas that have been selected
to promote intellectual breadth and versatility; they are not meant to provide a com-
plete portrait of the current organization of academic fields of study or to be exclusively
identified with a particular program or group of faculty. No more than two require-
ments may be fulfilled within a single disciplinary program. High school Advanced
Placement and International Baccalaureate courses may not be used to satisfy the
requirements. Non-native speakers of English are exempted from the Foreign
Language, Literature, and Culture requirement.

Analysis of Arts (A course in the analysis of nonverbal art)

Foreign Language, Literature, and Culture (A course focused on language acqui-
sition and/or the analysis of literature or culture via an engagement with a non-
English language)
History (A course focused on historical analysis)
Humanities (A course focused on the analysis of primary texts in philosophy, reli-
gion, or social thought)
Laboratory Science (A laboratory course in the physical or life sciences)
Literature in English (A course focused on the literary analysis and explication of
texts in English, in either the original or translation)
Mathematics and Computing (A course in mathematics, computing, statistics, or
logic; all courses require passing the Q-test as a prerequisite)
Practicing Arts (A studio course in the visual or performing arts, or creative writing)
Social Science (A course in the empirical social sciences other than history)

In addition, all students must fulfill a Rethinking Difference requirement. Courses

with this designation focus on the study of difference in the context of larger social
dynamics; they may consider the contexts of globalization, nationalism, and social jus-
tice, as well as differences of race, religion, ethnicity, class, gender, and/or sexuality. A
single course may simultaneously fulfill both the Rethinking Difference requirement
and another distribution requirement.
14 Learning at Bard

Senior Project

Viewed by the College as the capstone of the students education in the liberal arts and
sciences, the Senior Project is an original, individual, focused project growing out of
the students cumulative academic experiences. Students have great flexibility in
choosing the form of their project. For example, a social studies project might be a
research project, a close textual analysis, a report of findings from fieldwork, or a photo-
graphic essay; a literature project might be a critical review or an original work; a
language project might be a translation, an essay on literature, a historical study, or a
sociological analysis; a science project might be a report on original experiments, an
analysis of published research findings, or a contribution to theory; an arts project
might be a theoretical monograph, an exhibition of original artwork, a film, or a musi-
cal or dance composition or performance.

Preparation for the Senior Project begins in the junior year with consultation with
advisers, course work, and work in tutorials and seminars directed toward selecting a
topic, choosing the form of the project, becoming competent in the analytical and
research methods required by the topic and form, and, of course, studying the subject
matter. Students in some programs design a Major Conference during their junior year.
The Major Conference is intended to prepare the student for the Senior Project. It may
take whatever form is appropriate for the students field and project; it might be a semi-
nar, tutorial, studio work, or field or laboratory work. The primary emphasis in the first
semester is on the standard works, research methods, style, or concerns of the discipline
or artistic field into which the Senior Project falls; by the end of this semester the stu-
dent establishes plans for his or her particular project. The emphasis in the second
semester is on work specific to the Senior Project.

One course each semester of the students final year is devoted to completing the
Senior Project. The student submits the completed project to a committee of three
professors and participates with them in a Senior Project Review. Written projects are
filed in the librarys archives; samples of each arts project appear with a statement by
the student in Word and Image, an online publication.

Academic Courses

The courses offered in the undergraduate program are described in this catalogue under
the four divisional headings, the interdivisional heading, and the Conservatory of
Music. A student can expect a course listed to be taught at least once every four years.
Every semester approximately 500 courses are offered, about a fifth as tutorials (often
student designed) and the rest as seminars, studio courses, lectures, Senior Projects,
and independent studies. The average class size is 17 in the Lower College and 11 in
the Upper College.
 Academic Requirements and Regulations 15

Courses numbered 100 through 199 are primarily, though not exclusively, for first-
year students; 200-level courses are primarily for Lower College students; and 300-
and 400-level courses are designed for Upper College students.

Most courses in the Lower College meet twice weekly for 80 minutes each session,
although instructors may vary the length and frequency of meetings according to their
estimation of a classs needs. Many seminar courses in the Upper College meet once a
week for two hours and 20 minutes. Laboratory courses usually meet three times a week
(two two-hour seminars or lectures and a laboratory session). Introductory language
courses customarily have four one-hour sessions each week, intensive language courses
have five two-hour sessions each week, and immersion language courses have five
three-hour sessions each week. Most tutorials meet once a week for one hour.

All courses carry 4 credits unless otherwise noted. There are several 2-credit seminars;
intensive language courses carry 8 credits and immersion language courses 12 credits.
A normal course load is 16 credits each semester.

Academic Requirements and Regulations

Bachelors Degree Requirements

Candidates for a bachelor of arts degree from Bard must meet the following requirements:

1. Completion, by entering first-year students, of the two-semester First-Year Seminar.

A student who enters in the second semester of the first year must complete that
semester of the seminar. A student who transfers into the College after the second
semester of the first year is exempt from the seminar.
2. Promotion to the Upper College through Moderation
3. Completion of the requirements of the program into which they moderate
4. Completion of the courses necessary to satisfy the distribution requirements in effect at
the time of their matriculation into the College
5. Accumulation of 124 semester hours of academic credit. At least 64 credits must be
earned at the Annandale-on-Hudson campus of Bard College or at a program run
directly by Bard College. At least 40 credits must be outside the major division;
First-Year Seminar counts for 8 of the 40 credits.
6. Enrollment as full-time students for not less than two years at the Annandale-on-
Hudson campus of Bard College or at a program run directly by Bard College
7. Completion of an acceptable Senior Project

A student who fulfills the above Bard College requirements also fulfills the require-
ments of the Regents of the University of the State of New York and of the New York
State Education Department.
16 Learning at Bard

Evaluation and Grades

Every student receives a criteria sheet in every course. The criteria sheets contain midterm
and final grades and comments by the instructor about the students performance.

Grading System The divisions of Languages and Literature; Science, Mathematics,

and Computing; and Social Studies, and the Conservatory of Music regularly use a letter
grading system. The Division of the Arts and creative writing workshops sometimes use
honors/pass/fail or pass/fail in addition to letter grades. An honors grade (H) in the
Arts Division is the equivalent of an A. Unless the instructor of a course specifies
otherwise, letter grades (and their grade point equivalents) are defined as follows. (The
grades A+, D+, and D are not used at Bard.)

A, A (4.0, 3.7) Excellent work

B+, B, B (3.3, 3.0, 2.7) Work that is more than satisfactory
C+, C, C (2.3, 2.0, 1.7) Competent work
D (1.0) Performance that is poor, but deserving of credit
F Failure to reach the standard required in the course for credit

Incomplete (I) Status All work for a course must be submitted no later than the date
of the last class of the semester, except in extenuating medical or personal circum-
stances beyond a students control. In such situations, and only in such situations, a
designation of Incomplete (I) may be granted by the professor at the end of the
semester to allow a student extra time to complete the work of the course. It is recom-
mended that an incomplete status not be maintained for more than one semester, but
a professor may specify any date for the completion of the work. In the absence of spec-
ification, the registrar will assume that the deadline is the end of the semester after the
one in which the course was taken. At the end of the time assigned, the I will be
changed to a grade of F unless another default grade has been specified. Requests for
grade changes at later dates may always be submitted to the Faculty Executive Committee.

Withdrawal (W) from Courses After the drop/add deadline, a student may with-
draw from a class with the written consent of the instructor (using the proper form,
available in the Office of the Registrar). Ordinarily, permission to withdraw is not
given in the final three weeks of a semester. In all cases of withdrawal, the course will
appear on the students criteria sheet and grade transcript with the designation of W.

Registration (R) Credit Students who wish to explore an area of interest during a
semester may register for an R credit course in addition to their regular credit courses.
To receive the R credit, a students attendance must meet the requirements of the
instructor. An R course is entered on a students record, but it does not earn credits
toward graduation.
 Academic Requirements and Regulations 17

Academic Deficiencies

The Faculty Executive Committee determines the status of students with academic
deficiencies, with attention to the following guidelines:

A warning letter may be sent to students whose academic work is deficient but does
not merit probation.
A first-semester student who receives a C and a D or worse will be placed on aca-
demic probation.
Students other than first-semester students who receive two grades of C or worse
will be placed on probation.
A student who has failed to make satisfactory progress toward the degree may be
required to take a mandatory leave of absence. Factors taken into account include
grades, failure to moderate in the second year, and the accumulation of incompletes
and withdrawals. A student on mandatory leave of absence may return to the
College only after having complied with conditions stated by the Faculty Executive
Committee.
To be removed from probation, a student must successfully complete at least three
courses (12 credits) with no grade lower than a C during the next semester, and ful-
fill any other stipulations mandated by the Faculty Executive Committee.
A student who is on probation for two successive semesters may be dismissed from
the College.
A student who receives three Fs or two Fs and two Ds may be dismissed from the
College.

Decisions about a students status are made at the discretion of the Faculty Executive
Committee, taking into consideration the students entire record and any recommen-
dations from the students instructors and advisers and relevant members of the
administration. Academic dismissal appears on a students transcript.

Plagiarism and Academic Dishonesty

To plagiarize is to steal and pass off as ones own the ideas, words, or writings of another.
This dictionary definition is quite straightforward, but it is possible for students to plagia-
rize inadvertently if they do not carefully distinguish between their own ideas or paper
topics and those of others. The Bard faculty regards acts of plagiarism very seriously.
Listed below are guidelines to help students avoid committing plagiarism.

All work submitted must be the authors. Authors should be able to trace all of their
sources and defend the originality of the final argument presented in the work.
When taking notes, students should record full bibliographical material pertaining
to the source and should record the page reference for all notes, not just quotations.
All phrases, sentences, and excerpts that are not the authors must be identified
with quotation marks or indentation.
18 Learning at Bard

Footnotes, endnotes, and parenthetical documentation (called in-noting) must

identify the source from which the phrases, sentences, and excerpts have been
taken.
All ideas and data that are not the authors must also be attributed to a particular
source, in either a footnote, endnote, or in-note (see above).
Bibliographies must list all sources used in a paper. Students who have doubts as to
whether they are providing adequate documentation of their sources should seek
guidance from their instructor before preparing a final draft of the assignment.

Penalties for Plagiarism

Failure in the course in which plagiarism occurs
Denial of the degree, in cases involving a Senior Project
Expulsion from the College for a second offense

The following penalties may be imposed on a student who writes a paper or part of a
paper for another student (even if this is done during a formal tutoring session):
Loss of all credit for that semester and suspension for the remainder of that semester
Expulsion for a second offense

Any student accused of plagiarism or of writing for anothers use may request a hearing
before the Faculty Executive Committee supplemented by two representatives of the
Student Educational Policies Committee. The student must request this hearing
within 24 hours of receiving written notification of the charge. The findings of this
body are final.

Students may not submit the same work, in whole or in part, for more than one course
without first consulting with and receiving consent from all professors involved.

Withdrawal from the College and Rematriculation

Students in good academic standing who find it necessary to withdraw from the
College may apply for rematriculation. They must submit an application for rematricu-
lation to the dean of students, stating the reasons for withdrawal and the activities
engaged in while away from Bard. A student who leaves Bard for medical reasons must
also submit a physicians statement that he or she is ready to resume a full-time
academic program.

Students in good academic standing who wish to withdraw for a stated period of time
(one semester or one academic year) may maintain their status as candidates for the
B.A. degree by filing in advance a leave of absence form approved by the dean of stu-
dents. Such students may rematriculate simply by notifying the dean of students of
their intention to return by the end of the semester immediately preceding the
semester for which they intend to return.
 Academic Requirements and Regulations 19

A student dismissed for academic reasons may apply for readmission after one years
absence from Bard by writing to the dean of the college. The students record at Bard
and application for readmission are carefully reviewed; the student must have fulfilled
requirements specified by the Faculty Executive Committee at the time of dismissal.
 Academic Programs

The following programs are currently offered. Undergraduate students earn a B.A.
degree in one of four academic divisions: The Arts; Languages and Literature; Science,
Mathematics, and Computing; or Social Studies. Students who undertake an interdi-
visional academic program receive a degree in one of the four divisions, depending on
their individual course of study and the subject of their Senior Project. Conservatory
of Music students earn a dual degree, a B.Music and a B.A. in one of the four divisions.
See specific program descriptions for more information.

Academic Program Home Division Catalogue Page

Africana Studies Interdivisional 271
American Studies Interdivisional 274
Anthropology Social Studies 23
Art History The Arts 191
Asian Studies Interdivisional 276
Biology Science, Mathematics, 246
and Computing
Chemistry Science, Mathematics, 254
and Computing
Classical Studies Interdivisional 278
Computer Science Science, Mathematics, 257
and Computing
Conservatory of Music 309
Dance The Arts 205
Economics Social Studies 34
Economics and Finance Social Studies 47
Environmental Studies Social Studies 48
Film and Electronic Arts The Arts 208
Foreign Languages, Cultures, Languages and Literature 157
and Literatures
French Studies Interdivisional 281
Gender and Sexuality
Studies (GSS) Interdivisional 282
German Studies Interdivisional 283
Global and International Studies Interdivisional 284
(GIS)
Historical Studies Social Studies 51
20
 Academic Programs 21

Academic Program Home Division Catalogue Page

Human Rights Interdivisional 286
Integrated Arts The Arts 239
Irish and Celtic Studies (ICS) Interdivisional 290
Italian Studies Interdivisional 291
Jewish Studies Interdivisional 292
Latin American and Interdivisional 295
Iberian Studies (LAIS)
Literature Languages and Literature 126
Mathematics Science, Mathematics, 261
and Computing
Medieval Studies Interdivisional 298
Middle Eastern Studies Interdivisional 300
Music The Arts 218
Philosophy Social Studies 75
Photography The Arts 232
Physics Science, Mathematics, 266
and Computing
Political Studies Social Studies 82
Psychology Social Studies 96
Religion Social Studies 106
Russian and Eurasian Interdivisional 302
Studies (RES)
Science, Technology, and Interdivisional 303
Society (STS)
Social Policy Interdivisional 304
Social Studies Social Studies 116
Sociology Social Studies 118
Studies in Race and Interdivisional 305
Ethnicity (SRE)
Studio Arts The Arts 185
Theater The Arts 235
Theology Interdivisional 306
Victorian Studies Interdivisional 307
Writing Program in Languages and Literature 156
Fiction and Poetry

Program Requirements
The requirements for Moderation and graduation differ from program to program within
the home divisions and are summarized in the program descriptions that appear in this
catalogue. Students studying in an interdivisional program generally moderate into both
the divisional program that serves as the home discipline for their concentration and into
22 Academic Programs

the interdivisional program. For example, a student in the Victorian Studies Program who
chooses to concentrate on literature may moderate into the Literature and Victorian
Studies Programs; another student might moderate into the Historical Studies and
Victorian Studies Programs. A student who decides to pursue a double major, say, Physics
and Philosophy, must satisfy the requirements of both programs.

Interdivisional Programs
With only a few exceptions, the courses in the undergraduate programs are listed with
one of the divisions: The Arts; Languages and Literature; Science, Mathematics, and
Computing; and Social Studies. Courses that are required by, recommended for, or
related to an interdivisional program are listed with the interdivisional programs
description and are cross-listed as such in the course description in the divisional listings.
For example, Art History 295, Arts of India, is cross-listed as a course in the Asian Studies
Program. The cross-listings and the course lists accompanying the interdivisional pro-
gram descriptions are not necessarily complete and are subject to change as new
courses are developed and the content of courses and programs changes. Some of the
program descriptions give only general information about the nature of the courses
appropriate to the program, rather than specific course titles. Students should check
with program faculty or the registrar for information about each semesters course offer-
ings related to particular programs.

Undergraduate and Graduate Instructional Programs

Enrollment in other than registered or otherwise approved programs may jeopardize a
students eligibility for certain student aid awards. The following degree programs have
been registered for Bard College by the New York State Education Department.

Program Name HEGIS* Code Degree

Undergraduate Programs
Arts 1001 B.A.
Languages and Literature 1599 B.A.
Science, Mathematics, and Computing 4902 B.A.
Social Studies 2201 B.A.
Economics and Finance 2204 B.S.
Conservatory of Music 1004 B.Music
Returning to College 4901 B.A./B.S./B.P.S.

Graduate Programs
Art History and Appreciation 1003 M.A./Ph.D.
Curatorial Studies 1099 M.A.
Environmental Policy 0420 M.S.
Fine Arts 1001 M.F.A.
Music 1004 M.Music
Teaching 0803 M.A.T.
* Higher Education General Information Survey
 Division of Social Studies

The Division of Social Studies offers concentrations in the areas of anthropology, eco-
nomics, economics and finance, environmental studies, history, philosophy, political
studies, psychology, religion, social studies, and sociology. Additional courses are avail-
able through interdivisional programs. Students are advised to take courses from a
range of fields in the division in order to develop a comprehensive perspective on
humanity in both contemporary and historical contexts. By applying what they have
learned of general philosophical, historical, and scientific methods and of particular
research methods and interpretations, students will be able to focus on some aspect of
the diversity of human cultures and civilizations, institutions, values, and beliefs.
Although the main emphasis in the division is on a liberal arts curriculum, students are
encouraged to design programs to satisfy personal needs and interests in preparation for
work in graduate or professional school or a profession requiring no further training.

Typically, courses in the Upper College are seminars, in which the student is expected
to participate actively. Advisory conferences, tutorials, fieldwork, and independent
research prepare the student for the Senior Project. The Senior Project may take any
form appropriate to the students field, subject, and methodology; most are research
projects, but a project may take the form of a critical review of literature, a close textual
analysis, a series of related essays, or even a translation.

Anthropology
Anthropology is a comparative and humanistic
social science with an emphasis on social and cul-
tural theory and ethnography. The discipline is
based on long-term fieldwork, and an engagement
and critique of Western theory and practice. The
study of local communities in interaction with
national, global, and economic processes lies at
the heart of contemporary anthropological prac-
tice. Anthropology at Bard encompasses the sub-
fields of sociocultural, linguistic, historical,
archaeological, and applied anthropology. It seeks
to understand the subtle cultural dynamics at work
in the formation of the nation-state, the colonial
and the postcolonial, and the politics of identity,
difference, and inequality in the contemporary
world.
The core of the program consists of topical courses
that examine everyday lived experiences in rela-
tion to a range of societal issues. These include
global debates about development and the envi-
ronment, medicine and health, religion, language,
kinship and reproductivity, sports, mass media,
visual culture, and aesthetics. Anthropology
courses approach seemingly natural ideas such
as indigeneity, race, gender, sexuality, and class
as culturally specific constructions that change
over time. Anthropology also offers a way to

23
24 Social Studies
understand patterns and contradictions of cul-
tural meaning within an increasingly trans-
national and transcultural world. Courses in the
program critically examine, for instance, the inter-
national division of labor, the growth of the
media, and the global commodification of cul-
ture. Many classes apply this anthropological per-
spective to a wide variety of sources, ranging from
traditional ethnographies to novels, travel litera-
ture, music, films, national performances, and
new forms of electronic media. The department
has a growing film library, which includes ethno-
graphic and experimental films. Areal strengths
of the program focus on West and sub-Saharan
Africa, Latin America and the Caribbean, South
Asia, Australasia, and the United States.
Students concentrating in anthropology can
design a course of study in various topical, areal,
and theoretical orientations, or can choose to
pursue a more specialized program. Prior to
Moderation, students must complete an introduc-
tory course and at least two 200-level courses in
anthropology. In consultation with their Modera-
tion board, students shape their plan of study in
the Upper College to include at least four addi-
tional courses in anthropology, at least two of
which should be 300-level courses, as well as the
Senior Project. One of the 300-level courses
required is a seminar on contemporary cultural
theory that involves presentations from each
member of the anthropology faculty. In addition,
the program requires students to take at least one
course that involves field research as a central
component and encourages fieldwork as part of
the Senior Project. Several recent senior theses
have incorporated field research conducted in the
local areas surrounding Bard, as well as abroad.
The department has some resources to support
students ethnographic research and travel.
Students intending to pursue postgraduate study
are encouraged to fulfill distribution requirements
with the study of a foreign language to the 200-
level and an introductory course in biology or
quantitative methods.
Many anthropology students complement their
interests with courses and/or combined con-
centrations in programs such as Asian studies,
Africana studies, religion, political studies, liter-
ature, historical studies, film, Latin American
and Iberian studies, Jewish studies, gender studies,
environmental studies, history, and the philoso-
phy of science. Students who study anthro-
pology at Bard will acquire a broad and critical
perspective on contemporary cultural practices
throughout the world and be introduced to his-
torical and current trends in anthropological
theory and ethnography.
Core faculty: Laura Kunreuther (director), Mario
J. A. Bick, Diana De G. Brown, Megan
Callaghan, Michle D. Dominy, Jeffrey T. Jurgens,
Christopher R. Lindner, Jesse Weaver Shipley,
Yuka Suzuki
Recent Senior Projects
in Anthropology
From Gleaners to Dumpster Divers: Cultures
of Salvage within Cultures of Waste
Living in Spanglish: The Borderlands of
Language in a Mexican Community in
Upstate New York
On Realizing Identity: The Cuban Vanguardia
Movement
The Blossoming of the Lotus: Tibetan
Buddhism in the Physical Landscape of the
Hudson Valley
The St. Lawrence Cement Controversy: Land
Use, Community, and Quality of Life in the
Hudson Valley
Introduction to Cultural Anthropology
Anthropology 101 GIS, GSS
In recent decades, culture has become perva-
sive in popular discourses, with phrases such as
Internet, fetish, and corporate cultures
automatically conjuring certain sets of images
and assumptions. This course explores the intel-
lectual angles through which anthropologists
have engaged culture as a central, and yet often
elusive concept in understanding how societies
work. The analysis of culture has undergone
many transformations over the past century, from
arguing for the existence of integrated systems of
thought and practice among so-called primi-
tives, to scrutinizing the cultural values of colo-
nial subjects, to attempting to decipher the
mind-set of the enemy during World War II. In

recent years, anthropology has become more self-
reflexive, questioning the disciplines authority
to represent other societies and critiquing its par-
ticipation in the creation of exoticized others.
This course combines discussions, lectures, and
films to reflect upon the construction of social
identity, power, and difference in a world where
cultures are undergoing rapid reification. Specific
topics include the transformative roles of ritual
and symbol; nationalism and the making of
majorities/minorities in postcolonial states; witch-
craft and sorcery in historical and contemporary
contexts; and cultural constructions of gender
and sexuality.
Archaeological Field Methods
Anthropology 111 American Studies,
Environmental Studies, SRE
The course concentrates on excavation and ini-
tial lab procedures used in archaeology through a
continuation of the long-term dig at Grouse
Bluff, the 7,000-year-old site overlooking the
Hudson River adjacent to the Bard campus,
focusing on hearths and pitsareas that indicate
the use of fire for cooking or some other purpose.
Two digging techniques are emphasized: stratig-
raphy and small-scale cartography. Fieldwork
involves painstaking measurements that permit
study of the distribution of debris throughout the
site, description of deposit formation over time,
and comparison with other sites. Such methods
increase the strength of inferences about the
activities that took place and their roles in the
evolution of cultural ecosystems in the area.
Prerequisite: permission of the instructor.
Historical Archaeology
Anthropology 116
Material vestiges of past human activity are
useful to complement or challenge historical
information. Archaeology can also uncover
transformations of the environment that were
unintentionally irresponsible or purposefully
planned to create illusions of power over nature.
This course maintains a particular focus on the
archaeology of African Americans and ranges
from the Carolinas to New England, with fre-
quent connections made to the Hudson Valley.
Students take field trips to nearby sites, includ-
ing recent excavations on campus.
Anthropology 25
Human Variation: The Anthropology
of Race, Scientific Racism, and Other
Biological Reductionisms
Anthropology 206 SRE
The relationship of human biology to behavior
and the nature of cultures couched in terms of
putative biological differences between human
groups and subgroups has characterized scientific
discourse since the late 18th century. This has
been especially true in anthropology, as the dis-
cipline has sought to answer questions of race
(human variation), gender, sexuality, and some
forms of compulsive behavior. This course exam-
ines scientific racism, sexism, criminology, and
other biological phobias, reductionisms, and
rationalizations. It studies the contexts, claims,
achievements, and failures of normal science
(especially physical anthropology and human
biology and genetics) in regard to the signifi-
cance of the real and assumed variations among
individuals and human populations. Central to
the discussion are concepts of race and the sci-
entific evidence that is used to support these
concepts.
History of Anthropology: How
the Victorians Put the Others in
Their Place
Anthropology 208A Africana Studies,
Victorian Studies
An examination of how the Victorians sought to
know the other through ethnographic, mis-
sionary, government, and travel encounters; the
science of race; the objects of archaeology and
museum collections; and photography. How the
other was then related to the Europeans is stud-
ied within the framework of evolutionary and dif-
fusionary theories.
History of Anthropology: African and
British Anthropology from the 1920s
to the 1990s
Anthropology 208C Africana Studies
A study of the history of British anthropology,
largely through an examination of the major
Africanist ethnographic and theoretical texts of
this school, including some texts produced by
African scholars. Through these writings much
of the current understanding of precolonial,
colonial, and postcolonial Africa has been con-
structed, especially in the areas of political and
26 Social Studies
social structure and organization, ritual and
religion, the urban transformation, and belief
systems. Classic studies of the Nuer, Azande,
Tallensi, Kikuyu, Nyakusa, Bemba, and other
cultures lead into the descriptive and analytic
richness of the school. Later texts, which explore
such issues as resistance to colonialism and the
transformation of cultures that has occurred
with independence, are also read.
Historical Archaeology: Early
Inhabitants of the Bard Lands and
Environs, 16501850
Anthropology 212 American Studies,
Environmental Studies
This course makes use of field trips on campus
and in neighboring towns to provide firsthand
contact with the groups who left their vestiges
here: Native Americans, African Americans,
and German and British settlers. The class works
with artifacts and faunal remains in the lab, and
visits excavations after reading background
material on the history, culture, and archaeolog-
ical interpretation of the above groups.
Anthropology of Medicine
Anthropology 213 GSS, Human Rights,
STS
An exploration of medical knowledge and prac-
tice in a variety of healing systems, focusing on
the human body as the site in which illness is
experienced and upon which social meanings
and political actions are inscribed. The course
examines the way political economic systems and
the inequalities they engenderpoverty, vio-
lence, discriminationaffect human well-being.
Readings and films represent different ethno-
graphic perspectives on embodied experiences of
illness and bodily imagery and treatment within
widely differing sociopolitical systems. Topics
include biomedical constructs, body imagery,
and alternative medical systems such as chiroprac-
tic and acupuncture in contemporary America;
epidemic diseases such as malaria and AIDS;
colonial constructions of the diseased body in
sub-Saharan Africa; cosmetic medical interven-
tions; and new medical technologies.
Environment, Development, and Power
Anthropology 224 Environmental Studies
In an age of apocalyptic narrative, the environ-
ment has taken center stage in what is con-
structed as an unprecedented global ecological
crisis. Taking its cue from political ecology and
the principle that all resource struggles are fun-
damentally political, this course explores the
complex, dynamic interplay between conserva-
tion, development, and power. It traces the his-
torical underpinnings of contemporary inequity
by examining the logics of colonial sciences in
relation to nature, as well as the use of exotic
species of flora and fauna as tools of imperial
conquest. Next, the shaping of modern environ-
mental discourses are considerede.g., how
environmental problems are identified and how
interventions are rationalized. Finally, the course
examines the politics of displacement, the emer-
gence of environmental refugees, and the need
for the conceptualization and practice of an
environmental justice. Readings include ethno-
graphic case studies from Brazil, India, Guinea,
Indonesia, and Tanzania, among other nations,
in both historical and contemporary contexts.
Disease, Medicine, and Power
Anthropology 228 Human Rights, STS
This course focuses on how disease and medicine
interact with inequalities of social class, gender,
ethnicity/race, and age within local, national,
and global hierarchies of power. Emphasis is
placed on the ways in which cultural knowledge
and socially constituted relationships shape
understandings of disease and configurations
of its treatment. Historical and contemporary
examples from Latin America and other areas of
the colonial and postcolonial world are dis-
cussed. Topics examined include the spread and
control of specific diseases, including kuru,
syphilis, malaria, cholera, Ebola, HIV/AIDS,
and smallpox in the recent context of bioterror-
ism; how concepts of health and disease figure
in constructions of local and national identities;
diseases of development involving unintended
consequences of development projects; the politics
of health care delivery; and policies involving
the production and distribution of pharmaceuti-
cal products.
Problems in Human Rights
Anthropology 233
The growth of the worldwide human rights
movement has been accompanied by the profes-
sionalization of research and advocacy and by an
expanding body of human rights doctrine. But

the roots of the movement lie in the West, in the
Enlightenment, and in reinterpretations of
Christian teaching. Is human rights ideology
ethnocentric? When, if ever, are indigenous val-
ues more important than universal principles?
This course looks at a number of current issues
including slavery, genocide, body modification,
the rights of children and animals, and the cam-
paign to ban land mines. It examines how human
rights researchers deal with the practical difficul-
ties they confront in their work and the ethical
challenges posed by other cultures.
Anthropology of the Body
Anthropology 244 GSS, Human Rights
Anthropology has long been concerned with
bodies, both as sources of symbolic representa-
tions of the social world and as vehicles for
expressions of individual and collective identi-
ties. Recent interest has centered on the indi-
vidual body as a locus of situated knowledge: it
has become a target for the production of con-
sumer desires and a site of commodification and
political control. This course explores a range of
different issues raised by these perspectives
through readings that theorize the body, supple-
mented by comparative ethnographic studies of
bodily knowledge and practice. It considers the
gendering of bodies and other culturally con-
structed markings of age, social class, and race;
mind-body relations; and the manipulation of
bodily surface and form to establish boundaries
and identities through techniques such as tat-
tooing, piercing, dieting, sculpting, and cos-
metic surgery; among other topics.
Culture, Politics, and Representations
of South Asia
Anthropology 246 Asian Studies, SRE
Using texts of anthropology as well as literature,
history, and films, this course looks at represen-
tations of South Asia made by foreigners and
South Asians alike. Employing the most general
definition of ethnography, the course focuses on
how particular metaphors, tropes, and ways of
describing South Asia continue to shape our
knowledge about the region. Students trace the
development of certain categoriessuch as vil-
lage, caste, family, religion, and genderthat
have become crucial to many ethnographic por-
trayals of South Asia; these categories and each
ethnographic piece are situated within the
Anthropology 27
broader historical contexts of colonialism, the
partition of Pakistan and India, Indian national-
ism, and South Asias postcolonial relation to
global development and politics. A final section
of the course examines the relation between
contemporary politics and media, exploring, for
example, the relation between the rise of Hindu
fundamentalism and popular TV. Throughout
the course, the work of two well-known Indian
artiststhe novelist Salman Rushdie and the
filmmaker Satyajit Rayis used to complement
and challenge the ethnographic texts.
British Colonials in Africa
Anthropology 248 Africana Studies
This course examines the British African colonies
of the early 20th century and the everyday lives
of their colonists. These outsiders are studied
through history, biography, fiction, and film, as
well as through the responses of Africans.
Various dichotomieshypocrisy vs. idealism,
brutality vs. bravery, racism vs. humanismare
considered as the course seeks to develop an
ethnographic portrayal of the rulers and the cul-
tures they created in these colonies; not British,
not African, but something very much other.
Travel, Tourism, and Anthropology
Anthropology 249
Why has travel generated so much textual pro-
duction? This course considers travel as a cul-
tural practice and focuses on the link between
travel writing and ethnography. Several genres
of travel writing (postcards, letters, journals,
guidebooks, ethnography) are analyzed as to
how they shape as well as reflect the experience
of travel. Examples of travelers writings from
the 19th century to the present are examined to
reveal how personal, group, and national identi-
ties have been constructed through travel. The
course evaluates some of the ethical dilemmas
that tourism poses, explores the concept of travel
as a rite of passage, and scrutinizes writings from
exile and diaspora communities that challenge
the master narrative of European travel from
center to periphery. Readings include Jamaica
Kincaids A Small Place, Claude Lvi-Strausss
Tristes Tropiques, and Mary Louise Pratts Imperial
Eyes, as well as fiction, ethnography, travel-
ogues, and theoretical works.
28 Social Studies
Reading Baseball as Metaphor
Anthropology 250 American Studies
Baseball has often been labeled the quintessen-
tial American sport. This course explores that
claim while it examines the history and diffusion
of the game, its performance and representation,
and its connections to the politics of ethnicity,
race, gender, class, region, and place. Cultural
constructions are explored and contrasted in
baseball as played in the United States, Japan,
and Latin America. Sources in fiction, film, and
analytic literature are employed, in conjunction
with required attendance at amateur (Little
League) and professional baseball games.
Race and Ethnicity in Brazil
Anthropology 256 Africana Studies,
Jewish Studies, LAIS, SRE
Brazil, in contrast to the United States, has been
portrayed by Brazilians and others as a racial
democracy. This course examines the debate
over the problem of race in its early formulation
as shaped by scientific racism and eugenics. It
then turns to the Brazilian policy of branquea-
mento (whitening) in the 19th and early 20th
centuries, which was the basis of large-scale
migration to Brazil from all major regions of
Europe. These ethnic populations settled in
southern and south central Brazil, leading to sig-
nificant regional differences in identity politics
and racial attitudes. The interplay of racial vs.
ethnic identities is crucial to understanding the
allocation of resources and status in Brazilian
society. Inequality in contemporary Brazil is
explored in terms of the dynamics of racial ideolo-
gies, the distribution of national resources, and
the performance of identity as shaped by racial
and ethnic strategies. Among the groups dis-
cussed are indigenous Brazilians, the Luso-
Brazilians, Afro-Brazilians, Japanese Brazilians,
Euro-ethnic Brazilians, and Brazilians of Arab and
Jewish descent.
Rethinking Difference: Gender and
Sexuality in Contemporary Brazil
Anthropology 257 Africana Studies,
GIS, GSS, Human Rights
This course draws upon material from Brazil to
examine constructions and practices of gender
and sexuality. It critiques the imagined utopia of
Brazilian tropical sensuality best known through
popularized global images of Carnival and locates
historical sources of this imagery in slavery and
colonialism. These images, in turn, are juxtaposed
against performances of gender and sexuality in
contemporary Brazilian life and their interface
with hierarchies of race, age, and social class.
Through films and ethnographic texts, students
examine gender stereotypes and patterns of het-
erosexuality, homosexuality, transgenderism, and
prostitution. State and church efforts to shape
and control ideologies and practices of sexuality
and gender are posed against the work of femi-
nists, grass-roots groups, and AIDS activists. All
of these issues are considered in relation to the
larger global media context, within which
Brazilian images and relations of gender and sexu-
ality are shaped and contested.
Ethnographic Film and Visual
Anthropology in Africa
Anthropology 259 Africana Studies, SRE
This course addresses the visual aspects of cul-
ture and cultural production with a particular
focus on postcolonial Africa. How are the arts
and the visual aspects of society made meaning-
ful in and for contemporary Africa? Students
look at how Africa has been represented to the
international community through film and other
visual mass media. The course examines the
artistic and visual aspects of culture as they are
made socially meaningful both within African
cultural contexts and when they are displayed
for art and cinema audiences outside of Africa.
Basic concerns and paradigms of anthropology,
in particular ideas of racial and cultural differ-
ence, are introduced. This class is for those
interested in historical/anthropological exami-
nations of the visual as well as students produc-
ing film/videos, installations, and performance
pieces, especially in relation to the politics of
representation. For those interested in actually
making films or videos, previous experience is
required.
Anthropology of Violence
and Suffering
Anthropology 261 GSS, Human Rights
Why do acts of violence continue to grow in the
modern world? This course considers how acts
of violence challenge and support modern ideas
of humanity, raising important questions about

what it means to be human today. It approaches
different forms of violence, including ethnic and
communal conflicts, colonial education, torture
and its individualizing effects, acts of terror and
institutionalized fear, and rituals of bodily pain
that mark individuals inclusion or exclusion
from a social group. Violence is examined as a
means of producing and consolidating social and
political power, and exerting political control;
forms of violence that have generated questions
about universal rights of humanity versus cul-
turally specific practices are reviewed, as are the
ways human rights institutions have sought to
address the profundity of human suffering and
pain. Popular representations of violence in the
media and films supplement readings from theo-
retical texts and anthropological ethnographies.
This course fulfills a core class requirement for
the Human Rights Program.
Colonialism, Law, and Human Rights
in Africa
Anthropology 262 / Africana Studies 262
GIS, Human Rights
See Africana Studies 262 for description.
Language and Mass Media
Anthropology 263
Twentieth-century politics and culture were
intimately linked to the rapid development of
radio, television, and film. These electronic
media have creatively engaged with local cul-
tural practices around the world in reshaping the
nature of artistic expression, national and racial
difference, and political power. This course uses
anthropological notions of language to examine
cultures of electronic media around the globe. It
explores radio, video/film, television, the
Internet, and mobile phone technologies as
forms of social mediation. Mass media is consid-
ered in relation to the formation of new types of
embodiment, value, production, and consump-
tion. A particular focus is on how actor-centered
performance approaches to language, reference,
and authority give insight into the making
of contemporary, electronically mediated ways of
understanding the world. Among the topics
included are radio and state power in Africa,
mobile phones and political change in East Asia,
South African television and Internet, and mass
media and the Rwandan genocide.
Anthropology 29
Race and Nature in Africa
Anthropology 265 Africana Studies,
Environmental Studies, GIS,
Human Rights
Western fantasies have historically represented
Africa as the embodiment of a mythical, primor-
dial wilderness. Within this evocative imagery,
nature is racialized, and Africans are constructed
as existing in a state closer to nature. Conrads
Heart of Darkness perhaps best exemplifies this
process, through its exploration of the savage
dimensions of colonialism in the African inte-
rior. Imperial discourses often relied on these
tropes of savagery and barbarism to link under-
standings of natural history with ideas about
racial difference. This course investigates the
racialization of nature under imperial regimes,
and considers the continuing legacies in post-
colonial situations. How have certain ethnic
identities, for example, been linked to nature?
How do these associations reproduce social hier-
archies and inequalities? How is race invoked in
struggles for land and resource rights? Through
an exploration of ethnographic accounts, histor-
ical analyses, and works of fiction based in Africa,
this course offers a new way of deciphering cul-
tural representations of nature, and the funda-
mentally political agendas that lie within them.
Anthropology of Youth and Youth
Politics
Anthropology 266
This course examines children and young peo-
plenot only as they are made in culture, but
also as resourceful and inventive makers who
both inherit and re-create ways of thinking, act-
ing, and feeling. It also investigates how young
people have not only been the targets of govern-
ment policies, but have also actively contributed
to social and political change. Readings include
recent work from Alex Kotlowitz, Lesley Sharp,
and Sharon Stephens as well as classics of the
field from Victor Turner, Margaret Mead, and
others. A key theme is the contrast between
contemporary young peoples actual experiences
and a romantic understanding of youth as a time
of innocence and happiness distinct from
adulthood.
30 Social Studies
Middle Eastern Diasporas
Anthropology 267 GIS, Human Rights,
Middle Eastern Studies, SRE
This course examines the past and present expe-
riences of Arabs, Iranians, Turks, and Kurds who
reside in Europe and North America, as well as
Jews of diverse backgrounds who live in Israel
and abroad. It also explores how and why these
groups are commonly regarded as diasporas, a
term that is itself closely connected with the dis-
placement and dispersion of Jews from their
homeland in the sixth century B.C.E. The course
critically investigates not only the history of
diaspora as a concept, but also the contempo-
rary circumstances that have encouraged its
recent prominence in public and scholarly dis-
cussions. Students work comparatively across
national contexts and historical eras, relying on
readings and films from cultural anthropologists,
sociologists, and diasporans themselves.
War, Culture, and Politics in
Contemporary Sudan
Anthropology 268
This course examines the current political and
humanitarian crisis in Sudan from the perspec-
tive of history, social anthropology, geography,
and political analysis. It considers the harsh nat-
ural environment of the region, the wealth of
indigenous cultures, and the predatory nature of
the Sudanese state. How did Africas largest
country come to be? What does it mean to be
Sudanese today? What has been the effect of
outside intervention by Western powers and the
recent rise of political Islam? What about
Sudans civil wars: are they resource conflicts,
the consequence of unequal economic develop-
ment, or the result of cultural and religious
difference? Will oil exploitation be a help or
hindrance? And do Sudans endless conflicts
mean that it is destined to break up into more
than one political entity, like Somalia or Ethiopia?
Ireland and the Anthropological
Imagination
Anthropology 269 GIS, ICS
Ireland has long captured the anthropological
imagination, and the field has provided classic
depictions of kinship and community, contro-
versial accounts of rural decline and disorder,
and current work on the countrys shifting posi-
tion in European and world politics. This course
includes a range of ethnographic exploration in
both the Republic of Ireland and Northern
Ireland. It considers the multiple and contested
meanings of Irish identity in contexts as varied
as the increasingly diverse city of Dublin, nomadic
or seminomadic Traveller communities, politi-
cally divided Northern Ireland towns, and rural
Gaeltacht, or Irish language regions. Students
examine contemporary and historical Ireland
through various lenses. For example, does it
make sense to apply postcolonial theory to
Ireland? Might we understand the Troubles
differently through womens or young peoples
perspectives and participation? Ethnographic
texts are assigned, and films with material on
current events in Ireland and Northern Ireland
are screened.
Gender and Feminism in Anthropology
Anthropology 270 GSS, Human Rights
This course examines the emergence and trans-
formation of gender studies within anthropology
since the 1970s. It reviews early texts that chal-
lenged anthropologists to recognize womens
lives as valid subjects of study, as well as more
recent work that encompasses constructions of
both femininities and masculinities, exploring
the division between and interrelation of biolog-
ical and social factors in determining sex and
gender. How are perceived biological differences
accorded social meaning in various contexts?
How are bodies interpreted within gender dis-
courses? The politics of gender, including its
relation to ideologies of colonialism, national-
ism, and capitalism, is studied, along with cross-
cultural constructions of gender structures and
practices. Critical interpretation of gender and
sexuality in contemporary American popular
culture is reviewed. Prior experience with anthro-
pology is preferable but not necessary.
Japanimation and Culture
in Postwar Japan
Anthropology 276 Asian Studies,
GIS, STS
Japanese animation, also known as Japanimation
or anime, is one of the most dynamic forms of
cultural production in contemporary Japan. This
course traces the history of anime and its rela-
tionships to the nations social, political, and

economic transformations over the past century.
It explores the origins of Japanese animation,
which emerged in the 1930s as a form of govern-
ment propaganda to educate children about the
imperialist project in Asia, and the animated
films of the postwar decades, which depicted the
national trauma of the atomic bombs while also
offering a new, utopian vision of a modern Japan
that centered around industry and technology.
The different subgenres that began emerging in
the 1960s (e.g., Tokyo cyberpunk, cute young
girl anime) are also investigated. The final sec-
tion of the course considers the globalization of
the genre in recent decades, which has height-
ened the prestige and cachet of Japanese artistic
production, even as the nations political and
economic influence wanes.
Culture and Power in the Middle East
Anthropology 277
This course introduces a region that has consti-
tuted one of the Wests primary Others. It pays
special attention to the Middle Easts contempo-
rary complexity and heterogeneity. The focus is
on four interrelated themes: practices of kinship,
gender, and sexuality; nationalism and state-
building; the social consequences of compulsory
education, mass literacy, and mass media; and
recent efforts to link, negotiate, and/or reconcile
religion with modern, secular, and liberal life.
The Middle East is examined not as a self-
contained entity, but as a region that has been
formed by centuries of relations with social actors
in other parts of the world, including (and espe-
cially) Euro-American imperial powers. Course
readings include works from Dale Eickelman,
Amitav Ghosh, and Rhoda Ann Kanaaneh,
among others.
The State in Sub-Saharan Africa
Anthropology 278 Human Rights
This course explores state formation in sub-
Saharan Africa, beginning with precolonial states,
the colonial settler, and administrative states, and
then moving on to contemporary postcolonial,
collapsed, and vampire states. Case studies
are drawn primarily from Liberia, Uganda, and
Zimbabwe.
Anthropology 31
Islam and Europe
Anthropology 279 GIS, Human Rights,
Middle Eastern Studies, SRE
This course examines Islams complex relation-
ships with Europe as a geographic territory,
sociopolitical entity, and discursive category.
The Islamic presence in Europe dates back to
Arab and Berber incursions into the Iberian
Peninsula in the 8th century, and the religion
and its adherents have left a significant imprint
on Eastern Europe as well. Given this long-
standing presence, why is Islam so commonly
conceived as a moral and cultural formation
external to Europe, European history, and
European identities? Why are Muslims regarded
as in Europe but not of it, and how does this tacit
or explicit exclusion shape the everyday prac-
tices and perceptions of European Muslims?
Finally, how does the representation of Muslims
as a fundamentally foreign element inform con-
temporary debates about Islams compatibility
with secularism and liberal democratic citizen-
ship? These questions are considered through
readings, films, and other materials that work
comparatively across national contexts and his-
torical eras. Case studies relate to, among other
themes, the publication of Salman Rushdies The
Satanic Verses, Turkeys admission to the
European Union, and the response to recent
remarks by Pope Benedict XVI.
The Edge of Anthropology
Anthropology 280 Human Rights
This course explores the range of genres and
techniques that anthropologists and others have
used to convey the lived experience of other cul-
tures. It examines the tension within the disci-
pline between the desire to make these cultures
vivid and comprehensible and the need to
respect difference and to render the whole in a
framework of theory, and considers the aesthetic
problems and ethical controversies that arise
from writing at the limits of academic discourse.
Genres addressed include classic field-based
ethnographic monographs, travel narratives,
historically informed critiques of earlier ethno-
graphies, reflexive accounts of the process of
fieldwork, journalistic reportage, visual docu-
mentation, and works of fiction. Among the
works considered are Claude Lvi-Strausss Tristes
Tropiques; Ruth Landess The City of Women;
32 Social Studies
Sharon Hutchinsons Nuer Dilemmas; Carlos
Castanedas The Teachings of Don Juan: A Yaqui
Way of Knowledge; and Leni Riefenstahls The
Last of the Nuba.
Performance, Ritual, and Symbolic
Practice
Anthropology 327 Africana Studies
This course examines public performance and
various types of theatricality with the aim to
analyze how lived experience relates to politics,
change, and social power. It considers key philo-
sophical issues within anthropology and social
thought more generally: power and its illusory
enactment; the relationship between personal
experience and broader social processes; the
nature of consciousness; structure versus agency;
stasis and change. The course examines classic
anthropological conceptions of ritual, symbolic
meaning, and social transformation and explores
various linguistic, sociological, poststructuralist,
and theatrical theories. Different ways to think
about space and the social body are studied. The
second half of the course draws on particular
ethnographic, theatrical, philosophic, and liter-
ary examples from West Africa that address the
relationships between historical memory, specific
kinds of performance, and the local experience
of power. Students are encouraged to consider
the tension between performance as a theoret-
ical frame and as an object of analysis.
Cultural Technologies of Memory
Anthropology 332
This course is organized around several practices
and technologies that produce collective and
personal memory. The class explores the distinc-
tion commonly made between memory and
history. The techniques and technologies of
public memory that are examined may include
ancient memory palaces, historical writing,
oral narrative, ritual, myth, monuments, muse-
ums, and archives. The ways in which radio and
photography are used to produce national and
familial representations of the past are explored.
The focus is always on how the particular medium
of remembering shapes the content of what is
remembered, and on the link between the produc-
tion of particular memories and their political uses.
Cultural Politics of Animals
Anthropology 337 Africana Studies,
Environmental Studies, Human Rights
Human ideas about animals have metamorphosed
throughout history, giving rise to a wide spectrum
of attitudes across cultures. The past century in
particular has witnessed a radical reconceptualiza-
tion in the nature of human-animal relations,
emerging in tandem with the environmental
movement. Beneath the centrality of animals in
our social, economic, and physical worlds lies
their deep implication within human cultural
politics. Some of the questions this course raises
include how, and by whom, is the line between
humans and animals drawn? What are the politics
of taxonomy and classification? Do animals exer-
cise agency? Where are they positioned on the
moral landscapes of cultures? Students explore
these shifting terrains through the angle of ani-
mal geography, a new field that focuses on how
animals have been socially defined, labeled, and
ordered in cultural worldviews.
Middle Eastern Modernities
Anthropology 343 GIS, Human Rights,
Middle Eastern Studies
What does it mean to be modern in the
Middle East, in the aftermath of colonialism and
in the face of continuing Euro-American efforts
to reform the regions social, economic, and
political life? Does modernity require the aban-
donment of tribal affiliations, cousin marriages,
and other putatively traditional social forms and
practices? Or does it involve more complex, cre-
ative negotiations of existing constraints and
available resources? This course examines these
and other questions through intensive reading of
recent anthropological and other social scien-
tific literature, critical analysis of popular cul-
tural artifacts, and focused film viewing. Its focus
is on 20th- and 21st-century transformations in
Middle Eastern national identities, state prac-
tices, and public spheres, especially as they have
been affected by the introduction of compulsory
education, mass literacy, and the mass media.
The influences these larger processes have
exerted on the production and consumption of
commodities and on intimate practices of kin-
ship, gender, and sexuality are also investigated.
Students review recent efforts to manage the
relationship between religion and the secular,

liberal life, and examine Islam not as a fixed,
unitary system of principles with a single mean-
ing, but as a discursive tradition that individuals
and institutions have interpreted, invoked, and
used in multiple ways for a variety of purposes.
Flexible States: Anthropology of
Capitalism and Transnationalism
Anthropology 345 Africana Studies, GIS,
Human Rights
This course examines formations of contempo-
rary capitalism and its multiple global manifesta-
tions. Drawing on a variety of post-Marxist and
new liberal historical and ethnographic works, it
focuses on studies of national and transnational
identities in relation to the neoliberal nation-
state in developing countries. By contrasting
notions of citizenship and cultural identifications,
the course addresses the analytic gap between
institutional forms of power and the ways in
which people experience and identify with, and
against, these structures. It suggests ways to theo-
rize the changing relationships between the state
and global capitalism, and considers identity
within the contradictions of the (postcolonial)
state. Finally, it addresses how people negotiate
institutional forms of power in relation to the
structures of the postcolonial state and specific
agents of capitalism: i.e., free markets, global
corporations, and international donor agents.
Many examples are drawn from Africa.
Discipline, Punishment, and the
Embodied Self in China
Anthropology 348 Asian Studies,
Human Rights
This cultural-historical course provides an
extended exploration of the Chinese construc-
tion of such basic categories as gender, body,
family, and belief. Issues of embodiment and self-
hood provide us with a basis for understanding
how the Chinese have conceptualized and prac-
ticed discipline and punishment. Using Michel
Foucaults Discipline and Punishment as its point
of departure, the course examines historical and
ethnographical work from China on discipline,
punishment, and systems for the creation of jus-
tice; it contrasts Foucaults important but histor-
ically specific Eurocentric proposals about
human subject formation with some compara-
tive insights generated out of engagement with
Anthropology 33
China. How have Chinese notions of ritual, self-
cultivation, institutions of family, and practices
of gender distinction formed a sense of person-
hood, and how has that shifted over time? How
have these shifts affected the Chinese sense of
discipline and punishment?
Rethinking Difference:
Contemporary Cultural Theory
Anthropology 350 Human Rights
Intended as an introduction to advanced theo-
ries of culture in contemporary anthropology,
this course is required of all anthropology majors.
In contrast to early anthropological focus on
seemingly isolated, holistic cultures, more recent
studies have turned their attention to conflicts
within societies and the intersection of local
systems of meaning with global processes of poli-
tics, economics, and history. The class is designed
around an influential social theorist, such as
Bourdieu, Bakhtin, or Marx, and the application
of their theories by anthropologists, such as
Aihwa Ong, Judith Irvine, or Michael Taussig.
The seminar aims to inspire critical engagement,
with an eye toward developing theoretical tools
and questions for a Senior Project that makes
use of contemporary theories of culture.
Anthropology of Time and Space
Anthropology 370
This course begins by considering the extent to
which time and space are cultural constructions
that vary within and across social groups. It
challenges understandings of these concepts as
natural or inevitable, and explores different pos-
sibilities for measuring, representing, and creat-
ing meaning in relation to them. Time and space
are so fundamental that we are often unaware of
the ways they are embedded in our lives. Yet on
a daily basis they reflect and reinforce interper-
sonal and institutional relations of power. Hence,
this course investigates spatiotemporal dynamics
and strategies as elements of social hierarchy,
and examines time and space as organizing con-
cepts with which to understand the world.
Finally, it considers how political economy struc-
tures experiences of time and space. This includes
temporal disciplines of commodity production,
state seizure of private time under socialism,
and descriptions of time-space compression in
late capitalism.
34 Social Studies
Economics
Adam Smith (1776) defined political economy
as the science of the nature and causes of the
wealth of nations. The basic methodological
approach of economics is to analyze the ubiqui-
tous problem of human choice among alternative
uses of limited resources. Economics examines
how decisions are influenced by incentives,
opportunities, and resource constraints, and
explores the interacting consequences of those
choices in our private and public lives.
The Economics Program offers several courses of
general interest at the 100 level that introduce
simple economic principles and show how they
may be applied to questions of public policy,
political philosophy, or household decision mak-
ing. Students who plan to take just one eco-
nomics course to get a feel for the subject should
consider one of these. The program also offers
many courses of special interest to students con-
centrating in political studies, environmental
studies, historical studies, sociology, gender and
sexuality studies, philosophy, American studies,
Asian studies, and other fields. These courses
usually have a prerequisite of Economics 101,
102, or 120.
Issues of public policy invariably have an eco-
nomic dimension, and the Bard program empha-
sizes the policy applications of economic theory
at the local, national, and global levels. The
focus on public policy as well as courses in polit-
ical economy and economic philosophy and
methodology aim to support the pedagogical
goals of Bard College as a liberal arts institution.
At the same time, a full complement of rigorous
standard courses for students planning to pursue
graduate study in economics is offered.
For students who wish to pursue a career in the
financial world, Bard also offers a five-year program
leading to a B.S. degree in Economics and Finance
and a B.A. degree in any other program. For more
information on the dual-degree program, see
page 47.
Economics students may select from among four
suggested areas of concentration. They overlap
in numerous ways; students are encouraged to
adapt their course selections to their evolving
interests. The concentration areas are:
(1) International Trade and Finance, Develop-
ment, and National Economic Policy: A broad
area covering national and global issues of growth
and development, monetary and fiscal policy,
trade and finance, and economic history. (Also
of interest to students of political studies,
anthropology, history, human rights, global and
international studies, or regional studies.)
(2) Public Economics: Applies microeconomic
and other methods to the analysis of collective
decisions and public choice. Topics include
public finance; public goods; externalities; the
economic theory of government; economic regu-
lation and antitrust; political economy; law and
economics; and the economics of property
rights. (Also of interest to students of political
studies, environmental studies, social policy, or
human rights.)
(3) Economics of Labor, the Household and the
Firm: Addresses themes that bear directly on the
economic circumstances of families and house-
holds in their roles as workers, savers, and con-
sumers. Topics include employment, labor market
discrimination, education, income distribution,
government social programs, and population
and demography. (Also of interest to students of
sociology, anthropology, political studies, social
policy, or American studies.)
(4) History of Economic Thought and the
Methodology of Economics: A two-course
sequence in the history of economic analysis is
supplemented by courses that explore particular
methodological approaches and schools of
thought that challenge or complement the main-
stream neoclassical view, e.g., ecological eco-
nomics, geoclassical economics, neo-Marxian
economics, institutional economics, feminist eco-
nomics, and the Virginia school of public choice.
(Also of interest to students of philosophy, his-
torical studies, environmental studies, or law.)

Economics Program
Requirements
Three courses, including Economics 101, 102, or
(preferably) both, are required for Moderation.
At Moderation students identify a concentra-
tion area and discuss their preliminary ideas for
the Senior Project. It is recommended that stu-
dents take several 200-level applied courses dur-
ing the sophomore and junior years.
Graduation requirements include:
(1) The theory sequence: Introduction to
Microeconomics (Economics 101), Introduction to
Macroeconomics (Economics 102), Intermediate
Microeconomics (Economics 201), Intermediate
Macroeconomics (Economics 202).
(2) Statistics (Economics 229). Students with a
prior background in mathematics may take
Probability and Statistics (Mathematics 275) to
satisfy this requirement, with permission from
their adviser.
(3) A course in economic history (such as Econ-
omics 214, 217, 218, or 219).
(4) A course in the history of economic thought
(such as Economics 210 or 330)
(5) Student must satisfy either the economics or
interdisciplinary concentration of electives.
(a) Economics concentration: Three electives
in economics (not including the courses that
satisfy the core requirements mentioned above)
at the 200 level or above, including at least two
at the 300 level.
(b) Interdisciplinary concentration: With the
approval of the Moderation board, a student
may take two electives in economics (not
including the courses that satisfy the core
requirements) at the 200 level or above, includ-
ing at least one at the 300 level, and two Upper
College courses in a discipline that is related to
the students concentration area within eco-
nomics. A faculty member from that discipline
may be asked to serve on the Moderation and
Senior Project boards.
Economics 35
(6) Calculus I (Mathematics 141) or the equiva-
lent is a prerequisite for Economics 201. Calculus
II (Mathematics 142) is recommended. Students
contemplating graduate school in economics are
encouraged to take advanced theory courses
(Economics 301, 302) and develop their quanti-
tative skills with additional courses such as
Mathematical Economics (Economics 205),
Econometrics (Economics 329), and related
courses in mathematics (Linear Algebra, Proofs
and Fundamentals, Probability and Statistics).
(7) Senior Project and Conference: The
Economics Senior Conference (Economics 401,
402) is offered in conjunction with the Senior
Project. Seniors and program faculty meet not
more than once every other week to discuss
progress, process, and problems associated with
project research and writing.
Economics Program
Concentration Areas
(Asterisks indicate core course)
(1) International Trade and Finance,
Development, and National Economic Policy
Economics 110, Economic Dimensions of Public
Issues in the United States
Economics 115, Economic Dimensions of Global
Issues
Economics 200, Money and Banking
Economics 213*, International Economics
Economics 214, Economic Transition from
Socialism to a Market-based System
Economics 217, Economic History of the World
Economics 218, Economic History of Modern Asia
Economics 219, Economic History of Central Asia
Economics 221*, Economics of Developing
Countries
Economics 263, Population Economics and
Demography
Economics 265, Community-Based Development
Economics 302, Topics in Macroeconomics
Economics 311*, Seminar in National Economic
Policy
Economics 323*, Topics in International Trade
and Finance
Economics 340, Seminar in Contemporary
Developments of Finance
36 Social Studies
(2) Public Economics
Economics 110, Economic Dimensions of Public
Issues in the United States
Economics 120, Community-Based Development
Economics 226, Urban and Regional Economics
Economics 237*, Economics of the Public Sector
Economics 238*, Public Choice
Economics 242, Environmental Economics
Economics 252*, Law and Economics
Economics 301, Topics in Microeconomics
Economics 317, Competition, Cooperation, and
Information
Economics 330*, Seminar in Geoclassical
Economics
Economics 351, Economic Justice
(3) Economics of Labor, the Household, and
the Firm
Economics 105, Foundations of Finance and
Investments
Economics 224*, Economics of the Family
Economics 235*, Topics in Labor Economics
Economics 254*, Feminist Economics
Economics 263*, Population Economics and
Demography
Economics 280*, Health, Welfare, and Social
Insurance
Economics 301, Topics in Microeconomics
Economics 317, Competition, Cooperation, and
Information
Economics 386, Health Economics
(4) History of Economic Thought and the
Methodology of Economics
Economics 120*, Social Security and Health Care
Economics 210*, History of Economic Thought I
Economics 238, Public Choice
Economics 254, Feminist Economics
Economics 330*, Seminar in Geoclassical
Economics
Economics 351, Economic Justice
Core faculty: Kris Feder (director), Rania
Antonopoulos, Sanjaya DeSilva, Tamar
Khitarishvili, Dimitri B. Papadimitriou, Andrew
Pearlman, Tsu-Yu Tsao
Recent Senior Projects in Economics
Oil Shocks as a Contributing Factor for U.S.
Recessions (Linear vs. Non-Linear
Frameworks)
Dynamics of a Dollar Devaluation: Deficits,
Dangers, and Remedies of the Pending
Current Account Crisis
Effect of Islam on Institutions and Gender
Empowerment: A Study of South and
Southeast Asian Economics
Japanese Industrial Policy: Reason for Economic
Miracle or Nightmare, Examination of the
Effects of Japanese Industrial Targeting on
Productivity Growth Using Econometric
Analysis and Augmenting Existing Models
NBA Free Agent Contract Values and
Behavior: Exploring the Contract-Year
Phenomenon
Asymmetric Information in the Bulgarian
Automobile Insurance Market
Resources Rent Taxation as a Fiscal Tool for
Urban Development
The Practice of Sub-Advising Mutual Funds:
Motivations and Implications
Introduction to Microeconomics
Economics 101A Environmental Studies
This course covers the essential ideas of economic
analysis. It develops models of consumer and firm
behavior, including demand and supply, in the
context of an idealized competitive market. From
there, students analyze several ways in which the
real world deviates from this model, including
monopoly and other forms of imperfect competi-
tion, information problems, minimum wages and
other price controls, taxes, and government regu-
lation. The course explores public policy prob-
lems such as pricing the environment, winners
and losers from international trade, and health
care costs and insurance. Economics 101 and 102
may be taken in either order.
Experimental Microeconomics
Economics 101E Environmental Studies
Traditionally, economics has been regarded as a
nonexperimental science, where researchers
have to rely on direct observations of the real
world to verify their theories. That view, how-
ever, has changed in the last 20 years, as many
researchers now test economic theories in labo-
ratory settings. This course explores this rela-
tively new methodology in economics. Each
week, one class is devoted to conducting an
experiment, and the other class to understand-
ing the underlying principles of the experiment

and how those principles can be applied to ana-
lyze real-world issues. Topics addressed include
minimum-wage law, legality of drug use, farm
subsidies, the protection of intellectual property,
the pricing of AIDS drugs in developing coun-
tries, and the use of pollution permits in combat-
ing environmental degradation. This course
fulfills the requirement of Economics 101A.
Introduction to Macroeconomics
Economics 102A Environmental Studies,
GIS
This course begins with an examination of the
aggregate behavior of modern economies: the
factors leading to economic growth, explana-
tions of booms and recessions, unemployment,
interest rates, inflation, and budget deficits or
surpluses. Governments ability (or inability) to
use monetary and fiscal policies to achieve eco-
nomic goals such as full employment and price
stability is examined. The class debates whether
the government should use monetary and fiscal
policy to try to fine-tune the economy and
what the likely effects of such government
involvement are. Economics 101 and 102 may
be taken in either order.
Foundations of Finance and
Investments
Economics 105
An exploration of the foundations of the pricing
of financial instruments and the structure and
organization of financial markets. Methods are
developed to analyze and measure financial per-
formance, price stocks and bonds, evaluate port-
folios, and understand financial derivatives as
they relate to financial data. Additional topics
include the investment decision-making process,
trading practices, risk assessment, and diversifi-
cation. Students do a substantial amount of sta-
tistical analysis and calculation, but no prior
knowledge of statistics is required.
Economic Dimensions of Public Issues
in the United States
Economics 110 American Studies
Basic economic theory is used to examine some
of the major issues facing the U.S. economy
today, including poverty and welfare reform, the
trade deficit, the budget deficit, NAFTA, and
the health care system. Topics vary with current
Economics 37
events. Students select four or five topics of gen-
eral interest and work in teams to conduct and
present research on each side of the cases
selected for study. After a general review of each
issue, the class focuses on its economic dimen-
sions. A few simple theoretical principles are
introduced and used to illuminate the economic
forces at work.
Economic Dimensions of World Issues
Economics 115 GIS, Human Rights,
Social Policy, STS
An introduction, using simple economic con-
cepts, to global and international issues of cur-
rent and enduring interest. (Public issues in the
United States are addressed in the fall semester
companion course, Economics 110.) Topics
include the WTO and trade liberalization;
European integration; regionalism (NAFTA,
FTAA); global warming, deforestation, and
other environmental issues; the role of multina-
tional corporations and multilateral agencies
such as the World Bank and IMF; the AIDS cri-
sis in Africa; poverty and hunger; inequality
within and between nations; the debt and cur-
rency crises of Latin America and East Asia; and
the transition from planning to markets in
Eastern Europe and former Soviet Republics.
Discussion of each topic begins with a general
review using materials from the popular media.
This is followed by a more detailed economic
analysis using micro- and macroeconomic con-
cepts and the introduction of relevant theoreti-
cal models and principles.
Social Security and Health Care
Economics 120
Looming as significant, long-term policy ques-
tions in the United States are Social Security
and health care financing. Today these topics
share the stage in a national debate about the
role of government in a market economy, and
both policy areas have been cited as financial
crises. This course is designed to apply dispas-
sionate economic analysis to an often confusing
debate and to explode the myths and highlight
the undeniable realities. For Social Security, the
class investigates the purpose and history of the
program, its current functions, and its micro and
macro effects on the economy. Students con-
sider Social Securitys financial outlook and to
38 Social Studies
what extent it presents a crisis, and evaluate pro-
posed solutions. Special consideration is given
to President Bushs reform proposals. For health
care, the class examines health care markets,
insurance, and the arguments for government
intervention; how Medicare and Medicaid work
and their roles in the escalation of national
health care expenditures; and competing pro-
posals to restructure federal health policy. In
both Social Security and health care, interna-
tional comparisons are used to shed light on the
U.S. situation.
Money and Banking
Economics 200
An examination of the role of money and finan-
cial intermediaries in determining aggregate eco-
nomic activity. Interactions of savers, investors,
and regulatory authorities in domestic and inter-
national capital markets are analyzed, and the
linkage between the financial system and the real
economy is traced. The functions of central
banks, commercial banks, securities dealers,
investment banks, and other intermediaries are
covered in detail. The debate over the goals,
tools, indicators, and effectiveness of monetary
policy is considered in the light of current
national and international economic problems.
Prerequisite: Economics 101 or 102.
Intermediate Microeconomics:
Efficiency, Equity, and the Structure
of Markets
Economics 201
This course further develops principles and ana-
lytical methods introduced in Economics 102:
demand, supply, and the workings of the price
system. The positive and normative charac-
teristics of alternative market structuresper-
fect competition, monopolistic competition,
oligopoly, pure monopoly, and, in resource
markets, monopsonyare studied in depth.
Market forces are examined in the context of
social and political institutions that shape, and
are shaped by, market outcomes. The alleged
trade-off between equity and efficiency is
debated in the context of a variety of applica-
tions. Prerequisites: Economics 101 and one
semester of calculus.
Intermediate Macroeconomics
Economics 202 GIS, Social Policy
This course, a continuation of the introductory
macroeconomics course, acquaints students with
the main models that macroeconomists use to
analyze the way economies behave. Beginning
with a consideration of the models that explain
long-run economic growth, it then examines
economic theories that explain short-run busi-
ness cycles, the periods of recessions and booms
that occur on a regular basis. The course investi-
gates the role of governments in affecting the
long-run and short-run economic prospects of
their countries. The acquired theoretical knowl-
edge is applied to a range of current economic
issues, including budget deficits and national
debt, international trade, and the role of institu-
tions. Prerequisite: Economics 102.
Introduction to Mathematical
Economics
Economics 205
An introduction to the use of elementary calculus
and linear algebra in economic theory. This
course provides the basic mathematical skills nec-
essary to approach the professional economics lit-
erature. Emphasis is on formulating economic
problems and building economic models in math-
ematical language. Applications are based upon
simple micro- and macroeconomic models.
Prerequisites: Economics 101 or 102 and calculus.
History of Economic Thought I
Economics 210 GIS, STS
A survey of the early history of the still-young
science of economics, including Hume, Locke,
Petty, and the age of mercantilism; the Physio-
crats of 18th-century France, inventors of the
first circular-flow analysis of the macroeconomy;
the revolutionary work of philosopher Adam
Smith in 1776; and the century of classical polit-
ical economy that followed him in the English-
speaking world, including the work of Thomas
Malthus, John Stuart Mill, David Ricardo, and
others who studied the virtues and vices of the
market system and debated the relations of land,
labor, and capital. At its maturity, the classical
school gave rise to two very different attacks on
existing politico-economic institutions: the social-
ist critique of Karl Marx in continental Europe
and the Lockean critique of Henry George in

the United States and England. This course
focuses on the period up to the late 19th century,
when classical political economy gave way to
the marginal revolution, which, applying the
mathematical insights of calculus to economic
questions, focused more on subjective choice
and less on political issues and institutions.
Prerequisite: one economics course.
Comparative Economic Systems
Economics 212
Beginning with an economic analysis of the tra-
ditional market system, this course investigates
models that have presented alternatives to the
market economy: central planning, the socialist
market economy, and a mixed economic sys-
tem. Case studies of contemporary economies
are examined theoretically and empirically.
Prerequisite: one economics course; 210 is recom-
mended but not required.
International Economics
Economics 213
Topics covered in this course include analysis of
international trade and financial relationships;
recent problems and developments in world
commercial, monetary, and financial policy; and
the economic aspects of international coopera-
tion. Prerequisites: Economics 101 and 102.
Economic Transition from Socialism
to a Market-Based System
Economics 214 GIS, Human Rights,
Political Studies, RES
This course explores one of the major events in
the economic history of the 20th century: the
collapse of the socialist system in the countries
of the former Soviet Union and Central and
Eastern Europe, and their transition to market-
based economies. It analyzes economic chal-
lenges associated with the transition process and
investigates policy tools that these countries
have used in an attempt to address these chal-
lenges. The range of topics covered includes
privatization, price liberalization, inflation,
unemployment, changes in the composition of
output, foreign direct investment, and the fight
against corruption, among others. Emphases are
placed on the impact of the economic transfor-
mation on social indicators such as income dis-
tribution, poverty, education, and health, and
Economics 39
on future challenges faced by the transition
countries. Prerequisite: one economics course or
permission of the instructor.
American Economic History
Economics 215 American Studies
A basic analysis of trends and events that shaped
the economic development of the United States
from the colonial period to contemporary times.
Topics include economic aspects of the
Constitution; the role of government in the
economy; the rise of monopolistic corporations;
income and wealth inequality; the Populist,
Socialist, and Progressive movements; the growth
of the welfare state from the New Deal to the
War on Poverty; and the monetary system.
Prerequisite: Economics 101 or 102.
European Economic History
Economics 216
An examination of the political and economic
problems of countries in Eastern Europe and the
former Soviet Union that are making the transi-
tion from the Soviet economic system to free-
market capitalism. Most of these economies
have experienced a dramatic fall in output.
Necessary reforms are analyzed and merits of
various proposals for making a successful transi-
tion debated. Topics discussed include privatiza-
tion of state-run enterprises, deregulation of
prices and inflation, government debt and the
tax system, and the role of international lending
institutions such as the IMF. Prerequisite:
Economics 101 or 102 or permission of the
instructor.
Economic History of the World
Economics 217
This course surveys world economic history from
Paleolithic times to the present. Major themes
include the role of social institutions in promot-
ing or inhibiting economic development; com-
petition for territory and natural resources;
population growth and decline; the disparity of
wealth among nations; class structure and class
struggles. Topics addressed include feudal systems,
colonial systems, industrialization, urbanization,
globalization, transition economies, economic
imperialism, and environmental impacts of eco-
nomic activity. Prerequisite: one economics course.
40 Social Studies
Economic History of Modern Asia
Economics 218 Asian Studies, GIS
An analytical examination of important histori-
cal events and circumstances that shaped the
economic landscape of Asia in the 20th century.
Topics include colonialism and economic
dependency, the impact of the World Wars, and
postindependence nation-building. The evolu-
tion of economic development strategies such as
import-substituting industrialization, national
planning, export-led growth, regional integra-
tion, and globalization is studied. The impact of
history, geography, and institutions on economic
activity is emphasized. Prerequisite: Economics
101 or 102 or permission of instructor.
Economic History of Central Asia
Economics 219 Asian Studies, GIS, RES
Central Asia has attracted attention in recent
years due to its vast reserves of oil and natural
gas and geographic proximity to Russia, China,
and Afghanistan. Yet little is known about the
region, which includes Mongolia and five coun-
tries of the former Soviet Union (Kazakhstan,
Kyrgyzstan, Tajikistan, Turkmenistan, and
Uzbekistan). This course explores the economic
history of Central Asia from early times until
today. Several major themes will be explored,
among them the Silk Roads effect on the
lifestyle and economic well-being of the Central
Asian population; the lasting influence that the
rise of Genghis Khan in the 13th century had on
the region; and the impact that the discovery of
oil and natural gas in the 19th century has had
on Central Asia. Finally, the course considers
the challenges that Central Asia faces today, as
it attempts to leave behind the Soviet legacy
and move forward.
East Asian Economies
Economics 220 Asian Studies
An overview of the contemporary economic sit-
uation in East Asia and the changes in economic
structure and mechanism that occurred there in
the second half of the 20th century. Emphasis is
on the underlying causes and consequences of
those changes, as well as important overall
trends. Topics include the role of government
policy and the state, transition from planned to
market economies, origin and nature of the
Asian financial crisis, industrial division and
regional cooperation, and the role of the United
States in the East Asian economy. The focus is
on mainland China, Hong Kong, Taiwan, Japan,
Korea, and the ASEAN countries. Prerequisite:
Economics 101 or 102.
Economics of Developing Countries
Economics 221 Environmental Studies,
LAIS
This course explores the economic conditions
and problems faced by the majority of the people
that live in the developing countries of Asia,
Africa, Latin America, and the Caribbean. The
concept of economic development is defined
and related to ideas such as economic growth,
sustainable development, and human develop-
ment. Economic theories of development are
introduced, and policies designed to promote
development at the local, national, and interna-
tional levels are evaluated. Considerable atten-
tion is paid to understanding how household
decisions in rural agricultural societies are
shaped by institutional and policy environments.
Topics include the economic consequences of
colonialism and economic dependence; poverty
and income distribution; investments in physi-
cal and human capital; and the role of foreign
capital flows, among others. Students are
expected to carry out a case study of the develop-
ment experiences of a country of their choice.
Prerequisites: Economics 101 and 102.
The Economics of Inequality
Economics 223 American Studies,
GSS, Social Policy, SRE
How do social scientists measure and interpret
economic inequality? What is meant when the
government says that poverty has increased?
Does economic theory have anything useful to
say about discrimination against women and
minorities? Which policies work to combat
poverty and discrimination and which do not?
These are some of the questions considered in
this course, which is based on readings drawn
from professional articles and books.
The Economics of the Family
Economics 224 GSS
This course extends the basic economic model
of decision making to study some of the more
interesting choices one makes in life. The main

topics covered are dating and mating, childbear-
ing, household behavior, the allocation of time,
marital dissolution, religion, health, death, and
intergenerational relations. Also discussed are
such issues as prostitution and the recent decline
of marriage rates; the effects of sex education
and the socioeconomic consequences of teen
childbearing; the division of labor in house-
holds; and the effects of divorce laws on suicide,
domestic violence, and spousal murder. Prerequi-
site: Economics 101 or permission of instructor.
Urban and Regional Economics
Economics 226 American Studies,
Environmental Studies, Social Policy, STS
An introduction to the economic analysis of the
spatial distribution of human behavior. Where and
why do cities arise? Why do people cluster their
homes and workplaces in certain places? What
factors determine the market allocation of land
among users and the variations in land value
from place to place? What determines the size,
density, and number of urban areas? What are
the causes and consequences of suburbanization
and sprawl, so evident in the United States and
Canada in recent decades? The spatial structure
of cities and of regional systems of cities is ana-
lyzed from the perspective of central place the-
ory, a microeconomic theory of location that
complements a historical review of patterns of
urbanization and sprawl. Contemporary urban
problems are also examined from an economic
point of view; problems include housing and
homelessness, crime, transportation, social ser-
vices, segregation, and inner-city blight. Issues
of urban planning and policy are debated.
Prerequisite: Economics 101.
Statistics
Economics 229 Environmental Studies,
GIS
The first of a two-course series designed to exam-
ine empirical economics, and a prerequisite for
Economics 329, Econometrics. Basic concepts of
statistics, probability, probability distributions,
random variables, correlation, and simple regres-
sion are introduced; the techniques of statistical
inference hypothesis testing are developed.
Numerous examples and computer-based exer-
cises are included. Prerequisite: Economics 101
or 102.
Economics 41
Topics in Labor Economics
Economics 235 American Studies, GSS
This course focuses on the economic forces and
public policies that affect employment and
wages. Topics include labor demand and supply,
minimum wage laws, theories of unemployment,
job search and matching models, family and life-
cycle decision making, human capital, efficiency
wage theory, compensating wage differentials,
worker mobility and migration, unions, and dis-
crimination. Prerequisite: Economics 101.
Economics of the Public Sector
Economics 237 American Studies,
Environmental Studies, Social Policy
This course introduces the two branches of tra-
ditional public finance, corresponding to the
two sides of the government budgetrevenue
and spending. On the spending side, we survey
the economic rationales for the existence of gov-
ernment and for its intervention in the econ-
omy, as well as the economic consequences of
government expenditures. On the revenue side,
we examine the problem of efficient pricing of
public sector output; the consequences of alter-
native tax structures for the distribution of
wealth and the efficiency of resource allocation;
and approaches to the economics of collective
action. We also examine alternative models of
the demand for and supply of public goods and
government service. Prerequisite: Economics 101.
Public Choice
Economics 238 Environmental Studies
Economics is the science of human choice, and
public choice is the study of decisions that are
made collectivelyby clubs, organizations,
alliances, and governments. Public economics,
wrote Nobel laureate James Buchanan, at least
conceptually, is on all fours with private eco-
nomics, or more familiarly, the economics of
the private sector. Public choice theory
attempts to model the interactions among alter-
native fiscal institutions, alternative political
institutions, and the private and public behavior
of persons and groups. Readings include The
Calculus of Consent (Buchanan and Gordon
Tullock, 1962) and selections from Buchanans
many later works, as well as theoretical and
empirical papers by Kenneth Arrow, Duncan
Black, Anthony Downs, Erik Lindahl, William
42 Social Studies
Niskanen, Paul Samuelson, and Knut Wicksell.
Topics include the economic theory of democ-
racy; how collective choices emerge from the
political process; the demand and supply of pub-
lic goods; the economic theory of voting; and
the theory of constitutions (voting rules).
Applications to collective decisions at various
scales are considered, with a special focus on
problems of environmental protection and ecosys-
tem management. Prerequisite: Economics 101.
Environmental Economics
Economics 242 Environmental Studies
An examination of the interrelationships
between economic and ecological systems,
including the materials balance; the economic
role of ecosystem services; the economic value of
extractive and in situ uses of the environment as
a source of productive inputs and a repository for
wastes; and market and nonmarket allocations
of natural resources among alternative uses. The
standard neoclassical analysis of pollution as a
consequence of externality and market failure is
developed, general conditions for efficient
resource use and waste disposal are identified,
and rationales for public management of envi-
ronmental resources are examined. Conven-
tional policy solutions are evaluated, with a
focus on U.S. environmental policy. Orthodox
analysis of environmental problems is contrasted
with alternative interpretations, including those
of ecological economics, steady-state economics,
and geoclassical economics. Of special interest
are questions of land tenure and entitlement,
that is, of individual and collective rights to
nature. Prerequisite: Economics 102.
Law and Economics
Economics 252 Human Rights
The economic approach focuses on the choices
people make in the context of given opportuni-
ties and constraints, and on how they respond to
changes in incentives. This course applies eco-
nomic principles to study the incentive effects
that legal sanctions have on human behavior. In
addition to making scientific predictions with
regard to individual responses, students evaluate
the welfare implications of the law on the
grounds of efficiency and equity. Four areas of
law are analyzed: property law, contracts, torts,
and the concept of crime and punishment. Time
permitting, legal issues associated with racial dis-
crimination, sex and marriage, surrogate mother-
hood, or prostitution are addressed. Algebra and
graphs are used intensively as analytical tools.
Prerequisites: Economics 101 and at least one
additional course in microeconomic theory or
applications.
Women, Men, and Work
Economics 253
An examination of historical and contemporary
work experiences of minority groups in the
United States. Gender issues are addressed
domestically and internationally, and the oppor-
tunities of women in developed countries are
compared with those of women in developing
countries, focusing on fertility, breast-feeding,
nutrition, and labor force participation.
Prerequisite: Economics 102.
Feminist Economics
Economics 254 American Studies, GSS
This course reexamines economics by looking at
traditional theories through a feminist lens.
Emerging feminist approaches challenge the
currently used framework of economic analysis,
at both the micro and macro levels, for omitting
the crucial analytical category of gender. Fem-
inist economics seeks to correct the mainstream
vision of how contemporary societies organize
the activities of production and distribution.
Course topics include feminist critiques of eco-
nomic theories: en-gendering the economic
question per se; the importance of reconceptual-
izing the economy as a three-sector model
household, market, and government; household
production versus market-oriented produc-
tiona gendered system; social division of labor
by genderstructures of gender occupation and
segregation; contemporary labor market issues
and policieswage gap, comparable worth, dis-
crimination, and affirmative action; economic
growth, poverty trends, and government pol-
icygendered impact; and efficient versus
equitable growthhow should economic
prosperity be evaluated?
Religion and Economics
Economics 260 Human Rights, Religion
This course analyzes the relationship between
religion and economic development. It exam-

ines the impact that religion and religious think-
ing have had on the formation of economic
order in societies, considering, for instance, the
role that monotheism has played in the develop-
ment of economic ethics, and the views of differ-
ent religions on globalization. It then considers
the role that economic incentives have played
in the growth and spread of religions, including
Christianity and Islam. Other case studies
include the analysis of the impact of the Templar
Order of the 12th century on the development
of financial institutions in Europe; the economic
history of Russian Old Believers, a schismatic
group of the Russian Orthodox Church; and the
role that the lack of economic opportunities in
the Middle East may have played in the growth
of terrorism.
Population Economics
and Demography
Economics 263
Theories and measures of population as they per-
tain to economic and social spheres are devel-
oped and evaluated. The history of theories of
population growth and population control and
their consequences is traced from Malthus and
Marx to Boserup, Simon, and Easterlin. Particular
attention is paid to current population issues
fertility control, famine, ecological consequences
of population pressure, and migration. Both
domestic and international population policies
are treated. Domestic issues involve migration
and shifting demographics as evidenced by the
latest census; international issues focus mainly
on fertility control in developing countries.
Math skills at the precalculus level are helpful.
Prerequisite: Economics 102.
Community-Based Development:
Development from the Ground Up
Economics 265 Asian Studies,
Environmental Studies, GIS,
Human Rights, STS
This course critically examines the concept and
practice of community-based (or community-
led) development as an alternative to the widely
studied top-down theories and policies of devel-
opment. Are the end goals of development
universal outcomes such as income or relative
outcomes that vary with the values of individu-
als or communities? Conceptualizations of well-
Economics 43
being in Buddhist and Gandhian thinking are
considered to highlight the cross-cultural differ-
ences in what constitutes a good life. The class
develops a broader definition of development as
economic, social, and political empowerment
that allows an individual or a community to
achieve whatever it is that they value and desire.
Also examined are several grassroots develop-
ment movements that have focused on empow-
erment; two examples are the micro-credit
movement that began with the Grameen Bank
of Bangladesh and the Sarvodaya Shramadana
movement of Sri Lanka. Students also attempt
to relate the concept of community-based devel-
opment to the neoclassical paradigm of eco-
nomics and examine the impact of market
expansion and the consequent erosion of infor-
mal exchange relations from the perspective of
community empowerment. Several innovative
ideas that attempt to combine community
empowerment with market expansion, such as
fair trade, ecotourism, and microcredit, are stud-
ied. Throughout the course, the relationship of
community-based development with ecological
sustainability and political decentralization is
highlighted. Prerequisite: Economy 101 or per-
mission of instructor.
Game Theory: Understanding
Strategic Interaction
Economics 270 Environmental Studies,
Political Studies
Game theory is about situations of strategic
interaction, where the best strategy of a player is
dependent on the strategies adopted by other
players. This interdependence of action leads to
circular chains of reasoning, which can be cut
by using game-theoretic concepts such as domi-
nance, Nash equilibria, backwards induction,
subgame perfection, and perfect Bayesian equi-
libria. Throughout the course these concepts are
conveyed by using examples from several fields,
including economics, politics, environmental
studies, business, and biology, and from real life.
Prerequisites: precalculus and permission of
instructor.
Health, Welfare, and Social Insurance
Economics 280 Social Policy
Sixty percent of U.S. federal government spend-
ing is on health, welfare, and retirement/disability
44 Social Studies
insurance. What are the economic reasons for
and against government intervention in these
areas? What are the various programs designed
to accomplish, and what behavioral incentives
do they actually create? How well do these pro-
grams achieve their aims? Medicaid, Medicare,
welfare, and Social Security have all undergone
sweeping changes in recent years, with more
changes on the horizon. This course examines
major social programs from an economists per-
spective. It develops theoretical models of indi-
vidual behavior and market failure, and applies
these models to U.S. policies as well as to other
countries. The semester is structured as three
separate modules covering each of the major
topics. Prerequisite: Economics 101.
Economics of Sports
Economics 285
Economics is all about the choices made by indi-
viduals, firms, and governments to cope with
scarce resources. In sports, the behaviors of con-
sumers, athletes, teams, leagues, cities, and states
are public knowledge, and in this context we can
see whether those behaviors follow patterns pre-
dicted by economic theory. A section on indus-
trial organization looks at competition within
and between leagues, as well as the impact of
monopolies, cartels, and other forms of coopera-
tion. Public sector issues include the relation-
ship between cities and their teams, team
relocation, and the costs and benefits of sports
franchises. Finally, the course examines labor
economics to shed light on how player salaries
are determined, the relationship between athlete
compensation and performance, and the pecu-
liar case of amateur and college sports.
Prerequisite: Economics 101.
Economics of Politics and Lobbying
Economics 290
An economic analysis of political decision mak-
ing, with a primary focus on the political struc-
ture within the United States. Topics include
voting behavior by representatives in Congress
and constituents at the polls, the effect of cam-
paign contributions on elections and legislators
policy choices, how national policies are
affected by individuals in the government who
have agendas of their own, and the formation
and success of lobby groups. Prerequisite:
Economics 101 or 102.
Introduction to Political Economy
Economics 299
The neo-Marxist paradigm is applied to the
study of monopoly capitalism, capitalist accumu-
lation, labor process, economic downturns and
inflation, underconsumption, and economic
stagnation. Neo-Marxist and non-Marxist anal-
yses of advanced capitalism are contrasted.
Prerequisite: Economics 102.
Topics in Microeconomics
Economics 301
An analysis of theories of price determination
and allocation of resources by the market; factor
prices, income distribution, and poverty; effects
of monopoly and imperfect competition; and
problems of the consumer society, public goods,
and social welfare.
Topics in Macroeconomics
Economics 302 GIS
An examination of advanced topics in macro-
economics and a critical review of contemporary
macroeconomic theory and models with regard
to their historical development. The founda-
tions of macroeconomic theory are studied, and
alternative approaches to economic growth, dis-
tribution, increasing returns, and endogenous
change are analyzed. Monetary and financial
aspects of macro foundations are discussed,
focusing on the work of Minsky, Tobin, Sargent,
Lucas, post-Keynesians, neo-Keynesians, new
Keynesians, and Sraffians. Readings are drawn
mainly from the primary journal literature.
Prerequisites: Economics 102 and 202.
Junior Research Conference
Economics 303
This required seminar exposes juniors to the rig-
ors and intricacies of original research in eco-
nomics, familiarizes them with the economics
literature and research methods, and provides
them with an opportunity to explore potential
topics for their Senior Projects. Student interests
determine the topics. All students read a
selected research article every week and rotate
the presentation and critique of papers and the
leading of discussions. Each student prepares a

written report of the articles he or she presents
and attends relevant academic and research
seminars in the area. Two credits. Prerequisites:
junior status and Moderation in economics.
Moderated sophomores and seniors may be
admitted with permission of the instructor,
subject to enrollment limit.
History of Economic Thought II:
Neoclassical and Keynesian Economics
Economics 310
An examination of the development of eco-
nomic thought through the past century, begin-
ning with Alfred Marshall, originator of the
graphical analysis of demand and supply. In-
depth coverage is given to the emergence of the
now dominant neoclassical (anticlassical?)
school of economic thought and the Keynesian
revolution in macroeconomic theory and policy
after 1936. Efforts to synthesize neoclassical and
Keynesian views are examined; the views of dis-
senting schools of thought are briefly reviewed.
Finally, some hard questions are considered:
How have the central issues of economic science
been defined and redefined across the centuries?
Is economics today on the right pathhave its
practitioners taken the right turns or the wrong
ones? Which analytical problems have been
resolved, and which still await solution?
Prerequisite: one economics course; 210 is recom-
mended but not required.
Seminar in National Economic Policy
Economics 311 American Studies
Social Policy
An exploration and assessment of macroeco-
nomic decision making in the United States and
throughout the world. Public policy decisions
are not made solely on the basis of economic
theory; indeed, political considerations are often
the dominant factors explaining particular
actions of the government, the Federal Reserve,
and other agencies. The seminar, using an ele-
mentary framework of macroeconomic con-
cepts, analyzes national economic events that
involve the application of policy to domestic
and international problems. Special emphasis is
placed on the use of monetary policy, fiscal pol-
icy, international trade policy, and exchange
rate policy to deal with unemployment, infla-
Economics 45
tion, budget deficits, and instability. Prerequisite:
Economics 102 or 202.
Competition, Cooperation, and
Information
Economics 317
This course covers industrial organization, from
traditional ideas to ideas on the frontier of
economic research. The traditional literature
addresses the industrial structure of the U.S.
economy and antitrust policy, monopolies, and
anticompetitive behavior. More recent work
examines the structure of firms, markets, and
organizations. Other topics include vertical inte-
gration and coordination, product differentia-
tion and patents, auctions and bidding, and
theories of advertising. The theory is examined
in the context of real-world situations, both cur-
rent and historical. Prerequisite: Economics 202.
Topics in International Trade
and Finance
Economics 323 GIS, Social Policy
An examination of advanced topics in interna-
tional economics using theory and empirical
evidence. Recent theoretical advances in under-
standing trade under imperfect competition,
strategic trade, political economy of trade policy,
and international policy coordination are dis-
cussed. Classical, neoclassical, and modern
theories are used to analyze important policy
issues such as the effect of trade on economic
growth and income distribution, international
movements of labor and capital, trade between
unequal partners, crises in emerging markets,
preferential trade agreements, and imbalances in
agricultural trade. Prerequisites: Economics 101
and 102.
Topics in Economic Growth and
Development
Economics 325 GIS
This course introduces students to the theoreti-
cal modeling of determinants of economic
growth and development. It presents a synthesis
of recent and older literature on economic
growth, income and asset inequality, poverty
and undernutrition, population growth, interna-
tional trade, and the markets for land, labor, and
credit. The analyzed models are supplemented
with empirical evidence from around the world.
46 Social Studies
Prerequisite: Economics 201 or permission of the
instructor.
Econometrics
Economics 329 GIS, Social Policy
Econometrics is the artful blending of economic
theory with statistics. Economic theory helps
develop behavioral hypotheses, while statistics
help test these hypotheses. For example, con-
sumer theory sees an inverse relationship between
price and quantity consumed; econometrics
determines whether consumers actually behave
in this way. The proper use of statistical tools,
such as linear regression, multivariate regression,
and hypothesis testing, is covered. Students
apply these tools to a variety of economic issues,
including estimating production and cost func-
tions. Prerequisites: Economics 101 and 102.
Seminar in Geoclassical Economics
Economics 330 Environmental Studies
This seminar reviews the literature of geoclassical
economics from its roots in George, Locke,
Quesnay, Ricardo, and Smith to the recently pub-
lished work of Gaffney, Stiglitz, Tideman, Vickrey,
and others. The geoclassical tradition studies the
role of land tenure and related property institu-
tions in shaping social, political, and economic
life. Its interdisciplinary research agenda includes
economic applications to environmental issues,
urban problems, economic cycles, tax policy, pub-
lic choice, the economic theory of government,
trade, debt and dependency, income distribution,
and territorial disputes. Exploring discrepancies
between geoclassical and neoclassical postulates,
we ask whether geoclassical thought constitutes a
consistent body of theory. Students present arti-
cles or excerpts from the primary literature, com-
pose short critical essays, and write a research
paper. (This course satisfies the History of Eco-
nomic Thought field requirement in Economics.)
Prerequisites: Economics 102 and either 101 or
115. Moderated environmental studies students
with related background may enroll with permis-
sion of instructor.
Labor Economics
Economics 335
This course focuses on the economic forces and
public policies that affect employment and
wages. We examine theoretical models of labor
markets and how well they hold up to real-world
empirical data. Topics emphasized include labor
demand and supply, minimum wage laws, theo-
ries of unemployment, job search and matching
models, family and life-cycle decision making,
human capital, efficiency wage theory, com-
pensating wage differentials, worker mobility
and migration, unions, and discrimination.
Prerequisite: Economics 101.
Economics of State and Local
Government
Economics 337
An exploration of the economic structure and
functions of local and state governments in a
federal system, with a focus on the United
States. Topics include local public goods; public
choice; fiscal federalism; taxes and revenues;
demand, supply, and pricing of state and local
services; public education; transportation; the
budget process; regional economic development;
and assorted policy issues. Prerequisites:
Economics 101, 202, and 237.
Seminar in Contemporary
Developments of Finance
Economics 340
This seminar contrasts the academic analysis of
financial economics with the coverage it receives
in the newspapers and on the nightly newscast.
The stories on the news are almost always con-
nected with people, whether we observe them
shouting bids on a trading floor or talking on two
phones simultaneously. Financial markets are
dominated by people behaving in many different
ways. Yet traditional finance theories concen-
trate on efficient markets, predictable prices that
are determined by the concepts of present value,
rates of return, and analysis and pricing of com-
putable risks. Human behavior has neither a
place in the theory nor a need to be studied. This
prevailing view has recently been challenged by
the new paradigm of behavioral finance that
considers the many anomalies of rational
behavior and efficiency of markets. The new
paradigm concerns itself with economic decision
making and investor psychology, and specifically
with questions relating to how and why people
exhibit a mixture of rational and irrational
behavior. The seminar examines the influence of
economic psychology in the decision-making
 Economics and Finance Dual-Degree Undergraduate Program 47
process of various agents as well as in the markets
dynamics. Several guest lecturers offer their
informed views in the development of contem-
porary finance. Prerequisites: Economics 101 and
102 or permission of the instructor.
Economic Justice
Economics 351 / Philosophy 351
See Philosophy 351 for description.
Collective Decisions
Economics 356 Environmental Studies
The course first defines a collective decision,
then classifies and evaluates the modes of collec-
tive decision making. It then develops the idea
that while the possible ways in which citizens
may vote are much more varied than might be
expected, it is important to understand what
voting cannot do in order to derive the most
benefits from it. The limitations of voting are
developed through discussions of cycles, the
Arrow theorem, and the Gibbard-Satterthwaite
theorem. Prerequisite: eligibility for Q courses.
Topics in Economic Theory and
Methodology
Economics 370
An introduction to historical and contemporary
views of the methodology and philosophy of eco-
nomic science. Works of Popper, Mill, Cairnes,
Robbins, Hutchison, Friedman, Hayek, Caldwell,
Blaug, and others are reviewed. Topics include
normative versus positive science; induction and
deduction; positivism and falsification; the role
of assumptions in economic theory; and the
nature of economic discourse. The focus is on a
methodological appraisal of the neoclassical
research program. Prerequisites: Economics 201
or 202, 210, and 299.
Health Economics
Economics 386 Social Policy, STS
This course applies economic tools to an under-
standing of the peculiar features of health care
and related markets. It begins by reviewing the
demand and supply for health outputs, and then
considers various methods for measuring the
costs and benefits of health outcomes. Sub-
sequent topics address the information asymme-
tries in health services and insurance; the
market for private health insurance (including
managed care); features of physician and other
labor markets; reasons for and effects of social
insurance programs; and questions surrounding
U.S. health care reform, including spiraling
costs and incomplete access to care.
Beyond Neoclassical Economics:
Heterodox Approaches to Economic
Theory
Economics 399
A critical survey of several schools of thought
that challenge the mainstream neoclassical
school. Approaches encountered include the
Austrian, institutionalist, feminist, humanist,
geoclassical, foundationalist, postmodern Marxist,
and Virginia schools of economic thought. An
examination of their various research agendas,
methodologies, ideologies, principles, values,
and factual claims throws fresh light on the
strengths and weaknesses of the dominant
paradigm itself. Prerequisites: Economics 201,
202, and 210.
Economics Senior Conference
Economics 402
Students writing Senior Projects in economics
are required to attend the Senior Conference,
which meets not more frequently than one
evening every two weeks throughout the fall and
spring terms. All core faculty of the Economics
Program participate. Not for credit.
Economics and Finance
Dual-Degree Undergraduate
Program
Beginning in the fall of 2007, Bard College is
offering a five-year B.S./B.A. degree program in
economics and finance. Students receive both a
B.S. degree in Economics and Finance and a
B.A. degree in one of four academic divisions:
the Arts; Languages and Literature; Sciences,
Computing, and Mathematics; or in a Social
Studies field other than economics. The pro-
gram is designed to meet the needs of students
who wish to achieve a broad education in the
liberal arts and sciences even as they prepare
themselves for careers in the financial world.
48 Social Studies
The B.A./B.S. program requires 156 credits; the
student must fulfill all general educational
requirements of the Colleges B.A. academic
program. The B.S. degree will not be awarded
unless the student also receives the B.A. degree.
However, a student may elect to step out of the
program, continuing in the B.A. program.
Hence, the dual-degree program is structured to
allow all requirements for the B.A. to be met
within four years.
Candidates for the dual degree must complete
52 credits in economics and finance, comprising
the core courses of the program: Introduction to
Microeconomics; Introduction to Macroeconomics;
Foundations of Finance and Investments; Money
and Banking; Intermediate Microeconomics; Mathe-
matical Economics; Accounting; Competition,
Cooperation, and Information; Statistics; Topics in
International Trade and Finance; Econometrics;
Seminar in Contemporary Developments of Finance;
Corporate Finance; and Capstone Experience Project
(Senior Project, B.S.).
Students will be required to complete either a
practicum in portfolio investing or a financial
planning model.
Core faculty: Dimitri B. Papadimitriou (acting
director), Sanjaya DeSilva, Kris Feder, Tamar
Khitarishvili, Andrew Pearlman, Tsu-Yu Tsao
Accounting
Economics and Finance 230
This course surveys financial and managerial
accounting. The concepts and methods of finan-
cial accounting following generally accepted
accounting principles and the effects of alterna-
tive principles on the measurement of periodic
income and financial status are covered. Recent
changes in accounting methods such as those
stimulated by manufacturing advances are exam-
ined, as are concerns about ethical standards.
Corporate Finance
Economics and Finance 341
This course analyzes the major financial decisions
facing firms. Topics include capital budgeting,
links between real and financial investments,
capital structure choice, dividend policy, and
firm valuation. Additional topics may include
issues in value and risk; debt financing; risk
management; corporate governance; managerial
incentives and compensation; and corporate
restructuring, such as mergers and acquisitions.
Environmental Studies
Environmental studies begins with the recog-
nition that our planets long-term prospects
depend crucially on how we negotiate the ten-
sion between human needs and the intricate sys-
tems of the biosphere. No single discipline is
sufficiently broad to provide an adequate under-
standing of the interactions of humans with the
natural and built environments. We approach a
common set of problems from multiple perspec-
tives. Environmental studies is therefore inter-
disciplinary, requiring a footing in both the
social sciences and the natural sciences. Our
work draws on such fields as economics, history,
political science, sociology, anthropology, archae-
ology, biology, ecology, geology, and philosophy.
The program was initiated in 1971 as Com-
munity, Regional, and Environmental Studies.
It sought to take advantage of Bards setting in
the scenic Hudson Valley, which some histori-
ans consider the cradle of the modern environ-
mental movement. The Hudson River, its
estuaries and wetlands, the Catskill Mountains,
the valley communities, and other historical and
natural resources have provided a laboratory for
empirical research. Students and faculty have
endeavored to measure the social and environ-
mental impacts of residential sprawl, commercial
development, and population growth on a region
in which wilderness and rural landscapes sur-
round historic sites. Senior Projects have
addressed, for example, the twin problems of
suburban sprawl and urban blight; the history
and impact of land-use planning; the viability of
small communities; transportation; tourism;
watershed protection; habitat loss; farmland
loss; agricultural and industrial pollution of the
Hudson River and other waterways; the risks
and benefits to local residents of nuclear power
stations, industrial plants, and landfills; and the
politics and economics surrounding the provi-
sion of municipal and social services.

Increasingly over the years, however, students
and faculty in the program have taken a more
global perspective in their research. Recent
courses, tutorials, and projects have addressed
such issues as the global ecology of disease and
epidemics; the consequences of alternative prop-
erty systems for environmental sustainability
and the distribution of wealth; the effects on
human health of exposure to environmental
contaminants; environmental racism; globaliza-
tion; deforestation; the decline of fisheries;
species extinction; and international efforts to
protect the global environment.
Bard College is home to the Bard Center for
Environmental Policy, Hudsonia, and the Bard
College Field Station. Environmental Studies
has links to the Bard Globalization and Inter-
national Affairs Program in New York, the Bard
Human Rights Program, and a rich variety of
internship and junior-year abroad programs.
Students can also draw on the resources of the
Franklin D. Roosevelt Presidential Library, Cary
Arboretum, Institute for Ecosystem Studies, and
laboratories of The Rockefeller University.
Program Requirements
Three courses are required for Moderation into
environmental studies: Environmental Studies
101, Introduction to Environmental Studies;
Biology 142, Organismal Biology, or an accept-
able substitute (consult with program faculty);
and an environmental studies class at the 200-
level or higher. Environmental Studies 101 is
offered every fall.
At Moderation the student selects an area of
concentration, discusses preliminary ideas for
the Senior Project, and presents a plan of study
that organizes Upper College courses and tutori-
als around a coherent theme in environmental
studies. The student should identify one or two
primary disciplines that will provide an intellec-
tual foundation for addressing an articulated set
of research questions.
Environmental studies students are encouraged
to participate in relevant internships, commu-
nity service projects, and study abroad programs
during the junior year and/or the summers.
Environmental Studies 49
These opportunities should be discussed at
Moderation.
Graduation requirements beyond the Modera-
tion requirements include a second environ-
mental studies course in natural science; a
course in quantitative empirical methods; a sec-
ond environmental studies course at the 200-
level or higher (at least one of these courses must
be in economics); at least two Upper College
courses in the students primary discipline;
enrollment in the Environmental Studies Research
Seminar, normally during junior and senior
years; and an appropriate Senior Project.
The Environmental Studies Research Seminar
(Environmental Studies 399/400) meets one
evening per week during the spring semester.
Students moderated in environmental studies
normally must enroll in Environmental Studies
399 during the junior year and Environmental
Studies 400 during the senior year, for two cred-
its each spring. Students who are studying off
campus during the spring of their junior year
may take Environmental Studies 400 only.
The Senior Project should address an empirical,
theoretical, philosophical, or applied problem
relevant to environmental studies. Students
should choose research questions that utilize
their disciplinary course work in the social or
natural sciences, but should also discuss the
implications of the research for environmental
policy, practice, theory, or education from an
interdisciplinary perspective.
At least two members of both the Moderation
and Senior Project boards must be members of
the Environmental Studies Program faculty, and
at least one member should represent (one of)
the students primary discipline(s).
Core faculty: Mark Lindeman (director; social
studies), Sanjib Baruah (political studies),
Daniel Berthold (philosophy), Diana De G.
Brown (anthropology), Sanjaya DeSilva (eco-
nomics), Michle D. Dominy (anthropology),
Kris Feder (economics), Felicia Keesing (biol-
ogy), Christopher R. Lindner (archaeology),
Mark Lytle (history), William Maple (biology),
Yuka Suzuki (anthropology)
50 Social Studies

Recent Senior Projects in Cultural Politics of Animals

Environmental Studies
A Thousand Kernels: Corn and Modern
America
From Naturalness to Native Diversity: Grizzly
Bear Management, Agency Mandates, and
Ecosystem Health in Greater Yellowstone
Garbage in Gotham: The History, Politics, and
Geography of Trash in New York City
Land Use and Water Quality in the Hudson
Valley: A Scientific and Educational
Program
Seeds of Subsistence: An Ecological
Interpretation of the Recovery of
Archaeological Plant Remains at a
Prehistoric Site in the Hudson Valley
Truth, Justice, Soil, and Water: Industrial
Agriculture and the Aral Sea
Anthropology 337 Environmental Studies
See Anthropology 337 for description.
Field Study in Natural History
Biology 130 Environmental Studies
See Biology 130 for description.
Organismal Biology
Biology 142 Environmental Studies
See Biology 142 for description.
Introduction to Microeconomics
Economics 101A Environmental Studies
See Economics 101A for description.
Experimental Microeconomics
Economics 101E Environmental Studies
See Economics 101E for description.

Introduction to Environmental Introduction to Macroeconomics

Studies: Land Economics 102A Environmental Studies
Environmental Studies 101 See Economics 102A for description.
Land is a basic source of life and sustenance. For
humans, it is a finite and contested resource, and Urban and Regional Economics
many observers worry that human impacts on the Economics 226 Environmental Studies
land gravely threaten other species. This course See Economics 226 for description.
considers such topics as the ecological impacts of
agricultural subsidies, political struggles over the Statistics
management of public lands, geology pertinent Economics 229 Environmental Studies
to landfill remediation, the effects of habitat frag- See Economics 229 for description.
mentation on species extinction rates, trends in
deforestation and reforestation, and the impacts Economics of the Public Sector
of and possible alternatives to the Green Revo- Economics 237 Environmental Studies
lution. Occasional guest speakers and widely See Economics 237 for description.
varied readings provide the foundation for class
discussion, lectures, student presentations, and Environmental Economics
writing assignments. This core course, whose Economics 242 Environmental Studies
central theme changes each semester, is required See Economics 242 for description.
for Moderation into the Environmental Studies
Program. Environmental Ethics
Philosophy 256 Environmental Studies
Historical Archaeology See Philosophy 256 for description.
Anthropology 212 Environmental Studies
See Anthropology 212 for description. Environmental Politics in the
United States
Environment, Development, and Political Studies 260 Environmental
Power Studies
Anthropology 224 Environmental Studies See Political Studies 260 for description.
See Anthropology 224 for description.

Research Methods in Pyschology
Psychology 204 Environmental Studies
See Psychology 204 for description.
Introduction to Sociology
Sociology 101 Environmental Studies
See Sociology 101 for description.
Inequality in America
Sociology 120 Environmental Studies
See Sociology 120 for description.
Introduction to Research Methods
Sociology 205 Environmental Studies
See Sociology 205 for description.
Tools for Analysis: Geographic
Information Systems
BCEP 308 STS
This course, offered in cooperation with the
Bard Center for Environmental Policy (BCEP),
is designed to provide students with a compre-
hensive review of Geographic Information
Systems (GIS), Global Positioning Systems
(GPS), and remote sensing technologies as they
apply to many environmental fields. Students
learn the fundamental theory underlying the
structure and use of GIS. Through a mixture of
lectures, readings, and hands-on exercises, stu-
dents acquire an understanding of the structure
of spatial data and databases, basic cartographic
principles, how to conduct spatial analysis, and
the methods for developing sound practices for
GIS project design and management. The
course focuses on examples of how GIS and
related geotechnologies are used in conservation
planning, environmental management, and
urban/regional planning. Open to Upper College
(moderated) students. Prerequisite: permission of
the director of the BCEP.
Chinas Environmental Studies,
Planning, and Management
Environmental Studies 382 Asian Studies
Environmental protection in China began in
the 1970s and was declared a basic national pol-
icy in the 1980s. As economic growth, industri-
alization, and urbanization have accelerated in
recent years, China faces new challenges in bal-
ancing this growth with environmental protec-
tion and natural conservation, even as it has
Historical Studies 51
committed itself to a sustainable development
policy. This Upper College seminar considers
the new and extensive literatures on Chinas
environment and urban ecology. Among the
questions addressed are: What is the extent and
variety of environmental pollution and ecologi-
cal degradation in China? How have urbaniza-
tion and industrialization affected Chinas
environmental quality? What is the framework
of environmental protection policy in China?
What strategies and actions are being used in
China to promote sustainable development
and international cooperation? Discussion and
assigned readings are in English, but students
with Chinese language skills are encouraged to
introduce additional materials from China into
the class.
Environmental Studies Research
Seminar
Environmental Studies 399-400
American Studies, Social Policy
This seminar is required for students moderated
in Environmental Studies. The seminar provides
a forum for interdisciplinary contact among
scholars who approach similar problems from
diverse perspectives. Students and faculty share
tips on research methods and sources, academic
writing, and strategies for designing and execut-
ing a successful project. The course meets one
evening per week every spring semester.
Students are expected to take the seminar twice,
during their junior and senior years. Prerequisite:
Upper College status.
Historical Studies
The Historical Studies Program emphasizes the
importance of time and place in reconstructing
the human past in its diversity and multiplicity.
The program focuses primarily, but not exclu-
sively, on political, social, economic, and cultural
aspects of history. It seeks to develop in students
an understanding and appreciation of the past. As
an interdisciplinary program, it encourages
students to examine history through the prism of
other relevant disciplines (for example, sociology,
anthropology, economics, philosophy) and
52 Social Studies
different forms of expression (art, film, literature,
drama, architecture). The program also introduces
students to a variety of methodological perspec-
tives used in historical research and to philosophi-
cal assumptions about men, women, and society
that underlie these perspectives.
The program offers a variety of study plans,
which can be divided into the following major
categories: national, regional, or local history
(for example, American, European, Asian,
Russian); period-oriented history (ancient,
medieval, early modern, modern); and topical
and disciplinary specializations (environmental
history, urban history, diplomatic history, ethnic
history, African American history, history of gen-
der and sexuality, history of ideas, history of sci-
ence and technology). An individual study plan
may be further subdivided into specific areas of
concentration. The program also encourages
students to explore and develop individualized
study plans that reflect their particular interests.
Students who major in historical studies are
expected to fulfill two kinds of requirements:
general requirements for the program as a whole
and special requirements of individual study plans.
General requirements include the following.
Before graduation, students must take a global
core course. In the Lower College, students are
expected to take three or four history courses
covering different regions and time periods and
using a variety of historical research methodolo-
gies. For Moderation, students are required to
submit the standard two short papers and a
sample paper on a historical subject. By the time
of their graduation students must have com-
pleted from six to eight history courses covering
at least three world areas and one period prior to
1800. As part of the preparation for their Senior
Project, students should take in their junior year
a Major Conference in which they write a
research paper.
The historical studies course list that follows is
divided into seven categories: global history;
American history; ancient, medieval, and early
modern European history; Asian history; Middle
Eastern history; Russian and Soviet history; and
modern European history. Within most categories,
courses begin at the 100 level and continue up
through 300-level seminars.
Core faculty: Myra Young Armstead (director),
Leon Botstein, Robert J. Culp, Carolyn Dewald,
Tabetha Ewing, David Kettler, Cecile E. Kuznitz,
Mark Lytle, Gregory B. Moynahan, Joel Perlmann,
Gennady L. Shkliarevsky, Alice Stroup
Tutorials and Major Conferences
Current Major Conferences in historical studies
are described in the course listings that follow.
Other conferences and selected tutorials from
the past two years give an indication of the range
of individual study.
Alexis de Tocqueville: Writings
Gramsci and Cultural Marxism
Hollywoods Golden Era
Hookes Micrographia in Context
The Age of Roosevelt
The Decision to Drop the Bomb
Women Writing Early Modern Italy
Recent Senior Projects in
Historical Studies
Just War, Unjust Means? The Ethical and
Historical Dimensions of Moral Bombing
La Donna E Nata Per Essere Mamma: The
Gender, Ethnic, and National Identity
Transformations of South Philadelphias
Italian-American Women during the Second
World War
The Colonial Politics of Respectability:
Discipline and Reform in German Southwest
Africa 18841914
The Context of a Method: The Game
Theoretic and Interwar Vienna
The Generation of Imagined Worlds: Travel,
Politics, and Tourism between Cuba and the
United States in a Global World
Understanding the Red Guards Motivations
during the Cultural Revolution
Whose National Myth? American Fugitive
Slaves and Draft Resisters in Canadian
Historiography

Global History
Revolution
History 1001 Human Rights
What is revolution? Why does it happen? Where
and when have revolutions occurred, and to
what effect? This course addresses these ques-
tions by exploring revolutions in Europe and
Asia during the past five centuries. It analyzes
and compares some of the most iconic and influ-
ential revolutions in world history, including the
French Revolution of 1789, the Bolshevik Revo-
lution of 1917, and the Chinese Communist
Revolution of 192149. Other revolutionary
events are examined as to their cause and
impacts, including the German Peasant Revolt
of 1525, the 1905 Revolution in Russia, Chinas
Cultural Revolution, the protests by students
and intellectuals that rocked continental Europe
in 1968, and the velvet revolutions and near
revolutions that transformed state socialism in
1989. Links or lines of influence between revo-
lutionary movements are established, and the
ways that particular revolutionary movements
contributed to a shared repertoire of revolution-
ary thought and action are explored.
City Cultures
History 139
Examining the built environment of cities is a
powerful method for uncovering the social and
cultural dynamics that shaped the past of urban
populations. This course looks comparatively at
five cities in the United States and Western and
Eastern Europe, considering a variety of physical
structures and spaces from the preindustrial,
industrial, and postindustrial eras. Students
examine features of the urban landscape, includ-
ing parks, tenements, cafs, skyscrapers, street
corners, worlds fairs, freeways, museums, court-
yards, and even sewers. They read these sites
for what they reveal about urban life across time,
including such issues as economic changes, tech-
nological innovation, new forms of leisure,
changing relationships to the environment, the
development of working class culture, and the
imposition of political hegemony. Cities to be
studied include Paris, Chicago, New York, Los
Angeles, and Vilna.
Historical Studies 53
African Encounters
History 148 / Africana Studies 148
Anthropology, Human Rights, SRE
See Africana Studies 148 for description.
The History of Sexuality
History 167 GSS, Human Rights
The purpose of this course is to develop a crucial
understanding of how definitions of human sex-
uality have evolved in particular social and
national contexts, how social concerns about
sexuality have been played out in personal and
political realms, and how a wide range of sexual
identities have been constructed in different his-
torical contexts. Various issues in the history of
sexuality, which cover a broad range of theoreti-
cal and thematic questions, are explored. The
focus is primarily on Western Europe and North
America in the 19th and 20th centuries.
The History of Medicine and
Psychiatry
History 172
This course offers a survey of the history of
Western medicine through its changes and con-
tinuities, from its beginnings in ancient Greece
to the 19th century. The history of psychiatry is
considered an integral aspect of the history of
medicine: the class charts the development of
psychiatry through the key concepts that have
shaped assumptions about the nature of emo-
tion, mental illness, and the relation of the brain
and the mind. The course focuses on how the
body and the embodied mind have been mapped
and cared for over the centuries, and on the
fraught and often inconsistent relation between
medical theory and medical practice. It addresses
the role of the history of reason in identifying
correlations between symptoms and causes and
in understanding those in whom health or rea-
son has failed. Sessions are mainly conducted on
the basis of the study of assigned primary texts,
from antiquity to the 19th century, and informed
by relevant secondary literature. They are struc-
tured chronologically but focus on such key con-
cepts as psyche, pneuma, humor, spirit, vital
force, nervesall presented as markers to iden-
tify the continuities and ruptures in the beliefs
that have informed the theory and practice of
medicine and psychiatry.
54 Social Studies
The Cold War
History 190 GIS, Human Rights, RES
Like two scorpions, the Soviet Union and the
United States warily circled each other in a
deadly dance that lasted more than half a cen-
tury. In a nuclear age, any misstep threatened to
be fatalnot only to the antagonists, but also,
possibly, to the entire human community. What
caused this hostile confrontation to emerge from
the World War II alliance? How did the Soviet-
American rivalry affect the international com-
munity, and why, after more than 50 years, did
the dance end in peace rather than war? This
course reconsiders the Cold War by simultane-
ously weighing both the American and Soviet
perspectives on events as they unfolded. It exam-
ines key documents of the era and looks at
Stalinism, McCarthyism, the nuclear arms race,
the space race, the extension of the Cold War
into the Third World, the rise of American hege-
mony, Vietnam and Afghanistan, Star Wars,
and the effort to reach strategic arms limitation
agreements. Finally, it challenges the claims of
American conservative ideologues that the
Reagan arms buildup won the Cold War.
Cultural Politics of Empire:
The Case of British India
History 2103 Anthropology, GSS,
Victorian Studies
This course focuses on the reciprocal impact
that Britain and India had on each other as a
result of the British imperial presence in India
from the mid-19th century until decolonization
in 1948. No other colony was more prized or the
object of more fantasy than India, The Jewel in
the Crown. Imperialism, however, did not only
profoundly change the cultures of the Indian
subcontinent, but also the British people them-
selvesboth those who were firsthand partici-
pants (soldiers, administrators, entrepreneurs,
etc.) and those who never left Britain. Domestic
politics, science, popular culture, and education
were all changed irrevocably by the imperial
project. In India, sites of resistance to the British
were also sites of negotiation, where the rhetori-
cal model of the Enlightenment and the central
tenets of British liberal ideology were adopted
and recast to give voice to the Indian nationalist
movement.
Making of the Atlantic World
History 2113 American Studies, SRE
The Atlantic World encompasses the histories
of the peoples, economies, ideas, and products
that interacted around the oceanic basin in the
early modern period. This was an international
arena that shaped or destroyed new communities
and developed as a result of voluntary and invol-
untary movement. If the rhetoric of empire ush-
ered in the birth of the Atlantic World, today
we live with the mature, and lasting, effects and
memories of these vital interactions. This course
considers the histories of the actors and agents
who shaped or were shaped by Atlantic systems,
and investigates the implications of how we
write or remember that history.
Contending with the Modern:
Russia, the Soviet Union, and the
United States, 19151940
History 2118 American Studies, RES
Until the end of the Cold War in 1989, the
United States and the Soviet Union represented
themselves as two antipodal societies, one capital-
ist, the other socialist. Yet, in the period between
1910 and 1940 these societies faced common
challenges associated with urbanization, transi-
tion from largely rural agricultural and resource-
extractive economies to industrial ones, and the
emergence of mass political mobilization. This
course, which is offered under the auspices of the
Bard-Smolny Virtual Campus Project, challenges
students to address some simple questions that
may prove difficult to answer. Were the Soviet
and American experiences with modernization
more different or alike? Can one speak of moder-
nity in the singular, or may there be different
paths for socioeconomic change and sustained
growth of modern societies? How can one under-
stand human suffering in the process of transition
to modern technological society? These and
other questions are addressed through the use of
innovative technologies, including live video-
conferencing, which establishes a direct exchange
with students taking the same course concur-
rently at Smolny College in St. Petersburg, Russia.

From Sun-Tzu to Suicide Bombing:
The Evolution and Practice of Military
Strategy, Tactics, and Ethics from
Ancient Times to the Present
History 2500 Human Rights
From Sun-Tzus China and Caesars Rome to the
rise of popular or total war that began with 1948 and the successor conventions that ulti-
the French Revolution, and on into the unprece-
dented destruction of global war in the 20th cen-
tury, these and related questions have persisted:
What constitutes a professional army, as opposed
to a band of well-armed criminals? When, if ever,
should civilians be considered legitimate targets
and players in war? What military means can the
international community, or even a single nation
seeking the status of legitimate power, reasonably
and ethically employ in the face of vital threats?
Can certain tactics in war be labeled aberrant?
Should their authors be punished by nonpartici-
patory organizations and nations? Certain times
have produced leaders who have met the problem
of reforming and controlling war with greater suc-
cess than others: why? And why has our own
ostensibly advanced modern age experienced so
little success in this area?
Insurgency and Counterinsurgency
History 2505
This course reviews the evolution of insurgen-
ciesunconventional armed uprisings against
established imperial and national authorities
from ancient times to the present. It culminates
in an examination of the Iraqi insurgency (or
insurgencies), as well as an analysis of the efforts
by various high-ranking officials within the
American government to reclassify the global
war on terrorism as response to a global Islamist
insurgency. Have insurgency and counterinsur-
gency, in the modern world, actually replaced
war as we have known it for centuries? The
course considers some ancient examples, but
concentrates on the centuries following the
establishment of the great European empires,
especially the postWorld War II world. Texts
include historical works, as well as classic insur-
gency tracts from China, Vietnam, and official
American, British, and French counterinsur-
gency manuals.
Historical Studies 55
Liberty, National Rights, and Human
Rights: The Origins and Implications
of Human Rights Law, Institutions,
and Policy in the Modern Period
History 2702 GIS
Both the UN Declaration of Human Rights in
mately formed the International Bill of Human
Rights were created in reaction to the problems
of genocide and mass population transfers during
World War II. This course begins by examining
the fatal gaps in the previous system of nationally
instantiated universal rights as they were ini-
tially developed in Europe. Topics include the
creation of national rights from the treaty of
Westphalia through the British, American, and
French revolutions, and the relation of these
rights to colonial administration; the postwar
institutions of human rights; the relation of
human rights to hegemonic power; and the roles
of media, systems of organization (passports,
criminal archives), and police as modern transna-
tional phenomena that are intimately connected
with the development and fate of enforcing
human rights norms. The role of international
NGOs in both monitoring human rights and
criticizing the state of existing human rights law
is also considered.
Political Ritual in the Modern World
History 3103 Anthropology,
Asian Studies, Human Rights
Bastille Day, the U.S. presidential inauguration,
Japans celebration of victory in the Russo-
Japanese War, and rallies at Nuremberg and at
Tiananmen Square: in all these forms and many
others, political ritual has been central to nation-
building, colonialism, and political movements
over the last three centuries. This course uses a
global, comparative perspective to analyze the
modern history of political ritual. Students
explore the emergence of new forms of political
ritual with the rise of the nation-state in the
19th century and track global transformations in
the performance of politics as colonialism spread
the symbols and pageantry of the nation-state.
Central topics include state ritual and the per-
formance of power, the relationship between rit-
ual and citizenship in the modern nation-state,
the ritualization of politics in social and political
56 Social Studies
movements, and the role of mass spectacle in the
construction of both fascism and state socialism.
Plague!
History 3112 Human Rights,
Medieval Studies, STS
The cry Plague! has struck fear among people
around the world, from antiquity to the present.
What is plague? How has it changed history?
Starting with Camus metaphorical evocation of
plague in a modern North African city, this
Upper College seminar examines the historical
impact of plague on society. It focuses on
bubonic plague, which was epidemic throughout
the Mediterranean and European worlds for 400
years, and which remains a risk in many parts of
the world (including the southwestern United
States) to this day. Some topics explored are a
natural history of plague; impact of plague on
mortality and socioeconomic structures; effects
on art and literature; early epidemiology and
public health; explanations and cures; the con-
temporary presence of bubonic plague; and fears
about new plagues. Readings include literary
works by Boccaccio, Camus, Defoe, and Manzoni;
historical and philosophical analyses by Lucretius
and Thucydides; and contemporary literature on
history, biology, and public health.
Migration and Identity in the
Modern World
History 3142 American Studies, Human
Rights
Human migration predates recorded history. For
the purpose of this course, however, students
concentrate on the age of modernity, roughly
between 1850 and the present day, which is
defined, in part, by the increased volume and
speed of peoples movement. Rather than focus
on immigration, the course concerns itself with
the experiences of moving through space and
across cultures. Articles, primary source docu-
ments, film, and photography are enlisted to try
and better understand the impact of movement
on the identity of individuals and communities
and whether that impact is historically signifi-
cant. Has it made any difference whether people
migrated voluntarily or not? Have migrating
peoples thought differently of their identities
before and during their journey? These and
other questions are considered.
Perspectives of War: The Pacific War
through Japanese and American Eyes
History 3143 Human Rights
This course considers the same historical period
through Japanese as well as U.S. eyes. Source
materials include histories, eyewitness accounts,
novels, and films made during the war itself and
afterwards. Various types of propaganda, as well
as national and political biases, are analyzed.
Controversial events, such as the Nanjing
Massacre and the bombings of Pearl Harbor,
Hiroshima, and Nagasaki are studied from differ-
ent national and political perspectives. The
course reviews U.S. debates on the first atomic
bombing and the continuing controversies in
Japan over school textbooks and memorials.
Books include John Dowers War Without Mercy,
Ian Burumas Inventing Japan, and novels by
Shusaku Endo and Kenzaburo Oe. Wartime
Japanese films, such as Sea Battle in Hawaii and
Malaya (about Pearl Harbor), are analyzed, as
are postwar anime films, such as Grave of the
Fireflies, and others.
Topics in the History of Modern
Economics, Technology, and Science
from Standard Time to the Internet
History 3230 GIS
This course explores the history of infrastruc-
turessuch as those of communication/infor-
mation, transportation, energy, and military
organizationto introduce pivotal themes in
the contemporary history of science and tech-
nology, science studies, and social-institutional
history. Its definition of infrastructure embraces
both the explicit set of practices, systems, and
technologies that provide the conditions for the
possibility of modern social life and the implicit
contexts (environmental, cultural, and psycho-
logical) that these planned structures reveal.
General themes include the increasing place of
ethics in constructing infrastructures, the role of
the arts in revealing the forgotten infrastruc-
tures on which modern life is based, and the
problem of complexity in contemporary histori-
ography. Some specific infrastructures studied
include those relating to the modern financial
system, the urban newspaper, the concentration
camp, and the Internet. Among the authors read
are Edwards, Habermas, Haraway, Hughes, Latour,
Luhmann, Rabinbach, and Simmel.

War, Old Media, and Performance
History 3235 Human Rights
This course traces the history of the militarization
of European society and its close relationship to
the rise of new media on the eve of the modern
era. Against the backdrop of its unspeakable
enactment, war incited discourse and, perhaps,
invented the modern public. Students explore
how that invention and how the ethos of war
entered into such everyday and pleasurable prac-
tices as listening to music, theatergoing, dancing,
sex, and gambling. The first half of the seminar is
structured around intensive readings; the second
half focuses on student projects.
American History
American Bedrock
History 104 American Studies
This foundation course in the history of the
United States from the start of the colonial
period in 1607 through the Gilded Age (circa
1890) focuses on the following themes: the
emergence of a national idea and tensions
within it, industrialization and the emergence of
the middle class, the reform/perfectionist impulse
in American life, the evolution of ethnicity and
race as socioeconomic categories, and develop-
ing American imperatives in foreign relations.
Race as a Variable in History:
The African American Case
History 115 Africana Studies, American
Studies
This course explores the significance of race as a
variable in history by using African Americans
during slavery and freedom, from the colonial
period to the present, as a case study. Among the
crucial questions it addresses are: What is race?
When and how did Africans brought to British
North America first get raced or become a
racialized people? Who and what is responsible
for the perpetuation of black racializationpeo-
ple and forces outside the black community,
and/or those within the black community? To
what extent have popular and formal conceptual-
izations of blackness as a racial category changed
over time? To what extent has race served any
purpose in American society? While these and
other questions focus on African Americans, per-
Historical Studies 57
tinent experiences of other groups (ethnic and
white) are considered as well.
The Politics of Culture
History 131 American Studies
This course develops the assumptions that
Americans define their differences more
through their culture than their politics. Those
differences are sometimes muted and at other
times inflamed by the role of culture in the mar-
ketplace. Studies focus on the development of
modern media, popular culture, advertising,
gender roles, and official efforts to suppress cul-
tural differences. Readings include novels and
stories by F. Scott Fitzgerald, Mary Gordon, J. D.
Salinger, Mark Twain, and others who have had
a keen sense of the sources of cultural conflicts.
Inventing the Self in Early America
History 163 American Studies
This course examines how a disparate cast of
peoplefrom famous Americans such as
Benjamin Franklin, Mary Rowlandson, and
Frederick Douglass to long-forgotten figures
such as Andrew Montour, Stephen Arnold, and
Hannah Bernardconstructed personal identi-
ties in the messy world of early American his-
tory. Students explore the processes of personal
identity formation, question the degree of flexi-
bility people had in making their selves, and
work to connect these individual actors to larger
changes in racial, gendered, and national identi-
ties. Course work includes autobiographical
writings, visual images, and some secondary his-
torical essays.
Making Modern America
History 165
The rise of industrial capitalism in the late 19th
century deeply transformed the United States.
Railroad and telegraph lines linked the nation,
connecting small towns to urban centers.
Factories grew in size and number. Millions of
immigrants from Asia, Latin America, and
Europe settled in the States, and cities grew in
size and increasingly dominated the surrounding
countryside. At the same time, the country pur-
sued, for the first time, overseas imperial ven-
tures. All of these changes provoked conflict.
This course explores how different Americans
dealt with this new world in the first part of the
58 Social Studies
20th century. It focuses on Americans interac-
tions with industrial capitalism and the changes,
crises, and inequalities that stemmed from it.
Readings are drawn from a variety of sources,
including histories of black women in North
Carolina, gay men in New York, workers in
Chicago, and farmers on the Great Plains, along
with novels, poems, paintings, and films. By
examining their struggles for order, justice, and
dignity, the class investigates how these people
and others made modern America.
U.S. History since World War II
History 166
A topical and thematic approach to post-1940
United States history, including Cold War poli-
tics and culture, the rise and decline of New
Deal liberalism, the power shift to the suburbs
and Sunbelt, social movements of the Left and
the Right, the triumph of marketing and con-
sumer culture, and the era of globalization and
its discontents. The main emphasis is the inter-
section of politics, culture, and society in recent
U.S. history. The course addresses questions
such as: Why did consumerism triumph in post-
war America? What happened to the power base
of organized labor? How have civil rights, femi-
nism, environmentalism, the Christian Right,
and other grassroots movements/interest group
politics changed American society? How are
Latinos and other new immigrant groups chang-
ing contemporary politics? Did the 1990s really
mark the triumph of the new economy? What
global arrangements have replaced the Cold
War framework? Class materials include primary
and secondary historical sources as well as short
fiction, films, and documentaries.
Inventing the U.S.-Mexico Border
History 2036 American Studies, LAIS,
SRE
The border is the physical boundary line that
marks the geographic separation between the
United States and Mexico. It is also a place: a
borderland where Mexican and American poli-
tics, cultures, and societies meet, interact, and
conflict. This course examines both ideas of the
border: the making and enforcing of a boundary
line and the place made by those who live on
both sides of it. It explores how multiple things
and peopleincluding national governments,
Hollywood and the Mexican cinema, and writers
and poets living in the borderlandshave
sought to define and control the border through-
out its history.
Open and Closed: The History and
Conduct of Intelligence in the United
States, from the Revolution to the
War in Iraq
History 2119
Aldrich Ames, one of the U.S. intelligence
communitys greatest double-agents, declared
following his capture in 1994 that the espi-
onage business, as carried out by the CIA and a
few other self-serving agencies, was and is a self-
serving sham. The inability of the CIA or any
other U.S. intelligence service to predict almost
every meaningful turn in world affairs since 1947
seems to bear him out, but not entirely. There do
exist departments within each intelligence
agency that have served America well: the
much-maligned research and analysis (R&A)
teams. This course examines the roots of the
dual nature of American intelligencethe
flashy operational side and the anonymous but
more important R&A teams. While operative
intelligence relies primarily on closed or classi-
fied intelligence, R&A teams exploit the value
of open intelligenceinformation available to
almost anyone who cares to go looking for it, in
the media, online, etc. Students establish their
own agency based upon open intelligence to
try to determine whether espionage makes any
difference at all, or if America could not drasti-
cally reduce its intelligence expenditure by
focusing primarily on open intelligence.
Vietnam and Iraq: Wars of Mass
Deception
History 2124 Human Rights
Since World War II, the United States has
fought two controversial and widely unpopular
wars: Vietnam and the 2003 war in Iraq. Both
wars began with presidential deception (the
Gulf of Tonkin and WMDs) to justify a crusade
against a global enemycommunism, and then
terrorism. In both wars, U.S. forces became
bogged down in battles against an elusive enemy
and inflicted serious casualties on the civilians
whose hearts and minds would ultimately deter-
mine the outcome. My Lai and Abu Ghraib
brought into doubt the legitimacy of each war.
And both wars generated a split in domestic

public opinion between the desire to support
our troops and the sense that the war was both
ill-advised and unwinnable. The primary focus
here is on Vietnam; a secondary concern is to
determine if that war offers lessons that can help
us understand the war in Iraq.
American Immigration
History 214 Africana Studies,
American Studies, Human Rights,
Social Policy, SRE
An examination of contemporary immigration to
the United States, in terms of the dynamics of
contact between the immigrants and the society
they have entered. The course explores where the
immigrants come from; how and why they come;
the radically different ways in which they enter
the American economy; how they seek to preserve
or shed cultural distinctiveness and ethnic unity;
and how their children are faring. The changes in
American politics and law that made the immigra-
tion possible, political movements that have
opposed the immigration, social and public policy
issues involved in how immigrants influence the
larger American societyin both economic and
cultural termsare examined. The experience of
the largely nonwhite immigrant population with
American racial divisions, as well as competition
and alliances between immigrants and native-
born blacks, are considered. Readings are drawn
from social science, memoirs, fiction, policy
debates, and other sources.
The Fabulous Fifties
History 230 American Studies
This course measures the impact of the Depres-
sion and New Deal legacies and the Cold War
consensus on the United States after World War
II. It examines areas of popular culture (rock and
roll), intellectual trends, social trends, and poli-
tics (the Fair Deal and McCarthyism) as they
were affected by American efforts to find secu-
rity in the face of rising prosperity and the com-
munist menace.
American Urban History
History 232 Africana Studies, American
Studies, Environmental Studies
An examination of urbanization in the United
States as a social process best understood by
relevant case studies. Topics include the estab-
Historical Studies 59
lishment of the nations urban network, the
changing function of cities, the European roots
of American city layout and governance, urban
social structure, the emergence of urban culture,
and American views of cities.
The Sixties
History 237 American Studies,
Integrated Arts
This course examines the irony of increasing
political dissent and violence in an era of rela-
tive prosperity. It touches on such topics as civil
rights, media and politics, narcissism, the Cuban
missile crisis, youth alienation, popular culture,
and the feminist movement. It takes an in-depth
look at the presidents who left their mark on the
decadeJohn Kennedy, Lyndon Johnson, and
Richard Nixonas well as the most disruptive
crisis of the postWorld War II years, the war in
Vietnam.
The Conservative Revolution:
America from Watergate to Cyberspace
History 238 American Studies
One historian wrote of the 1970s, It seemed
like nothing happened. We now know that in
that decade and the period that followed America
was transformed in profound ways. This course
focuses on the key dynamic informing this
period, the struggle over the legacy of the 1960s
in both politics and culture. It turns out a great
deal did happen in the 1970s and after: the
New Deal coalition collapsed during the Reagan
Revolution, cable transformed television, the
personal computer and the Internet created a new
information culture, fundamentalist Christians
became a defining force in American politics,
the sexual liberation movement confronted
AIDS, the Cold War ended, and the United
States struggled to understand its role in the
New World order.
Jews in American Society,
1880 to the Present
History 258 American Studies,
Jewish Studies, SRE
The great waves of East European Jewish migra-
tion west after 1880 constitute a major event in
the modern history of the Jews and of the
United States, creating a large and important
American social group. This course examines
60 Social Studies
Jewish social and cultural transformations dur-
ing the succeeding century. Throughout the
course, the following (overlapping) questions
are kept in mind: What major developments are
shared with other immigrant and ethnic groups,
and what is distinctive to the Jews (as a people,
civilization, or religion)? And what meanings
does Jewishness have for American Jews as
their social conditionsand the wider culture
change across generations? Substantively, the
course considers such major themes as the pat-
tern of migration and cultural amalgam of the
Yiddish immigrant generation; the rapid
upward mobility of American Jews as well as
their concentration on the political left; anti-
Semitism and American Jewish behavior during
the European Holocaust; the meaning of inter-
marriage to couples, their children, and the cul-
ture of the group; and evolving attitudes toward
Israel over the past half century and their impact
on American foreign policy.
American Environmental History:
Nature, Ecology, Conservation
History 280A American Studies,
Environmental Studies
Since the Old World first encountered the New,
a battle has raged over what this New World
might become. For some, it meant moral and
spiritual rejuvenation. For most, it meant an
opportunity to transform material circum-
stances. At no time have those two visions been
compatible, despite the best efforts of artists and
scientists to reconcile them. This course is about
that battle. It looks specifically at the United
States and the attempts to fashion a scientific or
aesthetic rationale for the use and abuse of natural
resources, to subdue or preserve the wilderness,
and to understand the relationship between
humans and nature.
American Environmental History:
Conservation Era to the Present
History 280B American Studies,
Environmental Studies, Social Policy
This course investigates the history of Americans
interaction with their environment from roughly
1890 to the present. It considers how the role of
the federal government has changed from the
conservation to the environmental eras, why American urban history. Topics include urban
the Dust Bowl occurred, how chemical warfare
changed the life span of bugs, whether wilderness
should be central to the environmental move-
ment, and other topics that address how we live
in the world. Readings draw from both primary
and secondary historical sources.
America and the Muslim World
History 282 / Religion 282
See Religion 282 for description.
The Age of the Roosevelts
History 302 American Studies,
Social Policy
This course covers the period of Franklin
Roosevelts public life, with special emphasis on
the Depression era and World War II. It is
designed to allow students to take advantage of
the rich body of private papers and public docu-
ments in the Roosevelt Library in nearby Hyde
Park and to learn how to do basic research in a
presidential archive. Research topics are not
limited to Roosevelt and public politics, but
extend to other major public figures, such as
Eleanor Roosevelt and Harry Hopkins, and to
relevant topics in cultural, social, military, and
other fields of history.
Intellectual Traditions of African
American Women
History 306 Africana Studies, GSS,
Human Rights, SRE
A study of African American womens ideas
about slavery, race, color, anger, class, work, suf-
frage, resistance, gender and sexuality, marriage,
motherhood, charity, religion and spirituality,
Africa (imagined), and escape. Essayists such as
Patricia Hill Collins, Audre Lord, and Alice
Walker are read first, and their methodologies
are then used to guide the class through an
exploration of primary sources. Students work
chronologically from the mid-19th to mid-20th
century, always across the discipline, using let-
ters, fiction, institutional documents, music, art,
and film to approach this subject.
Research Seminar in U.S. Urban
History
History 3102 American Studies, SRE
This course provides an opportunity for students
to pursue specialized study and research in
space and its meanings, urban planning and
design, new urbanism, suburbanism, the post-

modern city, urban politics, urban infrastructure,
and urban culture, among others. Students ini-
tially consider a common set of readings having
to do with urban historiography; the focus then
shifts to individual student research projects,
and the literature and methods informing them.
Making National Citizens
History 3114 American Studies, Human
Rights
The adoption of the U.S. Constitution reflected
the hope, confidence, and perhaps even bravado
of the documents architects and supporters in the
face of what was, in fact, a political experiment.
The former colonists who had fought to bring
about federal, republican, and democratic gover-
nance were wary of reproducing the kind of over-
bearing, centralized, and institutionalized power
that they equated with England. Yet within a gen-
eration, the people of the new United States of
America came to identify less with regional, state,
and/or local cultures and more with an emergent
national one, and a national citizen emerged.
How and why did such a transformation take
place? This course investigates such factors as
national economic changes, transportation inno-
vations, the impact of the War of 1812, the devel-
opment of the presidential office, the creation of
a national capital, and the invention of demo-
cratic political practices, among other topics, in
an attempt to answer that question.
Textbooks and Citizenship in
U.S. History
History 3119 American Studies
The primary method for teaching social studies,
civics, and history in public schools throughout
the world is the textbook. Yet because the text-
book is a modern invention, a by-product of the
nation-building process, it is open to question,
and therefore appropriate for historical analysis.
This course explores the reasons for the appear-
ance of the textbook and investigates the shift-
ing content of social studies and (American)
history textbooks in the United States. It exam-
ines how these issues are related to the ultimate
goal of textbook creators and proponents: the
creation of national citizens. The shifting ways
in which textbooks prepare their readers for par-
ticipation in global interactions are also consid-
ered. Students are expected to produce a long
research paper using relevant primary sources
Historical Studies 61
(e.g., directives from state regents boards, local
school board debates, and textbooks themselves).
Making of the Sunbelt
History 3122 American Studies, STS
This course investigates the causes and conse-
quences of one of the fundamental changes in
American society and politics over the past 50
years: the rise in national power of the region
stretching from North Carolinas Research
Triangle to Orange County, California. This
area saw dramatic population increases; con-
tained many of the major federal projects of the
postWorld War II era; became the location of
new cultures for both young and old (from the
surfing and skateboarding culture of Southern
California to the culture of retirement in
Phoenixs Sun City); served as the location of
much of the post-1965 new immigration; and
has been the political birthplace of most of our
recently elected presidents. The region has fun-
damentally shaped the nations ideas about race,
labor, upward mobility, and America itself. The
rise of the Sunbelt has also fundamentally
reshaped the environment, as new energy and
water intensive cities and suburbs have grown
from small cities to sprawling metropolises over
the course of a few decades.
Research Seminar: Immigration and
American Society, 18801930
History 3125 Africana Studies, Asian
Studies, SRE
An exploration of the experiences of immigrants
to the United Stateshow and why they came,
and how they adjusted to and transformed
American society, economically, culturally, and
politically. From 1880 to 1930, new immigrant
groupsSlavs, Italians, and Jews in particular
came to the United States in unprecedented
numbers. How Americans conceived of their
absorptionin terms of assimilation or cultural
pluralism, for exampleand how Americans
came to racialize these immigrants are important
themes of the course. The ways in which racial-
ization, social science, sentiment, and politics all
worked to create very restrictive anti-immigra-
tion laws aimed at preserving the older ethnic
balance of America are also considered, as are
the experiences of Asians (especially the Chinese)
and Mexicans in the American West.
62 Social Studies
Negotiation and Conquest as Native
American History
History 3126
This course reviews the history of interactions
and negotiations between Native Americans
and European Americans. It emphasizes that
conquest was a complicated process, incorporat-
ing both violence and negotiation, with results
that continue to shape relations between Native
and Euro-Americans. Rather than developing a
linear narrative from contact to the present, the
course examines episodes in which new social
organizations between multiple Indian and
white groups developed and the historical con-
sequences of these episodes. Of special interest is
the question of how power differentials between
various groups shaped interaction and negotia-
tion. Above all, the course investigates attempts
by both Indians and Euro-Americans to shape
and control the space around them in the face of
larger social forces.
Nature and Technology in Modern
America
History 3128 American Studies,
Environmental Studies
At first glance, nature and technology appear to
be stark oppositesthe first created by long-term
ecological processes, the second made by humans.
Look more closely, however, and the line between
the two blurs. Is electricity generated at hydro-
electric dams a function of nature or technology?
What about farm-raised salmon? Genetically
modified foods? The American suburb? The
Nature Company? This class investigates inter-
connections between natural and technological
systems from postCivil War America to the pre-
sent day. Students concentrate on three broad sets
of questions. First, how have historians from a
variety of backgrounds understood the intersec-
tion of nature and technology? Second, how have
these systems structured and shaped human ideas
about nature and technology? Third, how have
they changed the social experiences of humans,
plants, and animals?
The American West: The History of a
Region and an Image
History 3129 American Studies
Historians have claimed that the American
West has played a unique role in American his-
torya frontier of opportunity and a legacy of
American conquest. At the same time, the
West, as represented in novels and films, has
exerted a compelling hold on how Americans
imagine themselves as a people. This course
examines the interplay between the historical
development of the American West and the his-
torical development of the West of the Imagi-
nation. It explores the interaction between
native societies and the settlers and their cities;
considers the environment of the modern
American West; and investigates the politics of
how these historical events have been remem-
bered through fiction, film, and memory, as well
as through the writing of historians.
Violence in Colonial America
History 3142 American Studies,
Human Rights
The frontier is one of the great underlying con-
structs of North American identity. This nebu-
lous, turbulent borderland has been marshaled
to defend everything from the natural expansion
of the United States to the hallowed memory of
our colonial past. But what was the violence of
colonial America really like? Who participated,
who suffered, who fought, and what did it all
mean? What constituted exceptional or
daily violence? This seminar investigates the
violent interactions between Native Americans
and Europeans, between competing European
empires, and between slaves and masters.
Primary and secondary colonial sources are
reviewed in order to understand the role that
violence plays in social and cultural formations.
America, Its Jews, and Israel
History 3335 / Sociology 3335
American Studies, Jewish Studies,
Middle Eastern Studies
This course considers themes of American eth-
nicity by tracing striking shifts in American
Jewish attitudes toward Israel since the estab-
lishment of the Jewish state in 1948. The course
then deals with American politics by illuminat-
ing the changing role of Israel in American
Jewish voting patterns, lobbying efforts, and
financial contributions for politics. Also consid-
ered are various non-Jewish domestic pressure
groups that demand or oppose strong support for
Israelfor example, in recent years the religious

right has been an important supporting force,
while Arab-American organizations have typi-
cally opposed such support. Finally, the course
examines American foreign policy itself, evalua-
ting the dramatically shifting history of American
involvement with the Jewish state, a history in
which domestic interest groups comprise only
one among several important components.
The Civil Rights Movement
History 371 Africana Studies, Human
Rights, Social Policy, SRE
This course contextualizes the intense decade of
political ferment surrounding the struggle for
black rights in the United States, stretching
roughly from 1954 (Brown v. Board of
Education) to 1964 (Civil Rights Act). This
period is explored longitudinallyagainst a
longer history of constitutionally based prece-
dents and legislation, and against the backdrop
of other pertinent developments following
World War II, such as the rise of a human rights
movement, the Cold War, decolonization of
Africa and a growing Pan-African sensibility,
northward migration, and simultaneous domes-
tic social movements. The course also addresses
explanations for the attenuation of the Move-
ment. Readings consist of a variety of primary
sources including autobiographies, speeches,
legal documents, and memoirs, and secondary
material by several historians who have pro-
duced important monographs on the subject.
Ancient, Medieval, and Early
Modern European History
Ancient History
History 100 / Classics 100 Classical
Studies
This course has two main purposes: first, to see
how much is implied by the notion of historical
causation and what it means to think histori-
cally, and second, to gain a sense of the way the
foundations of Western culture were first shaped
in the Near East and then developed quite dis-
tinctively in the ancient cultures of Greece and
Rome. Students start with the beginnings of
recorded civilization in the Near East about
7000 B.C.E. and move fairly quickly through the
Neolithic period, to the urban revolution of the
Historical Studies 63
third millennium (early Bronze Age). The focus
then sharpens to the Mediterranean basin:
Greece (c.1600320 B.C.E.) and Rome (c. 600
B.C.E.430 C.E.). The class looks at underlying
features of geography and demography, archaeol-
ogy (and how to read archaeological remains
historically), developments in technology and
trade, religion, politics, family organization,
communities and governments, art and liter-
acyand considers how these causally linked
factors come together in different ways, at differ-
ent points in the ancient Mediterranean world.
Europe from 10001800
History 101
The second millennium opened a new era of
European ascendancy. For 300 years, as a result
of climate changes, Northern Europeans improved
agriculture and lived longer, and a new middle
class revived cities as centers of commerce and
culture. Then came the apocalypse: a little ice
age and the Black Death shaped the material
conditions of life for the next five centuries.
After 50 percent of Europeans died (134050),
famine and epidemic kept the population in
check until the 1700s. Yet we associate this
period with the invention of the printing press
and the rise of literacy; with the Renaissance,
the Reformation and counter-Reformations, the
Enlightenment, and great advances in science;
with sociopolitical developments that modern-
ized the Netherlands, England, and France; and
with the creation of a global empire. How to
explain the continued ascendancy of Europe in
such hard times? To understand the paradoxical
making of Europe, students examine primary
sources and modern historical analyses.
The Mediterranean World
History 138 Italian Studies, LAIS
A historical journey to the Mediterranean world
of the 16th and 17th centuries using the great
scholarship of Fernand Braudel as a vehicle. The
class first considers geography, demography, cli-
mate, and economies; next, the formation of
social structures; and last, politics, religion, and
culture. Open to any student seeking an intro-
duction to this period or these placesSpain,
Italy, and North Africa.
64 Social Studies
Bread and Wine: A Cultural History
of France from the Middle Ages
to the 18th Century
History 146 French Studies
An exploration of early practices of making
bread, breaking bread, breadwinning, drinking
wine, quaffing ale, and sipping coffee, tea, and
chocolate. The class reads of medieval and early
modern land cultivation (grape and grain); of
eating and not eating in medieval womens reli-
gious culture; of new seasonings brought to French
culture by returning merchants and explorers;
from Rabelais on the gargantuan devouring of
liberal education; of massacre and spiritual
renewal in the Protestant and Catholic reforma-
tions with Montaignes retort in his essay On
Cannibals; and of a transfigurative, divine-right
kingship under Louis XIV that made into gods
men of royal lineage. The course concludes in
the 18th century with the rise of the caf as a
space in which elites met and critiqued politics
and culture, and with taverns and bread riots as
sites in which the poor met and critiqued elites.
Tastings.
The Athenian Century
History 157 / Classics 157
See Classics 157 for description.
Hookes Micrographia
History 164
A monument of natural philosophy and scientific
illustration, Robert Hookes Micrographia (1665)
was the first laboratory manual in microscopy. A
great experimentalist, Hooke intended the work
to be a manifesto of experimental method and
faith in progress. His Royal Society of London
colleagues also hoped Hookes observations
would lend credence to atomism, a notorious
ancient philosophy that was being rehabilitated
in the 17th century. The works descriptive and
experimental language suggests objectivity, as
does Hookes recourse to geometric principles.
Yet the treatise is also permeated with a theolog-
ical agenda. Students read the Micrographia,
examining its philosophical antecedents and
experimental foundations, and investigate
Hookes life and work, as well as the links
between science and society during the Scientific
Revolution.
The French Revolution
History 170 French Studies
Was the French Revolution a bloodbath or an
affirmation of human rights? Who led it, who
benefited from it, and why did it evolve as it did?
Using Hilary Mantels A Place of Greater Safety
for its narrative, this course examines the docu-
ments left by eyewitnesses, participants, parti-
sans, and opponents.
Alexander the Great and the Problem
of Empire
History 201 Human Rights
Alexander the Great changed the world more
completely than any other human being, but did
he change it for the better? How should his pro-
ject of extending Western power into Asia be
regarded, especially in light of recent attempts by
the United States to project power into the same
regions once conquered by the Macedonians?
And how should Alexander himself be under-
stoodas a tyrant of Hitlerian proportions, as a
philosopher-king seeking to save the Greek
world from self-destruction, or as an utterly
deluded madman? Such questions remain very
much unresolved among modern historians.
This course undertakes a thorough reading in
the ancient sources concerning Alexander and
examines as much primary evidence as can be
gathered. It offers insight not only into a cata-
clysmic period of history, but into the moral and
ideological complexities that surround the issue
of empire, whether in antiquity or in the modern
world.
The Ancient History of History
History 2010 Classical Studies
This survey of ancient history begins with the
early cultures of the Near East, examining how
they conceived of the past and preserved it,
from preliterate times to the writing systems of
Mesopotamia, Egypt, and such Near Eastern
kingdoms as Israel. Priestly record-keeping, royal
propaganda, the cultural implications of scribal
classes employed in the service of elites, and the
breakthrough represented by the Hebrew Bible
are investigated. The course then considers the
Mycenaean Greeks, the rise of epic poetry,
Homer, the widespread use of the alphabet, and
how the late archaic and early classical periods
developed and modified the paradigms of Homer.

It culminates with a study of the father of his-
tory, Herodotus, and why history as a genre and
intellectual discipline came into its own specifi-
cally in fifth-century Athens.
Tudor-Stuart: England, Ireland,
and Scotland
History 2016
This course examines the interconnected histo-
ries of the three kingdoms during the 16th and
17th centuries. Themes include the Protestant
Reformation, the consolidation of national
monarchies, the Civil War, and the struggles of
the Celtic Fringe against English political and
cultural domination. Secondary topics such as
the Northern Renaissance, the witch hunts, and
overseas colonization are also considered.
Wars of Religion
History 2035 GSS, Human Rights
Religion and revolution have formed an unholy
alliance at several distinct moments in history.
This course is a journey across the motley reli-
gious landscape of early modern Europe, in
which the ideas and practices of heretics, infi-
dels, and unbelievers nestled in the spaces where
orthodox Catholicism held sway. The 16th and
17th centuries were a time in which religious
revolution and new ways of ordering spiritual life
exploded in a fashion that no one could have
anticipated. During the Reformations Europe
reinvented itself at home and discovered itself in
the New World, and the power of women
emerged as a primary agent for reformation pro-
cesses. From the expulsion of Iberian Jews and
Muslims to European contact with cannibal-
ism, from Luther in Germany to Carmelite
nuns in Canada, from witchcraft to the cult of
Mary, students trace the personal stories of real
people through Inquisition records, diaries and
conversion tales, early pamphlets, and accounts
of uprisings. The course examines how radical
religious ideologies sustained themselves in the
face of official repression and, more challenging
still, official approval.
Dissent and Reform
History 205
In an authoritarian society, how do dissenters find
a voice? Fiction in the guise of travelers tales was
a favorite ploy of discontented European writers
Historical Studies 65
between 1550 and 1750. Students read works by
Rabelais, More, Bacon, Campanella, Foigny, and
others to explore their views about human nature
and society, to see how travel literature influ-
enced them, and to compare their solutions to
social and political problems.
Early Middle Ages
History 2110 Classical Studies,
Medieval Studies
A survey of seven centuries, from the Germanic
invasions and dissolution of the Roman Empire
to the Viking invasions and dissolution of the
Carolingian Empire. Topics include early Chris-
tianity, barbarians, the Byzantine Empire,
Islam, monasticism, and the myth and reality
of Charlemagne. Readings include documents,
Boethiuss Consolation of Philosophy, Einhards Life
of Charlemagne, and selections from Ammianus
Marcellinuss The Later Roman Empire and
Gregory of Tourss History of the Franks.
The Invention of Politics
History 2112 Human Rights
Individuals and groups spoke, wrote, and fought
to make their claims to public power in the
period between 1500 and 1800 in ways that
forced a reimagining of political relationships.
The greatest institutions in place, particularly
monarchies and the papacy, used their arsenals
of words, documents, symbols, and ritual to
maintain their legitimacy in the face of subtle or
strenuous resistance. The tension among groups
created new political vocabularies that we, in
our present, have claimed by virtue of historical
ownership or explicitly rejected.
Gender and Sexuality in the
Ancient World
History 2191 Classical Studies, GSS
An investigation of the gendered relations of men
and women from archaic Greece (c. 800 B.C.E.) to
the Roman Empire in the third century C.E. Using
literary, historical, legal, and archaeological
sources, the course provides both an introduction
to the social history of ancient sexuality and an
interpretation of some of the most compelling lit-
erary presentations of it from Greek and Roman
antiquity. Primary sources explore both the insti-
tutional and ideological structures by which the
ancients lived and interacted, and the affective
66 Social Studies
meanings of those structures. Topics include early
Greek sources; womens lives in classical Athens;
Greek homoerotic relationships; sexuality as part
of Greek drama, religion, and mythology; women
in Roman myth, literature, and history; and dif-
ferences in Greek and Roman sexual/social bonds.
Reason and Passions
History 2391 STS
What is the good life? In hard times, is it better
to serve or to flee society? What power does rea-
son have over the passions? Descartes and
Pascal, Molire and Racine, Fontenelle and
Foigny debated these fundamental questions
during hard times in the 17th century. Optimists
and pessimists alike developed their views in
philosophical treatises, plays, fables, and other
genres designed to reach a large Francophone
audience. This course samples their writings,
exploring the influencesancient and modern,
religious and libertine, scientific and political
on their thought.
Beyond Witches, Abbesses, and
Queens: A History of European
Women, 15001800
History 297 GSS
Women make history, as historical actors and as
historians. This course considers the woman
question in the medical, legal, religious, and
political discourses of the early modern period
through processes such as the centralization of
European states, Protestant and Catholic refor-
mations, explorations, and colonial settlement.
Course readings examine how social, economic,
and other material circumstances shaped the
history of working and bourgeois women. Where
possible, the course focuses on womens cultural
productionliterary, musical, and artisticand
serves as an opportunity to reflect upon the his-
tory of womens studies, both as a field of inquiry
and as an academic institution.
Major Conference: Creating History
History 300 / Classics 300
See Classics 300 for description.
The High Middle Ages
History 3117 French Studies, Medieval
Studies
The rise of towns is one of many changes that
transformed Europe after 1000. The High Middle
Ages is an era of cultural flowering, population
growth, and political consolidation, occurring
between the two cataclysms of Viking invasions
and bubonic plague. Primary sources and mono-
graphs help us understand this intriguing and for-
eign world. Students read modern analyses of
medieval inventions, heretics in Southern France,
the plague, and womens work. Also examined
are medieval textsanticlerical stories, epic
poetry, and political diatribesthat offer a con-
temporary perspective on values and issues.
The Case for Liberties
History 3121 STS
What is tyranny? When is rebellion justified?
What defines a nation? Given human nature,
what is the ideal government? Is there a human
right to free trade? Is commerce compatible with
art and philosophy? Such questions prompted
Netherlanders in the 16th and 17th centuries to
carve a Dutch Republic out of the Spanish
Empire, and to create a Golden Age of capital-
ism, science, and art. In this course monographs
on Dutch history are supplemented with paint-
ings, scientific treatises, and the literature of
rebellion and republicanism (including Spinozas
Theologico-Political Treatise).
Women Write the Globe
History 3311 GSS, Human Rights
European women had more to sayin novels,
plays, correspondence, and essaysabout the
American discoveries, colonialism, slavery, the
Orient, and war and peace than we are generally
led to believe. They shaped how Europeans
made sense of these all-important global issues
through the intermingling of private and public
spheres, elisions between the hierarchy of civi-
lizations and gender hierarchies, and the com-
plex (and often confounded) mechanics of
female authorship and feminine desire. This
course examines this process through the writ-
ings of Renaissance humanist Veronica Franco,
best-selling English playwright Aphra Behn,
French intellectual Germaine de Stal, anti-
slavery pamphleteer and feminist Elizabeth

Heyrick, and the Louisianan short story writer
Kate Chopin.
Asian History
All of the following courses are cross-listed with
the Asian Studies Program.
Imperial Chinese History
History 135
Chinas imperial state, sustained in one form or
another for more than two millennia, was
arguably historys longest continuous social and
political order. This course provides an introduc-
tion to the origins and transformations of the
Chinese imperial order from the Neolithic
period to the final decades of the Qing Dynasty
(16441911). Particular points of focus are the
founding and transformations of the imperial
state, the emergence of the literati class and
their refinement of elite culture, Chinas explo-
sive premodern urbanization, and late imperial-
period rural peasant society. The course considers
the fluid and complex relations between Chinese
states and their Central Asian neighbors (the
Xiongnu, Uighurs, Tibetans, Mongols, Turks,
and Manchus), and assesses the impact of
Buddhism on Chinas Confucian and Taoist
philosophical traditions.
China and the Silk Roads: Past and
Present
History 162
Since the first millennium C.E., traders and reli-
gious pilgrims have traveled between China and
points west along the ancient routes known as
the Silk Roads. In the late 19th and early 20th
centuries, European archaeologists and explorers
competing to discover ancient sites found rich
troves of textiles, paintings, sculptures, temple
complexes, ruined cities, and documents in
many different languages, some never before
encountered. Over time, the region of the Silk
Roads, now known as Central Asia (including
the western Chinese province of Xinjiang),
changed considerably over issues of national
boundaries, religion, trade, and government. It
still remains a contested area, drawing the atten-
tion of various global powers vying for control.
This course examines the commerce, religion,
Historical Studies 67
society, and daily life on the Silk Roads, taking
into consideration both ancient history and the
current situation.
Indochine
History 2032 French Studies, GIS, GSS
French Indochina was composed geographically
of Vietnam (divided into Cochinchine, Annam,
and Tonkin), Cambodia, and Laos. This course
is organized around the theme of social order,
from precolonial state structures in the early
modern period to the French colonial restructur-
ing and administration of the built environment,
commercial relations, and law and punishment
in these places. The course ends with the famous
rout at Dien Bien Phu (1954) that brought a vio-
lent end to French rule in Indochina. Through-
out the course, the focus is on local cultural
exchanges, criticism, and resistance to French
ideas of history, progress, and the modern.
China in the Eyes of the West
History 2301 Human Rights
European Enlightenment thinkers viewed the
Qing dynasty as the worlds most enlightened
despotism, but by the turn of the 20th century
most Western thinkers considered China to be
the sick man of Asia. This course reconstructs
the visions of China formulated by Europeans and
Americans during the 19th and 20th centuries
and also considers how and why those visions
changed over time. In particular, it explores how
those constructions facilitated Western imperi-
alism toward China, even as imperialism gener-
ated the social, cultural, and political contexts
in which those constructions were produced.
Shared readings in theoretical literature dis-
cussing Orientalism, cross-cultural observation,
and the politics of modernization theory provide
a common framework for study. Readings and
discussions focus for the most part on literary
texts, popular histories, news reports, travel writ-
ing, and academic works. The course culminates
in individual research projects on a particular
text, film, or depiction analyzed in light of the
conceptual frameworks established throughout
the semester.
68 Social Studies
Shanghai and Hong Kong: Chinas
Global Cities
History 2302 GIS
The high-rise office buildings of Hong Kong
island face the stately, colonial-era Peninsula
Hotel across Victoria Harbor, and Shanghais
new wealthy middle-class elite choose between
coffee at Starbucks or cocktails on the verandas
of Jazz Age villas. As international industrial
and business centers, and the main conduits for
overseas direct investment, Shanghai and Hong
Kong are Chinas global cities, but they are cities
with long, cosmopolitan pasts. This course
explores the history of their current economic,
social, and cultural dynamism, and in doing so
probes the historical roots of globalization. It
analyzes how 19th- and early 20th-century colo-
nialism and semicolonialism both drove and
conditioned, in somewhat different ways, the
development of these two cities, and examines
how this earlier phase of integration into global
networks of commerce and culture relates to the
patterns of the present. Students review fiction,
film, drama, advertisements, photography, mem-
oirs, and comics, with primary points of focus on
the spatial organization, infrastructure, and
architecture of the two cities, as well as their
social organization, changing economic founda-
tions, and patterns of consumer culture.
Making Modern China
History 2304
This course concentrates on perhaps the most
dramatic and traumatic period of Chinese his-
tory, spanning the meteoric rise and rapid disin-
tegration of Chinas last empirethe Manchu
Qing (16441911)and the national and com-
munist revolutions of the early 20th century.
Drawing on literature, memoirs, various forms of
visual culture, and a range of other primary
sources, students explore how elite reformers,
radical revolutionaries, and a range of tradition-
ally disenfranchised groupsincluding women,
peasants, and workersconstructed competing
visions of a modern China. Collectively, the class
tries to answer the question of why the revolu-
tionary project of the Chinese Communist Party
was so successful, culminating in the formation
of the Peoples Republic of China in 1949.
Gender, Sexuality, and Power in
Modern China
History 2306 GIS, GSS
This course explores the roles of gender and sex-
uality in the construction of social and political
power in China over the last 500 years. Its point
of departure is the traditional areas of focus for
scholars of gender and sexuality in China: foot-
binding, the cloistering of women, and the mas-
culinization of public space; the transformations
of Confucian age-sex hierarchies within the
family; the womens rights movements of the
early 20th century; and the Chinese Communist
revolutions ambivalent legacy for women in the
Peoples Republic of China. Drawing on recent
historical and anthropological literature, stu-
dents analyze genders functions in many other
aspects of modern Chinese life, including con-
structions of masculinity and male identity dur-
ing the late imperial period (13681911), the
role of gender categories in constructions of Han
Chinese relations with both Asian nomadic
peoples and Euro-American imperialists, and
the relation of Chinas womens movement to
recent trends in Euro-American feminism and
gender studies.
China in Revolution: Nationalism
to Maoism
History 2530 GIS, Human Rights
In October 1949, Mao Zedong stood at the Gate
of Heavenly Peace outside the old imperial
palace and proclaimed the founding of the
Peoples Republic of China. This course explores
the intertwined processes of nationalism and
revolution that drove this transformation.
Studying Chinas successive republican, cultural,
nationalist, fascist, and communist revolu-
tions, students explore the causes and effects of
different kinds of revolutionary movements.
Course work then traces Chinas revolutionary
process from the beginnings of modern mass
mobilization at the start of the 20th century to
the revolutionary cataclysms of Maos Great
Leap Forward and the Cultural Revolution dur-
ing the 1950s and 1960s. Novels, films, folk
songs, hairstyles and popular fashions, mass
protests, and state-run spectacles are all con-
sidered as agents of Chinas cultural transfor-
mation, which culminated in its peoples

estimation of themselves as citizens of a nation
for the first time in their 3,000-year history.
Japan: From Feudal Isolation to
Modern Democracy
History 3115 GIS
This course considers Japan as an example of
modernization in the non-Western world.
Starting with the arrival of Commodore Perrys
black ships in 1854 and ending with the state
of Japanese democracy today, the course reviews
the various stages of the Japanese confrontation
with a dominant West. Among the topics dis-
cussed are the establishment of Japans Asian
Empire (following European examples); the wars
with Russia and China; the civil rights move-
ments of the late 19th century; the budding
democracy of the 1920s; the Japanese varieties
of fascism; and Japans war with the West and
the subsequent U.S. occupation. Postwar
Japanese democracy, which was largely home-
grown and not an American imposition, is also
examined. Throughout the course, students look
at Japan in comparison to other parts of the non-
Western world, including South Asia and the
Middle East. Course material includes novels,
films, and other examples from popular culture
as well as historical texts.
Imperialism in Asia
History 3120 Human Rights
This course investigates the writings of anti-
imperial/anticolonial activists such as Gandhi,
Ho Chi Minh, and the Indonesian writer/ activist
Pramoedya Ananta Toer to analyze the issue of
imperialism in Asia. It considers both imperial-
ism and resistance to it, along with imperialisms
relationship to colonialism and the rise of
nationalism. The resistance movements in Asia
not only responded to imperialism but also cri-
tiqued their own society, culture, and identity.
Countries within Asia redefined their geo-
graphic relationships, and informed one anothers
experience in combating foreign encroachment.
Russian and Soviet History
All of the following courses are cross-listed with
the Russian and Eurasian Studies Program.
Historical Studies 69
The Land of the Golden Cockerel:
Introduction to Russian Civilization
History 140 Medieval Studies
An examination of the origins and evolution of
Russian civilization from the founding of the first
Eastern Slavic state through the 18th century,
when Russia began to modernize by borrowing
from Western culture. Among the topics consid-
ered are the ethnogeny of early Russians, the
development of state and legal institutions, the
relationship between kinship and politics, the role
of religion in public and private spheres, eco-
nomic organization, social institutions, family,
gender relations, sexuality, popular culture, and
the impact of the outside world (both Orient
and Occident) upon Russian society. Sources
include a variety of Russian cultural expressions
(folktales, literature, art, film, music), original
documents, and scholarly texts.
Czarist Russia
History 168
A survey of the period from Peter the Great to
the 1917 revolution. Among the topics studied
are reforms of Peter the Great and their effects;
the growth of Russian absolutism; the position of
peasants and workers; the rift between the
monarchy and educated society; the revolution-
ary movement, particularly Russian Marxism;
and the overthrow of the Russian autocracy.
Readings include contemporary texts, literary
works, and documents from the period.
Communism in the Soviet Union
History 171 Human Rights
This course introduces students to the ideologi-
cal, historical, and political development of
communism in the Soviet Union from its incep-
tion in 191718 to Stalins death in 1953.
Readings include works by Marx, Lenin, Gorky,
Stalin, and Trotsky, and a variety of secondary
texts by Richard Pipes, Robert Tucker, and
Robert Conquest.
20th-Century Russia:
From Communism to Nationalism
History 242 Human Rights, SRE
In its search for an elusive balance between
modernity and tradition, Russian society has
experienced many radical transformations,
which are the subject of this introductory survey.
70 Social Studies
In addition to a discussion and analysis of the
main internal and external political develop-
ments in the region, the course includes an
extensive examination of different aspects of the
rapidly modernizing society, such as the Soviet
command economy; the construction of national
identity, ethnic relations, and nationalism; fam-
ily, gender relations, and sexuality; and the arts.
Materials include scholarly texts, original docu-
ments, works of fiction, and films.
1917 Revolution in Russia
History 347
This seminar examines the economic and social
developments that preceded the revolution;
intellectual and cultural background of the revo-
lutionary movement; ideology and practice of
major political parties that participated in the
revolutionary events; the role of women in the
revolutionary movement; the political dynamics
of the revolution; the reasons for the Bolshevik
victory; and the effects of the revolution on
Russian society. Readings include original works
and scholarly studies.
Russian Intellectual History
History 365
Following a brief introduction dealing with the
modernization of Russia and the origin of
Russian secular thought and the intelligentsia,
this seminar focuses on the major trends and
personalities in 19th-century Russian secular
thought. Topics include continuity and change
in Russian culture, debates between Western-
izers and Slavophiles, revolutionary populism,
and socialism. Extensive readings include works
by Chaadayev, Chernyshevsky, Dostoevsky,
Gogol, Herzen, Lenin, and Tolstoy and contem-
porary studies of the Russian intellectual tradition.
Middle Eastern History
The following courses are cross-listed with the
Human Rights, Jewish Studies, and Middle Eastern
Studies Programs.
The Arab-Israel Conflict
History 2122
This course provides students with an under-
standing of this conflict from its inception to the
present. Considerable attention is given to the
present; nevertheless, the conflict is simply
incomprehensible without a solid understanding
of its evolution. Among the themes discussed
are how a Jewish national movement arose in
the late 19th century to oppose the conditions of
Jewish life in Europe, and how an Arab national
movement (as well as a specifically Palestinian
movement) arose to oppose Ottoman and
European rule of Arab peoples. Out of the clash
of these movements emerged the State of Israel
and the Palestinian refugees in 1948. The course
examines how the political character of the con-
flict has changed over the decades, along with
corresponding changes in military realities and
the evolution of terror as a tactic (from the
Jewish Irgun to Hamas). Students also review
how the conflict has been shaped by strategic
and economic considerations of the great powers
(Ottoman, British, American / Soviet, hege-
monic American) as well as by considerations of
domestic political culture in Israel and in the
Arab world.
Modern Israeli and Palestinian
Societies
History 3101
This research seminar gives students the oppor-
tunity to explore a topic of their choosing (in
consultation with the instructor) in the form of
an extended term paper. The course serves espe-
cially well for students with some background in
the subject area, but students without this back-
ground may be admitted with the consent of the
instructor. Topics on Jewish and/or Arab life can
cover any dimension of (post-1920) historical or
contemporary developmentsincluding, but
not restricted to, aspects of the conflict between
the two groups.

Modern European History
Europe from 1815 to the Present
History 102 GIS, Human Rights, RES,
Victorian Studies
A general introduction to a number of important
developments in modern European history. The
first half of the course, from the Congress of
Vienna in 1815 to the outbreak of World War I
in 1914, emphasizes the rise of conservative, lib-
eral, and socialist thought; the establishment of
parliamentary democracy in Great Britain; the
revolutions of 1848; Bismarck and the unifica-
tion of Germany; European imperialism; and the
origins of World War I. The second half focuses
on World War I; the Russian Revolution and the
emergence of Soviet Russia; the Versailles Treaty;
the Great Depression; the rise of fascism, espe-
cially Nazism; the Holocaust; the emergence of a
new Europe with the European Community;
the Cold War; the fall of communism in Eastern
Europe; and the reunification of Germany.
A Haunted Union:
20th-Century Germany and the
Unification of Europe
History 141 German Studies, GIS,
Human Rights
The development of modern Germany has been at
the center of nearly every dystopian reality and
utopian aspiration produced by 20th-century con-
tinental Europe. This course examines the history
of Germany from its 1871 unification to the 2002
constitutional convention of the European
Union, paying particular attention to Germanys
troubled relation with broader European society
and identity. Using documents and films, the
course explores Germanys pivotal place in the
ideological divisions, political catastrophes, and
theoretical, social, and scientific innovations of
modern Europe. A guiding theme is the paradox
that even as Germany is perhaps the most mod-
ern of European states, its definitionand the
identity of its citizenshas been haunted since its
inception by its past. Topics include the impact of
World War I, the political experiment of Weimar
democracy, the role of German and European Hughes, Landes, Latour, Lenoir, Luhmann, Mokyr,
identity in Nazi propaganda and expansion, the
Holocaust, the student protests of 1968, and the
creation of a new German and European identity
after 1989, among others.
Historical Studies 71
Rethinking Difference:
Modern France
History 159 Africana Studies,
French Studies
The French nation gave birth to itself in 1789,
but would be reborn as its colonial relations
forced new ideas about the progress of its political
identity. This course is a survey of French politics,
society, and economy in the 19th and 20th cen-
turies, from the French and Haitian Revolutions
to the imperialist civilizing mission (especially
in West Africa), and on to the fall of France in
Indochina and its defeat in the Algerian War.
Making France modern proved to involve far
more than a republican legacy and industrializa-
tion. The rise of the French intellectual, the refor-
mulation of gender roles, the politics of race, and
revolution and resistance in overseas territories
all contributed to give France the most strongly
articulated modern identity in Europe.
Introduction to the History of
Technology and Sociotechnical
Systems
History 161 STS
A survey of the history and historiography of
technology in the late modern period. The course
begins by considering how a separate domain of
technology first came to be defined, in theory and
practice, during the 18th century and goes on to
address how institutional forces such as law,
academia, business, and government came to
define and influence technological change and
scientific research during the industrial revolu-
tion. Studies focus on technology as a process
embedded within research agendas, institutions,
social expectations, economics, and specific use,
and thus as part of a broader sociotechnical sys-
tem. Case studies ranging from the bicycle to the
birth control pill help students generate inter-
nal accounts of the development of technology
and science in conjunction with external
accounts of the historical context of technologies.
The course concludes with an assessment of
recent approaches to the history of technology.
Authors read include Hacking, Heidegger,
Spengler, and Wise.
72 Social Studies
Jews in the Modern World, 14921948
History 181 Jewish Studies
A survey of the history of the Jewish people from
the expulsion from Spain until the establish-
ment of the State of Israel. The course examines
such topics as the expulsion and its aftermath;
social, intellectual, and economic factors lead-
ing to greater toleration at the start of the mod-
ern period; the varying routes to emancipation
in Western Europe, Eastern Europe, and the
Islamic world; acculturation and assimilation;
modern Jewish nationalist movements such as
Zionism; the Holocaust; the establishment of
the State of Israel; and the growth of the
American Jewish community.
Topics in Modern European History
17892000
History 192 GIS
A thematic survey of the modern period. Each
week the class uses methodologies and histori-
ographies ranging from gender and demographic
history to diplomatic and military history. The
course thus offers both an in-depth presentation
of key aspects of modernity and a survey of con-
temporary historiography. Key issues discussed
include the relation of the industrial revolution
to the creation of new institutions of invention
and patent, the role of colonialism in shaping
domestic social relations and definitions of race,
the role of gender in relation to the demographic
explosion of the European population and to
new attempts at state control of human activity,
the development of the military industrial aca-
demic complex, the role of institutional struc-
ture in diplomacy, and the effect of new mass
media on citizenship.
France from the Dreyfus Affair to the
Vichy Period (18941944)
History 2037 French Studies
This course focuses on a crucial 50-year period
in French history, beginning with a survey of
France in 1894, with particular emphasis on the
socioeconomic and political roots of the Dreyfus
Affair, and continuing with the affair itself and
its aftermath. Students then consider France in
the so-called Belle poque; France in the First
World War; prosperity and problems in the
1920s; the rise of the extreme right and the
advent of the Popular Front (192936); the twi-
light of the Third Republic and the defeat of
1940; and the Nazi occupation and the Vichy
regime. In addition to political and economic
aspects (including colonialism), the course
examines the exceptional artistic and literary
flowering that characterized France during these
decades, along with scientific progress.
Liberty, Reason, and Power: European
Cultural and Intellectual History
History 2136 French Studies, German
Studies, STS, Victorian Studies
An outline of some of the principal transforma-
tions in the modern understanding of society and
nature within a political, cultural, and institu-
tional framework. Readings from Descartes,
Leibniz, and Vico allow students to sketch the
framework out of which the Enlightenment
arose, while it also suggests some of the periods
fundamental tensions and contradictions. The
course then follows the development of these
tensions through the 19th century, using as a
guide a close reading of texts by writers such as
Rousseau, Wollstonecraft, Burke, Fourier, Darwin,
Marx, and Schopenhauer. The key texts are read
in conjunction with a study of selected contem-
porary political forces, institutional settings, and
artistic, social, or scientific practices.
Jewish Women: Gender Roles and
Cultural Change
History 2137 GSS, Jewish Studies,
Religion
This course draws upon historical texts and
memoirs to examine the changing economic,
social, and religious roles of Jewish women and
explore the intersection of gender with religious
and ethnic identities across the medieval and
modern periods. It begins by considering the sta-
tus of women in Jewish law and then looking at
various issues, including the forms of womens
religious expression; marriage and family pat-
terns; the differing impact of enlightenment and
secularization on women in Western and Eastern
Europe; and the role of women in the Zionist
and labor movements in Europe, Israel, and the
United States. Did modernity in fact herald an
era of greater opportunity for Jewish women?
How did their experiences differ from those of
Jewish men? These and related questions are
considered.

European Intellectual and Cultural
History
History 261 Human Rights
This course examines transformations in the
modern perception of society and nature within
a political, cultural, and institutional framework.
Beginning with discussions of key figures such as
Freud, Nietzsche, Mach, and Weber, the course
outlines the suppositions and fault lines on which
20th-century thought developed. Central themes
include movements such as impressionism, posi-
tivism, and existentialism, as well as more spe-
cific problems, such as the crisis of liberalism and
the intellectual roots of fascism. The course con-
cludes with studies of post-structuralism, French
feminism, and the role of intellectuals and artists
in the fall of state communism in Eastern Europe.
The Holocaust, 19331945
History 2701 German Studies, Human
Rights, Jewish Studies
This course provides an overview of the Nazi
attempt to exterminate the Jewish people during
World War II. It examines the background of
modern anti-Semitic movements and the after-
math of World War I; Nazi rule and the experi-
ence of German Jews during 193338; the
institution of ghettos and the cultural and politi-
cal activities of their Jewish populations; the turn
to mass murder and its implementation in the
extermination camps; and the liberation and its
immediate aftermath. Emphasis is on the devel-
opment of Nazi policy and Jews reactions to Nazi
rule, with special attention to the question of
what constitutes resistance or collaboration in a
situation of total war and genocide.
British Empire and Imperialism
History 3104
This course is not a comprehensive history of
the British Empire, but an attempt to examine
the concept of Imperialism in its many
guisesas a cluster of historically identifiable
ideologies and as a possible mode of analysis in
the study of history. It focuses primarily on the
political, economic, and cultural relations
between Great Britain and its non-European
subject peoples in the period since the American
Revolution.
Historical Studies 73
Gender in Interwar Britain
History 3106 GSS
Full suffrage was given to British women in
1928. Although many relinquished their roles as
wartime workers, they did not forget the finan-
cial and social independence of their war experi-
ences. Many men returned from World War I
mutilated, whether physically or psychologi-
cally, and became dependents, unable to support
their families; other men never returned. This
course examines how men and women were
affected by, and how they moved forward from,
their wartime experiences. Transformations in
British interwar society include the emergence
of competing critiques of socialism and fascism,
a rush of prosperity followed by the Depression,
and the growth of suburbs and infrastructure.
The course considers the day-to-day influences
on gender identity formation through such
sources as advertising, fashion, vaudeville tunes,
and newspaper features. Readings include con-
temporary fiction by Robert Graves, Dorothy L.
Sayers, and Virginia Woolf, as well as the his-
torical analyses of Jay M. Winter and Susan
Kingsley Kent.
Impolitic Speech and the Arts of
Diplomacy
History 3111 GIS
The story of the states emergence as the primary
agent of conciliation between individuals and
groups within and beyond its borders has often
been neglected. In this conciliatory capacity, the
states power has increased in manifold ways,
and the rise of diplomatic institutions that nego-
tiate in the name of the state has paralleled
domestic developments. Although dueling pens
have replaced dueling swords, insult remains one
of the greatest forms of injury; as a result, politi-
cal and social theorists have become increasingly
concerned with the power of language. This
course places early modern ideas on peace,
sovereignty, international protocols, sociability,
and civility within a cultural framework. Readings
range from Machiavelli to Grotius to Rousseau,
and include a variety of entertaining diplomatic
treatises and manuals.
74 Social Studies
Crime and Punishment in Victorian
Society
History 3127 Victorian Studies
This course examines the 19th-century origins
of the modern prison and police systems as well
as debates over the causes and nature of crimi-
nality. Special emphasis is placed on Victorian
representations of crime and on issues related to
gender and sexuality. Students develop individ-
ual research projects related to sensational
Victorian crimes or criminal trials.
The City and Modernity in
20th-Century Central Europe
History 3141 German Studies
This research course takes the topic of the
metropoliswith a principal focus on Vienna,
Berlin, and Pragueas a means to investigate
the Central European experience of modernity.
Basic themes include the cultural reaction to
mechanization and bureaucratization of modern
urban life; the metropolis as a new political
arena to contest traditional (particularly aristo-
cratic) political and social roles; the role of the
city in the development of new sociological and
philosophical theories; and the new forms of
communication, association, and political action
in the metropolis. In addition to secondary sources
on the relation of modernity to urban life, a
number of primary sources are used, including
films and the writings of figures such as Benjamin,
Capek, Dblin, Freud, Kafka, Kracauer, Krauss,
Musil, and Simmel. Where possible, the exten-
sive resources of the Internet are used to recon-
struct urban histories.
The Culture of Yiddish
History 315 / Jewish Studies 315
See Jewish Studies 315 for description.
Darwin and Evolutionary Thought
History 3233 STS
Charles Darwins theory of evolution generated
the most far-reaching, intellectual revolution in
recent history. This course focuses on Darwins
life and work in social and historical context, as
well as the reception and popularization of On
the Origin of Species (1859). It begins with a dis-
cussion of earlier scientific thought, including
the work of Malthus, Paley, Lyell, and Lamarck,
and proceeds to Darwin, his biography, the voy-
age of the Beagle, and the production of the
Origin. Darwins supporters and critics, social
Darwinist notions of survival of the fittest, and
the reception of Darwins writings in different
national contexts, including the Scopes trial
debate in the United States, are discussed. The
course concludes with readings on the relation-
ship between genetics and evolution, and more
recent understandings of evolution.
Your Papers, Please?
Technocracy, Technology, and Social
Control in Nazi Germany, the DDR,
and the BRD
History 3234 GIS, STS
This research course addresses the coercive and
violent powers of the modern state as they were
refined through technologies and techniques in
National Socialist Germany, and then alter-
nately condemned and utilized in the two
German nations of the (East) German Demo-
cratic Republic (DDR) and the (West) German
Federal Republic (BRD). Topics range from the
development of new techniques of propaganda
to the manipulation of social technologies such
as identification papers, the census, racial pseu-
doscience, and, most horrifically, the concentra-
tion camp system. At the end of the Nazi period,
the DDR defined itself through its resistance to
the Nazi party, but its means of organizing and
controlling society were often directly carried
over from the Nazi past. Similarly, the liberal
capitalist ideology of the BRD defined itself in
complete opposition to the Nazi past, but here as
well there were a surprising number of holdovers
from the Nazi era. By comparing the two move-
ments, ideologically complete opposites yet orga-
nizationally often surprisingly similar, the course
confronts some of the most disturbing issues of
modern techniques of social control.
The Politics of History
History 340 SRE
What are the origins of history as a modern dis-
cipline? How have particular modes of history
developed in relation to nationalism, imperial-
ism, and the emergence of the modern state?
How have modern historical techniques served
to produce ideology, and how have these same
techniques provided tools for challenging differ-
ent forms of domination and the ideologies that

help to perpetuate them? This course addresses
these questions through theoretical readings
that offer diverse perspectives on the role of nar-
rative in history, the historians relation to the
past, and the construction of historiographical
discourses. The works of Michel Foucault,
Dominick LaCapra, Joan Wallach Scott, Hayden
White, and theorists active in the Subaltern
Studies movement are discussed.
Philosophy
The philosophy curriculum is designed to pro-
vide every student with the opportunity to
obtain a general understanding of the nature and
history of philosophical inquiry. Students con-
centrating in philosophy have extensive access
to a more specialized curriculum, which can
serve as the foundation for graduate study.
The core of the program consists of history of
philosophy courses and such traditional areas
of philosophic study as ethics, metaphysics,
epistemology, logic, the philosophy of language,
and aesthetics. In addition, several courses
taught each year are determined in accordance
with faculty and student interests at the time.
These are often seminars devoted to the work of
one major philosopher, for example, Hegel,
William James, Kant, Kierkegaard, Nietzsche,
Plato, Sartre, or Wittgenstein.
Students moderating in philosophy are expected
to have taken three courses in philosophy while
in the Lower College. Although no specific
courses are required prior to Moderation, stu-
dents intending to concentrate in philosophy
generally take one of the Introduction to Philoso-
phy courses, which provide an orientation to
philosophic methodologies, styles of inquiry, and
common themes of philosophic concern in texts
ranging from Platonic dialogues to 20th-century
works. A concentration in philosophy normally
involves taking eight to twelve courses, of which
at least half are in the Upper College. Juniors are
required to take the seminar on Kants Critique of
Pure Reason (Philosophy 371). Students intend-
ing to apply to graduate schools in philosophy are
strongly encouraged to take symbolic logic, at
Philosophy 75
least one course in ancient philosophy, at least
two courses in modern philosophy (17th through
19th centuries), at least one course in 20th-
century philosophy, and at least one course in
ethics. The student determines the topic of his or
her Senior Project in consultation with an adviser.
Several courses of a philosophical nature are
taught in other programs of the College; for
example, in history, religion, political science,
literature, and a new program in science, tech-
nology, and society. A combined concentration
in philosophy and religion may be arranged.
Historically, the discipline of philosophy has
tended to be very expansive in the scope of its
interests, exploring issues across the fields of nat-
ural science, social science, literature, and the
arts. In this spirit, students concentrating in phi-
losophy are encouraged to investigate possibili-
ties for enriching their study of philosophy by
making connections with other disciplines.
The philosophy course list that follows is divided
into five categories: introductory courses; histori-
cal courses; ethics; logic, epistemology, meta-
physics, aesthetics, and philosophy of language;
and single-philosopher seminars. Courses num-
bered in the 100s are introductory courses.
Those numbered in the 200s, while more spe-
cialized in content, also are generally appro-
priate as first courses in philosophy. Courses
numbered in the 300s are more advanced and
require previous courses in philosophy and per-
mission of the instructor for admission.
Core faculty: William J. Griffith (director),
Daniel Berthold, Franklin Bruno, Mary Clayton
Coleman, Garry L. Hagberg, Robert L. Martin
Recent Tutorials in Philosophy
Heidegger
Kants Second and Third Critiques
Kierkegaard
Philosophy of Psychology
Philosophy of Religion
Quine
Semantics and Pragmatics
76 Social Studies
Recent Senior Projects in Philosophy
A Question of Reality: Reality and Selfhood in
Dennetts Theory of Stances
Aristotles Poetics and the Aristotelian
Paradox
Building Our Agnostic Machine: The
Intractable Problem of Consciousness
Darwins Studio: On the Evolutionary
Mechanisms Underlying Art
Kierkegaards Vorstellung
Somethings about the Meanings of Some
Words in English
The Truth of Determinism and Moral
Accountability
Introductory Courses
Problems in Philosophy
Philosophy 101
An introduction to the problems, methods, and
scope of philosophical inquiry. Among the
philosophical questions discussed are those asso-
ciated with morality, the law, the nature of
mind, and the limits of knowledge. Philosophers
read include Plato, Descartes, David Hume,
William James, A. J. Ayer, Sartre, C. S. Lewis,
and Lon Fuller.
History of Philosophy
Philosophy 103 Classical Studies
A critical examination of the work of some
major figures in the history of philosophy,
emphasizing historical continuities and develop-
ments. Authors include Plato, Aristotle, Descartes,
Locke, Berkeley, Hume, Nietzsche, and Russell.
History of Ancient Philosophy
Philosophy 103A
This short course covers half of the material of
Philosophy 103. It provides close readings of
Platos Republic and Aristotles Nicomachean
Ethics, along with a good number of secondary
sources on these and related works. The course
considers questions of philosophical method,
epistemology, metaphysics, social and political
philosophy, philosophy of mind, philosophy of
education, philosophy of the arts, and numerous
detailed issues in ethics (e.g., responsibility,
intention, consequence, character, etc.).
Multicultural Perspectives
Philosophy 104 SRE
An introduction to such major themes in the
history of philosophy as the nature of reality and
our capacity to know it, issues of ethics and jus-
tice, and conceptions of how one should live.
Readings include selections from diverse tradi-
tions, including Buddhist, Chinese, Hindu, African,
Latin American, Native American, Western,
and feminist.
Reality, Knowledge, and Value
Philosophy 106
An introduction to some key issues in three of
the main areas of Western philosophy: meta-
physics, epistemology, and value theory. Readings
in each area are drawn from the classical and
modern traditions: for example, Plato, Aristotle,
Aquinas, Descartes, and Bertrand Russell. In all
cases an attempt is made to show the connec-
tions between the traditional problems of phi-
losophy and the concerns of our own lives.
Informal Logic, Critical Reasoning
Philosophy 107
This course is devoted to the development of
skills of analysis and evaluation of reasoning and
argumentation. Its aim is to strengthen the ability
to reason well. The emphasis is on techniques of
inductive reasoningor informal logic, rea-
soning in which cogency cannot be determined
simply through analysis of the formal structure of
argumentsalthough certain basic elements of
formal logic, such as the structure of syllogisms,
the rules of validity, and the use of syllogisms in
ordinary reasoning are touched upon. Students
practice techniques of diagramming and distill-
ing arguments; learn methods of detecting com-
mon fallacies of reasoning; study central features
of inductive reasoning such as the nature of
causal inference and argument by analogy; and
investigate the relation between argumentation
and explanation. The course proceeds through
progressively more complex examples of reason-
ing and argument, and eventually to the
evaluation of extended arguments from the
domains of politics, social policy, law, and ethics.

Introduction to Philosophy
Philosophy 108
Western philosophers address questions that
most of us find puzzling. Do we have free will?
Do we know what the world around us is really
like? Does God exist? How should we treat one
another? This course critically examines histori-
cal and contemporary texts that address these
and other central themes of the philosophical
tradition.
Introduction to Philosophy: Five Key
Questions
Philosophy 111
Philosophers attempt to formulate general ques-
tions about ourselves, each other, and our place
in the worldand to give reasoned answers to
them. This course introduces major approaches
to five such questions: How should we live? Is
there a God? How do we know what we know?
What sort of beings are we? How should we live
together? The emphasis is on the (often conflict-
ing) answers philosophers have given to these
questions, but at least one other question about
our endeavor is also at issue: Is there a right and
a wrong way to go about answering these ques-
tionsand who has the authority to decide?
Readings are selected from classical texts of
Western philosophy (Descartes, Locke, Hobbes)
and contemporary work (John Searle, Judith
Jarvis Thomson, Bernard Williams).
Introduction to Philosophy of Science
Philosophy 120 STS
This course considers the nature and limits of
science and scientific reasoning. Its approach is
thematic and includes the following topics: the
demarcation problem (what distinguishes scien-
tific theories from putatively nonscientific theo-
ries such as astrology and creationism?); the
riddles of induction (what reason is there to
think the future will resemble the past?); models
of explanation (what makes an explanation sci-
entific?); the underdetermination thesis (can
evidence ever confirm or disconfirm a theory?);
and the realism/antirealism debate (does science
tell us what the world is really like?). Authors to
be read include Carl Hempel, David Hume,
Thomas Kuhn, Karl Popper, W. V. Quine, Alan
Sokal, Bas van Fraassen, and others.
Philosophy 77
Historical Courses
Personhood and Modern Philosophy
Philosophy 210
Who am I? Am I the sum of my experiences? Or
am I something distinct from my experiences,
the subject who has them? Am I the same person
I was when I was 3 years old? If so, what is this
me that I still am? Would I continue to be the
same person if I lost all of my memories of the past,
or if my personality changed radically? Is it con-
ceivable that I could change bodies with another
person and remain the same person I am now? Is it
conceivable that I could survive the death of my
body? This course considers these and related
questions about the nature of persons. It reviews
attempts to answer them by philosophers of one of
the most fertile and influential periods in the his-
tory of Western philosophy, the 17th and 18th
centuries. Readings draw from such philosophers
as Joseph Butler, Ren Descartes, David Hume,
John Locke, and Thomas Reid.
Contemporary Political Theory
Philosophy 216
The tension created by the promise of equality
and the guarantee of liberty has largely shaped
the debate among contemporary political theo-
rists. Most believe it is the function of the liberal
state to meld these two goals, but a resolution of
the conflict requires, in turn, an examination of
more fundamental normative questions. What,
for example, should be relegated to the private
sphere and what is more properly viewed as a
matter of public concern? By which principles
ought social and material goods be distributed,
and what does a fair distribution mean? Are
there moral limits to actions sanctioned by indi-
vidual or collective consent? From what perspec-
tive(s) should political judgments be made, and
from what source does a judgment gain its
authority? These questions are discussed as we
read late 20th-century political works by Rawls,
Nozick, Walzer, Dworkin, and Nagel.
Liberalism and Its Critics
Philosophy 240 Human Rights
Liberalism is the dominant trend in the political
thought of modernity. It has profoundly shaped
our political institutions and our thinking about
them. Since its birth, however, it has been at the
78 Social Studies
center of political and theoretical debate. This
course explores some of the key questions of this
debate: What role(s) does the state play in the
lives of individuals? Is its role solely coercive, or
does it also facilitate the realization of human
potential? What is the nature of political free-
dom? What forms of government are preferable?
What is the source of civil laws? When and why
does one obey the state and its functionaries?
Students examine these and other questions
through the writings of Constant, Hayek, Hegel,
Kant, Locke, Marx, Mill, Rawls, Rousseau, and
Schmitt. This course is part of the Bard-Smolny
Virtual Campus Project, and Bard students use
innovative technologies, including live video-
conferencing, to work with students taking the
same course concurrently at Smolny College in
St. Petersburg, Russia.
Feminist Philosophy: Approaches to
Cultural Constructions of Sexuality
and Gender
Philosophy 260 GSS
This course examines a variety of feminist philo-
sophical approaches to issues surrounding mod-
ern cultures production of images of sexuality
and gender. Readings from Simone de Beauvoir,
Christine Delphy, Luce Irigaray, Sarah Kofman,
and Annie Leclerc, among others, cover a
diverse range of feminist theoretical frame-
worksliberal, socialist, radical, psychoanalytic,
and postmodern. However, this is primarily an
applied philosophy course rather than a course
focusing on theory. Many issues are explored,
among them the cultural enforcement of both
feminine and masculine gender identities, the
urban environment and womens sense of space,
the intersection of feminism and environmen-
talism, and feminist perspectives of different
ethnic groups. Films and videos are screened,
including the Anita Hill/Clarence Thomas
hearings, Madonnas Truth or Dare, and docu-
mentaries on the pre-Stonewall femme-butch
bar scene culture of the 1950s and 60s.
Philosophy of Action
Philosophy 320
An action is something that is done by someone.
Mere events, by contrast, are things that simply
happen. This seminar explores the nature of
actions and agents. Guiding questions include:
What is it for someone to act? Does acting
always involve moving your body? Do you act by
causing your body to move, or is your role as
agent not causal? What is the nature of this you
who acts? What metaphysical commitments are
involved in the claim that we (sometimes) act?
And should questions about the nature of
actions and agents be conceived of as metaphys-
ical or linguistic, or both? Readings include
Thomas Reid, G. E. M. Anscombe, Roderick
Chisholm, Donald Davidson, Harry Frankfurt,
Michael Bratman, David Velleman, and
Christine Korsgaard.
Pragmatism
Philosophy 350
This detailed examination of the content and
methods of a number of classic works of
American philosophy emphasizes issues in epis-
temology. Authors include Dewey, William
James, Mead, Peirce, Royce, Santayana, and
more recent writers. The philosophical move-
ments discussed include transcendentalism,
pragmatism, empiricism, and realism. The inves-
tigation of these works involves problems in the
philosophy of religion, ethics, aesthetics, the
philosophy of language, the philosophy of edu-
cation, and social and political philosophy.
Economic Justice
Philosophy 351 / Economics 351
What is a just way of distributing the goods and
resources of society? How do various ideals of
justice interact with economic realities? Are
there important distinctions to be made among
the concepts of justice, fairness, equity, and
equality? Some writers argue for an ideal of equal
opportunity, while others prefer the notion of
equality of outcomes. This course focuses on
these questions as applied to the United States.
It examines not merely issues of values, but also
matters of historical/political fact: What is the
current distribution of wealth in this country?
What has it been in the past? How did we come
to have the tax (and subsidy) system that we
have? In short, we consider interrelated issues of
fact and value, of ideals and the possible, of phi-
losophy and economics and history. Authors
studied include John Stuart Mill, Richard
Musgrave, Robert Nozick, John Rawls, and
Amartya Sen. Prerequisites: at least one related

course in philosophy, economics, or a related
area and permission of the instructor.
Philosophy of Music
Philosophy 355
Philosophical questions about music include the
following: Are definitions and classifications
helpful? Is tonality natural or conventional?
Other topics explored are music and language,
the parallels and differences; and music, politics,
and ideology. Students engage these topics
through readings, listening to music, seminar
presentations, and class discussions. Readings
include Plato, Aristotle, Schopenhauer, Hanslick,
Wittgenstein, and a number of recent and con-
temporary writers.
Ethics
Ethical Theory
Philosophy 251
What does it mean to be a moral being, i.e.,
what is the moral dimension of our life, and
what constitutes its key elements? Are there such
things as happiness, virtue, and wisdom? and political action.
Do we have rights and duties and, if so, how
do we recognize them? This course critically
examines the primary texts of four philosophers
whose thoughts on these fundamental questions
have had a permanent influence on Western
philosophical thought: Aristotle, Epictetus,
Immanuel Kant, and John Stuart Mill.
Medical Ethics
Philosophy 255 Human Rights, STS
Through readings of theoretical literature and
case studies, this course examines a range of top-
ics in contemporary debates over medical ethics:
issues of genetics, reproduction, death and
dying, medical research and experimentation,
involuntary psychiatric hospitalization and
treatment, informed consent, confidentiality,
and paternalism. On the theoretical side, we
consider competing ethical positions that
philosophers have proposed as models for under-
standing and resolving issues of medical ethics
and study basic concepts with which all such
theories grapple (autonomy, nonmaleficence,
beneficence, justice). On the practical side, we
examine the ways these theories and concepts
Philosophy 79
are applied to actual cases, and consider the con-
flict between philosophical-ethical reasoning
and social, religious, and legal concerns.
Environmental Ethics
Philosophy 256 Environmental Studies,
Human Rights, Social Policy, STS
An exploration of ethical issues regarding the
relation of human beings to their environment.
The class looks at several far-reaching critiques
of the anthropocentric character of traditional
moral paradigms by deep ecologists, ecofemi-
nists, social ecologists, ecotheologians, and
others who argue in different ways for funda-
mentally new accounts of the moral standing of
nature and the ethical duties of humans to non-
human creatures and things. A study of contem-
porary authors and debates is prefaced with a
review of their precedents and origins in such
19th-century writers as E. P. Evans, John Muir,
Henry Salt, and Henry David Thoreau, and such
early 20th-century writers as Rachel Carson,
Joseph Wood Krutch, and Aldo Leopold.
Throughout the discussion attention is paid to
the implications for social policy, legal practice,
Law and Ethics
Philosophy 357
This Upper College seminar combines elements
of two disciplineslaw and philosophyto
examine the premises that support the ideal of a
just society and the reasons utilized in making
legal and moral arguments. Is there such a thing
as natural law, which can provide a standard of
what law ought to be? What are the criteria of
justice to which law ought to conform? Jointly
taught by a faculty member of the Philosophy
Program and a constitutional lawyer. Readings
include current court decisions involving issues
of equality, sexuality, the death penalty, and the
right to die and philosophers such as Jeremy
Bentham, Isaiah Berlin, Ronald Dworkin, Lon
Fuller, H. L. A. Hart, J. S. Mill, and John Rawls.
80 Social Studies

Logic, Epistemology, plete; Aristotelian logic (immediate inference,

mediate inference, the square of opposition);
Metaphysics, Aesthetics, and
Venn diagrams; monadic quantification theory;
the Philosophy of Language and general quantification theory, including
identity. At each level the interrelationship
Relativism between formal systems is examined; the consis-
Philosophy 220 Human Rights tency and completeness of each system are kept
This course is a semester-long investigation of
in view, and the way each is interpreted in
relativism. The first half of the semester exam-
English is stressed. The course ends with a dis-
ines epistemic/cultural relativism and the sec-
cussion of the extension of such work into
ond half explores moral/cultural relativism.
higher orders of logic and the foundations of
Students are introduced to several fundamental
mathematics, and the initial surprise of Gdels
modes of philosophical inquiry (among them,
incompleteness proof.
metaphysics, epistemology, philosophy of lan-
guage, and meta-ethics), but the focus of the
Self-Knowledge and Self-Discovery
class is a detailed exploration of relativism as a
Philosophy 243
philosophical position. Readings include works
Since Plato, self-knowledge has been thought to
by Thomas Kuhn, W. V. Quine, Richard Rorty,
be indispensable to the fully human life. Yet a
Bernard Williams, Peter Winch, and others.
great number of philosophers have been struck
by how puzzling a condition it is. For one thing,
Philosophy and the Arts perhaps alone among the different kinds of
Philosophy 230 knowledge, self-knowledge is presumed to
This course explores the ways that philosophers
change the object known, and to be an essen-
(and philosophically engaged critics) have
tially private, subjective affair. In the context of
approached issues concerning the nature and
self-knowledge, the terms knowledge, self,
value of art. After a discussion of Platos influen-
subject, and object all become problematic.
tial account of representation and the place of
Working through these problems reveals both
art in society, we turn to questions raised by
why self-knowledge is as valuable as it is, and
painting, photography, film, and music. From
why it is so difficult to achieve. The course
there, we examine broader topics that cut across
begins not with philosophy but with Sophocles
various art forms: Are serious (or high) and
tragedy, Oedipus the King, as a way of disclosing
popular (or low) art to be understood and
that self-discovery is essentially a dramatic
evaluated differently? How do we evaluate works
process. Thereafter, selections from Spinoza,
of art, and why do we so often disagree on their
Descartes, Nietzsche, Freud, and Wittgenstein
value? And what, if anything, do the various
are discussed.
items and activities that we classify as art have
in common? Readings include Hume and Kant
Philosophy of Mind
on taste, Stanley Cavell on the moving image,
Philosophy 247
and Theodor Adorno and Walter Benjamin on
This course focuses on contemporary readings
mass culture.
and such questions as: Is your mind something
different from your body and, in particular,
Symbolic Logic something different from your brain? Can you
Philosophy 237 know for sure that the people around you have
This course reviews several different symbolic
conscious mental lives? Might it be, in principle,
systems, some developed thousands of years
impossible for a computer or robot to have a
apart, in order to formally test the validity of
mind, no matter how fancy its program? Is it pos-
deductive arguments expressed in ordinary lan-
sible that you yourself dont have a mind?
guage of various levels of complexity. Beginning
from the common notion of a valid argument,
The Philosophy of Language
the course progresses through truth tables; a
Philosophy 352
system of natural deduction for propositional
Since the early 20th century, philosophical
logic, which is proven to be consistent and com-
inquiry into the nature of language has revolved

around the notion of meaning, and questions of
how it comes about that our words can make
contact with the world, our thoughts, and each
other. This course explores two living traditions
that attempt to answer these questions. The
semantic approach, associated with Gottlob
Frege, Bertrand Russell, and Saul Kripke, empha-
sizes reference and the logical structure of lan-
guage; while the pragmatic approach associated
with Ludwig Wittgenstein, J. L. Austin, and Paul
Grice emphasizes communication and our every-
day uses of language. Through readings from
these and other philosophers, students assess the
strengths and limitations of both approaches.
The course concludes with a discussion of
metaphor, a linguistic phenomenon often thought
to present difficulties for philosophical theories
of language.
Free Will
Philosophy 360
What is free will? Do we have it? What differ-
ence does it make whether we have it or not?
The problem of free will is one of the most famil-
iar, enduring, and difficult problems of Western
philosophy. This course begins by studying some
classic texts that offer a wide range of answers to
these central questions about free will, and goes
on to review state-of the-art writings about
free will from such philosophers and philosophi-
cally minded thinkers as Daniel Dennett, Robert
Kane, Benjamin Libet, Timothy OConnor, and
Daniel Wegner.
Single-Philosopher Seminars
The Philosophy of Plato
Philosophy 261 Classical Studies
An introduction to Plato. Issues considered
include the search for and illustration of a philo-
sophical way of life, the ethics of living and
dying, teaching values, love, rhetoric, and phi-
losophy. Readings include Euthyphro, The Apology,
Crito, Phaedo, Meno, Phaedrus, The Symposium,
Gorgias, Protagoras, Parmenides, and The Republic.
The Philosophy of Kant
Philosophy 371 German Studies
An introduction to one of the classic texts of
Western philosophy, Kants magnum opus, The
Philosophy 81
Critique of Pure Reason. Prerequisite: a previous
course in philosophy and permission of the
instructor.
The Philosophy of Nietzsche
Philosophy 375 German Studies
The major emphasis of the course reading is on
Nietzsches ethical and metaethical viewpoints.
Issues of metaphysics, epistemology, and philo-
sophical psychology are also considered, in dis-
cussions of such notions as perspectivism, the
overman, eternal return, and the will to power.
The Philosophy of William James
Philosophy 381
Selected readings from the major works of one of
Americas greatest philosophers, including The
Principles of Psychology, The Varieties of Religious
Experience, Pragmatism, The Will to Believe and
Other Essays in Popular Philosophy, and Essays in
Radical Empiricism. Topics include religious experi-
ence, the subject matter and nature of psychology,
various ethical issues, the nature of philosophy,
pragmatism as a philosophical methodology, and
the pragmatic theory of truth.
The Philosophy of Wittgenstein
Philosophy 385 German Studies
A first reading of major works of one of the most
influential philosophers of the 20th century.
Readings include Tractatus Logico-Philosophicus,
The Blue Book, and The Philosophical Investigations.
Prerequisite: permission of the instructor.
The Philosophy and Literature
of Jean-Paul Sartre
Philosophy 389 French Studies,
Human Rights
Readings from a variety of Sartres philosophic
texts, including Existentialism, Anti-Semite and
Jew, Essays in Aesthetics, and Being and Nothing-
ness, and a number of his novels and plays,
including Nausea, The Wall, No Exit, The Flies,
The Respectful Prostitute, Dirty Hands, and The
Devil and the Good Lord. The relation between
the two genres of Sartres writing is explored,
including the extent to which the philosophic
and literary productions complement each other.
82 Social Studies
Kierkegaard
Philosophy 399
An examination of a variety of Sren
Kierkegaards aesthetic, psychological, and theo-
logical texts. The course investigates the portrait
of the aesthetic, ethical, and religious dimen-
sions of existence; the critique of systematic
philosophical discourse; the existentialist psy-
chology of inwardness; the religious categories of
absurdity, paradox, and offense; and the nature
of language and authorship. Readings are drawn
from such pseudonymous works as Either/Or,
Fear and Trembling, and The Sickness Unto Death,
among others, as well as some of the sermons or
Edifying Discourses written under Kierkegaards international affairs, public policy, law, cultural
own name. Works by writers who have engaged
Kierkegaards authorship in ways central to mod-
ern and postmodern thought are also read.
Philosophy Research Seminar
Philosophy 403
An intensive advanced seminar primarily for
senior majors in philosophy. A problem in
contemporary philosophy is carefully selected,
exactingly defined, and thoroughly researched;
an essay or article is written addressing the prob-
lem, going through numerous revisions as a
result of class responses, faculty guidance, and
further research; the article is formally presented
to the seminar, followed by discussion and
debate; and the article in its completed form is
submitted to an undergraduate or professional
journal of philosophy or to an undergraduate
conference in philosophy. All standard and rele-
vant specialized research tools, bibliographies,
and reference works are introduced and made
available, and students gain familiarity with
various aspects of journal editing and publishing
in connection with Philosophy and Literature,
edited in Bards Philosophy Program.
Political Studies
Politics can be understood in many ways: as a
struggle for power over other people and nations,
or for freedom from control; as a social process
that determines who has what kinds of author-
ity; as a series of conversations or disputations
about what counts as a public problem and
how to address public problems; or as an art or
science of institutional design, especially the
design of governments.
However it is defined, politics matters. Political
outcomes shape the choices we can make as
individuals, and the fates of communities and
nations. The Political Studies Program at Bard
welcomes students who care about politics and
want to reason critically about political out-
comes and debates. The program intends to
inform responsible participation in American
and global public affairs. It also prepares students
for work and/or further study in political science,
studies, and related fields.
Like politics itself, the discipline of political
studies is richly diverse. At Bard, four broad clus-
ters of political studies are identified: political
theory, American politics, comparative politics,
and international relations. The clusters neces-
sarily overlap one another and other fields.
Students are encouraged to combine courses in
political studies with relevant courses in other
disciplines, for example, history, economics,
sociology, and literature.
Prior to Moderation a student ordinarily should
have taken at least four courses in the program.
Depending on a students focus or interest, one
course from another program may be counted
toward this requirement. The courses in political
studies must fall into at least two of the four clus-
ters. Students must take one of the programs
required core courses, Introduction to Political
Thinking and Introduction to Comparative
Government.
At Moderation, the second semester of the
sophomore year, the student should be able to
explain why he or she has chosen the program
and to describe the focus of his or her interests.
The standard two short papers reviewing work in
the Lower College and outlining plans for the
Upper College are required, along with an ana-
lytical paper on a chapter or article chosen in
consultation with the students adviser.
In the junior year the student takes at least one
300-level course designed as preparation for the

independent research and writing of a Senior
Project. Two courses in the senior year (one in
each semester) are devoted to work on the
Senior Project. Students take at least two other
courses in the program in the Upper College and
must take both of the programs core courses
prior to graduation.
Core faculty: Omar G. Encarnacin (director),
Sanjib Baruah, Jonathan Becker, Roger Berkowitz,
Nara Dillon, David Kettler, Mark Lindeman,
Walter Russell Mead, Pierre Ostiguy, Elaine
Thomas
Recent Tutorials in Political Studies
This selection of tutorials given in recent years
indicates the range of individual study beyond
the listed courses.
Globalization and the Environment
Heidegger and the Law
Historical Roots of Islamic Nationalism
Intelligence and American Politics
Nietzsches Beyond Good and Evil
Reading Marx
Texts and Pretexts in American War Rationales
Women and the Law
Recent Senior Projects in Political
Studies
Defining Woman: Identity Border Wars
between Lesbian Feminist and Transgender
Social Movements
For the Whole Community: Revitalizing
Environmentalism through Local Activism
Formalism and its Critics: Encounters with a
Seminal Controversy in American Political
Science
One Step Forward, Two Steps Back: Chinese
Media Reform 19802005
Uh, Ah, Chvez No Se Va: The Bolivarian
Revolution, Hugo Chvez, and the Origins of
Popular Support in the August 15, 2004
Presidential Recall Referendum in Caracas,
Venezuela
Political Studies 83
Understanding the Politics of Punishment: A
Foucauldian Reexamination of the Modern
Western World
International Relations
Political Studies 104 GIS, Human Rights
This course provides students with an under-
standing of the hows and whys of state behavior:
the nuts and bolts of international affairs.
Topics include international relations theory;
how foreign policy is made; international orga-
nizations; and some of the hot issues in the
world todayterrorism, preventive war, global-
ization, and the spread of democracy. The goal is
to see how (or if) theories of international rela-
tions can explain the way of the world.
Authors read include Thucydides, Morgenthau,
Russett, Huntington, and Mearsheimer, among
many others.
Introduction to
Comparative Government
Political Studies 105
The intellectual premise of the field of compara-
tive politics is that we can better understand the
politics of almost any country by placing it in its
larger, global context. This comparative per-
spective allows us to address some of the most
fundamental questions of politics. What are the
different ways in which groups and individuals
participate in politics around the world? Why
have some countries developed stable demo-
cratic political systems, while others experience
frequent changes in government, or even revo-
lutions? What relationship does a countrys
political organization have with its economic
performance, social stability, and relations with
other countries? In exploring these and other
questions, the course examines not only the key
institutions of liberal democracies, but democra-
cies constructed after dictatorships (Germany,
Japan) and federalism as an emerging trend in
contemporary regional politics.
Introduction to Political Thinking
Political Studies 115 Human Rights
Serious political debate and political study are
conducted against the background of a shared
history of reflection. This is no less true of polit-
ical thought that aims to break away from the
classics than of political thought that finds in
84 Social Studies
them a constant resource for both critical and
constructive thinking. This course examines
politics through a core body of writings. It takes
a comparative look at texts from diverse histori-
cal eras, from ancient times to the present, and
reflects critically on different ways of thinking
about key political concepts, such as justice,
democracy, authority, and the political. Stu-
dents reconstruct (and perhaps deconstruct) key
strategic alternatives to such enduring questions
as the relationship between the state and the
individual; the conditions for peaceful political
order; and the relationship between political
action, intellectual contemplation, and morality.
American Politics: Issues and
Institutions
Political Studies 122 American Studies
This course introduces students to the basic
institutions and processes of American govern-
ment. The class is meant to provide students
with a grasp of the fundamental dynamics of
American politics and the skills to be an effec-
tive participant in and critic of the political pro-
cess. Students examine how the government
works, interpret current political developments
and debates, and consider how to influence the
government at various levels.
Western European Politics and Society
Political Studies 125
The United States often figures as the implicit
model for its citizens thinking about what a
relatively prosperous, industrialized, democratic
country can or should be like. This course chal-
lenges that U.S.-centric perspective by exam-
ining the politics, policies, and institutions of
Western European countries. Focusing primarily
on Britain, France, Germany, Italy, and Sweden
from World War II to the present, the course
first looks comparatively at Western European
countries varying political systems, constella-
tions of political parties, and patterns of state-
society relations. The focus then shifts to selected
policy issues in an effort to understand the major
social, political, and economic challenges and
developments facing these countries in recent
years. Issues covered include the rise of the Greens
and other new political parties, challenges to
Keynesian economic policy and the welfare
state, corruption, immigration, and European
unification.
Introduction to Chinese Politics
Political Studies 130 Asian Studies, GIS,
Human Rights
This course offers a broad introduction to the
politics of contemporary China and Taiwan.
After providing some background on the
Imperial and Republican periods and the devel-
opment of the Communist Revolution, it focuses
on some of the major political events on both
sides of the Taiwan straits, such as the Great
Leap Forward, the Cultural Revolution, market
reforms, political liberalization and democratiza-
tion, and the Tiananmen Uprising. It proceeds
to a more thematic discussion of popular partici-
pation and elite control in contemporary poli-
tics, examining the role of women, national
minorities, entrepreneurs, intellectuals, and oth-
ers. The last section of the course turns to com-
parative issues, including economic development,
human rights, and the potential for democracy.
Latin American Politics and Society
Political Studies 153 GIS, LAIS
An examination of political life in Latin America
in the postcolonial period. The entire region is
covered, but the most representative countries
are emphasized: Argentina, Brazil, Chile, Cuba,
Mexico, and Venezuela. The overarching pur-
pose of the course is to understand change and
continuity in this region, with an emphasis on
the historical development of institutions and
political actors in Latin America (the state, cap-
ital, labor, the church, the military) and the
variety of theoretical frameworks that scholars
have constructed to understand the dynamics of
political development throughout the region
(modernization, dependencia, and political cul-
ture). Among the major themes covered are the
legacies of European colonialism, state building,
revolution, corporatism, populism, military rule,
and redemocratization.
U.S.Latin American Relations
Political Studies 214 American Studies,
GIS, Human Rights, LAIS
A comprehensive overview of the relationships
between the United States and the nations of
Latin America, how they were affected by his-
torical and ideological events, and what possibil-

ities exist for the future. The course is divided
into three sections: first, a historical overview of
the events that shaped U.S.Latin American
relations, emphasizing U.S. military interven-
tions in Latin America, U.S. attempts to estab-
lish political and economic hegemony, and U.S.
efforts to export democratic government; sec-
ond, an examination of the principal issues that
currently dominate the relations between the
United States and its southern neighbors: eco-
nomic integration, trade, drugs, and immigra-
tion; third, a close look at the relationships
between the United States and three places of
special interest to it and its domestic politics:
Cuba, Mexico, and Puerto Rico.
Populism and Popular Culture in Latin
America
Political Studies 217 LAIS
Politically incorporating the voices and claims
of the poor mass of the population has been a
tumultuous and salient issue in 20th-century
Latin America, from the Mexican revolution to
Peronism in Argentina to Chavez in Venezuela
today. In Latin American, the notion of the
pueblo, or the people as a collective, has
played a central role in politics, but the leader
also plays a key role in this emergence of the
people. This course examines the theoretical
foundations, representational claims, and con-
crete appeal of populism. It considers the role of
populism in the creation of popular identities
and the relation between populism and popular
claims, and analyzes the problematic relation
between populism and liberalism, as well as that
of both with democracy. In the third part of the
seminar, students review empirical cases of Latin
American populism, examining classic populism
in the 1930s1950s and various new forms of
populism. Finally, the course explores the
intriguing relation between populism and popu-
lar culture in Latin America, from indigenism in
Mexico to creolism in Argentina, back to politi-
cized indigenous identities in the Andes.
Theories of the Self, Gender Politics,
and Antiracism
Political Studies 218 GSS, Human Rights,
SRE
This course critically considers different theoret-
ical perspectives on the self, their adaptability
Political Studies 85
to other cultural contexts, and their relevance in
shaping current political theorizing and responses
to issues of gender, sexuality, and race. The first
part of the course considers competing ways of
understanding the self, from Freuds classic and
still controversial psychoanalytic approach to
the more socially oriented perspectives of Erving
Goffman, Michel Foucault, and Louis Althusser.
Students then turn to contemporary issues of
gender, sexuality, and race, and determine how
current thinking and practices of contestation in
this area continue to be informed by the major
approaches to theorizing about the self that have
been under review. Taking the recently very
politicized issue of women and veiling as a focal
point, students investigate the extent to which
those understandings of the self can be legiti-
mately extended to women and men in other
social and cultural contexts, and with what
implications.
Intrastate Conflicts
Political Studies 219 GIS, Human Rights,
SRE
While the number of interstate wars in the
world is decreasing, the number of intrastate
wars is growing (leaving aside extrasystemic
wars, or armed combat between a state and a
nonstate entity). While explanation of intra-
state armed conflicts has traditionally focused on
grievancesinequality, lack of political rights,
or ethnic and religious discriminationa newer
tradition focuses attention on greed, i.e., gains
made by conflict entrepreneurs and war profi-
teers. There is also the perspective of those who
put the phenomenon in the context of state-
building: weak or failed states are especially
prone to intrastate armed conflicts. This course
reviews these theoretical issues with examples
from Asia (Nepal, southern Thailand, Burma,
Sri Lanka, and northeast India) and Africa (the
Democratic Republic of Congo, Ivory Coast,
Liberia, and Sierra Leone). Readings include
Paul Collier and Ian Bannon, Natural Resources
and Violent Conflict; Francis Fukuyama, State-
Building: Governance and World Order in the 21st
Century; Stefan Wolff, Disputed Territories: The
Transnational Dynamics of Ethnic Conflict Settle-
ment, and other authors and works.
86 Social Studies
Dependency, Development, and
Democracy: Latin American Political
Economy
Political Studies 222 GIS, Human Rights,
LAIS
This course examines the intersection of politics
and economics in Latin America. More so than
any other region of the developing world, eco-
nomic factors feature prominently in the politi-
cal development of Latin America. This is
especially the case with respect to democracy,
whose fortunes in the region for much of the
20th century have been intimately linked to
shifting conditions in the world economy. The
course first looks at the political consequences of
a variety of economic models implemented in
Latin America since the colonial period; it then
examines several explanations of political sci-
ence that account for conditions of economic
underdevelopment. Finally, it reviews contem-
porary developments in Latin American politi-
cal economy such as economic integration
(NAFTA, CAFTA and Mercosur in particular),
the consequences of industrial restructuring on
the labor movement, and the role of the United
States and international financial organizations
(the World Bank and International Monetary
Fund) in the economic life of Latin American
nations. Prerequisite: some social science back-
ground on Latin America.
Russian and Eastern European Politics
and Society
Political Studies 228 GIS, Human Rights,
RES
This course examines the monumental political,
social, and economic changes that have swept
Russia and Eastern Europe since 1985. It addresses
a broad range of questions: Why did communism
collapse? Why did some countries experience
peaceful political transitions and others vio-
lence? What political, economic, social, and his-
torical factors explain the relative success of
some countries in the postcommunist transition
and the failure of others? What role did the
United States play in the collapse of communism
and the apparent failure of Russias transition?
Students investigate political, social, and eco-
nomic structures; the mass media; legal systems;
and societal attitudes and explore the transfor-
mation of the region not only through academic
books and articles, but also through literature,
film, and the speeches and writings of political
figures. Countries examined include Russia and
all the former members of the Soviet bloc.
Judgments, Rights, Dissent
Political Studies 229 American Studies,
Human Rights
This course introduces a novel approach to some
basic questions about legal judgment, rights, and
constitutionalism. Key legal terms and doctrines
are reviewed, but the ultimate aim of the course
is to enrich students ways of thinking about
texts and to develop their interest in the rela-
tionship between politics and aesthetics. Three
different moments in American legal history
provide case studies, each one exploring a funda-
mental experience with the discourse of rights:
the antebellum crisis surrounding abolition and
the Fugitive Slave Law; the conundrum of the
lawful state crimes first conceptualized as
genocide in the 1950s; and the recent U.S.
Supreme Court controversy over the victims
rights movement. A final section of the course
culminates in a study of the peculiar American
practice of institutionalized dissent, and its
significance for thinking about how we manage
conflicts of rights, power, and interpretation.
Those so inclined will be able to think about
contemporary human rights issues in light of
material found in American law and literature.
Intensive readings include constitutional case
law, legal philosophy, a political science mono-
graph, actual trial transcripts, and some of the
finest pieces of American legal fiction.
Social Movements and Political
Change: Labor, Race, and Gender
in America
Political Studies 232 American Studies,
GSS
A consideration of three general questions:
What accounts for the emergence of social
movements? What explains their development
and decline over time? And why have some
movements succeeded in shaping American pol-
itics while others have failed? Looking at the
labor movement, the civil rights movement, and
the womens movement, the class investigates
the conditions for successfully affecting American
politics and policy. Particular attention is paid to

movement tactics and the changing structure of
political coalitions.
The Modern American Presidency
Political Studies 235 American Studies
An introduction to the office of the presidency
and, more generally, to the major dynamics
affecting American politics today. Using the
2000 presidential election as a starting point, the
class explores this contemporary contest in
search of deeper historical patterns concerning
the transformation of dominant issues, party
coalitions, and the institutional capacities of the
presidency. Particular attention is paid to the
struggles and crises that have led to the enlarge-
ment and contraction of presidential power,
including the Great Depression, World War II
and the Cold War, civil rights mobilization,
Vietnam, and Watergate. Other topics include
the resurgence of Congress, the 1994 triumph of
the congressional Republicans, divided govern-
ment, and the political manipulation of scandals.
Capitalism and Its Critics
Political Studies 238
This course considers the origins and effects of
both modern capitalist economies and the divi-
sion of labor involved in modern industrial pro-
duction. It focuses on the transformations of
social life and human experience associated with
the emergence of the economy and the mar- and China are highlighted. The last section of the
ket as we now know them. The course centers
on discussion of the original works of leading
analysts from the 18th through the 20th cen-
turies. It uses these texts to challenge and
broaden our jaded perspective on our present
economic system, and critically considers the
origins and effects of the modern capitalist sys-
tem of production. The systems impact on
material prosperity is examined, along with the
ways in which it affects human capabilities, pro-
ducers experiences of time, and peoples rela-
tionship to the natural world. The changing
character, experience, and effects of consump-
tion are considered. Primary emphasis is on the
seminal works of Emile Durkheim, Karl Marx,
Adam Smith, and Max Weber, with supplemen-
tary readings by Karl Polanyi, E. P. Thompson,
and others.
Political Studies 87
The United Nations and Model UN
Political Studies 239 GIS, Human Rights
The first part of this course explores the history
of the United Nations, providing an introduc-
tion to its structure and principal aims. It exam-
ines the role of specialized agencies and the ways
in which alliances impact on the UNs day-to-
day operations. The second part of the course
focuses on an assigned country whose history,
politics, and economics are studied. The course
concludes with the writing of position papers
that reflect that countrys approach to issues con-
fronting the UN. The course includes a public-
speaking component. Prerequisite: permission of
the instructor.
U.S.East Asian Relations
Political Studies 240 American Studies,
Asian Studies, GIS
This course provides an overview of foreign rela-
tions between the United States and the nations
of East Asia, starting with their historical evolu-
tion and ending with a wide-ranging look at the
region in the current postCold War era. The his-
torical survey begins with the imperialism of the
19th and 20th centuries, turns to the origins and
revolutionary consequences of World War II, and
then traces the contours of the Cold War in the
region. The Korean War, Vietnam War, and nor-
malization of relations between the United States
course considers contemporary issues and prob-
lems in East AsianU.S. relations, such as trade,
the globalization of popular culture, the status of
Tibet, and the current crisis in North Korea.
Public Opinion, Political Participation,
and Democracy in America
Political Studies 245 American Studies
Many political observers and players make
sweeping claims about what Americans want,
how they think, and to what extent they live up
to ideals of citizenship. This course looks closely
at what we know about the American peoples
political and social beliefs and their political
participation in all its various forms. Particular
attention is paid to public opinion polls (how
and how well they work, who pays for them and
why), peoples voting decisions (both whether to
vote and who to vote for), the scope of citizen
political activism, and fundamental attitudes
88 Social Studies
toward government and what they mean for the
future of democracy in America.
The American Foreign Policy
Tradition
Political Studies 247 GIS
An introduction to the history of American for-
eign policy and to the connections between for-
eign policy and domestic policy that have
developed throughout the course of American
history. Students are introduced to the principal
geopolitical, economic, and ideological pillars
that have shaped American strategic thought.
Particular attention is devoted to how popular
religious, cultural, and political movements have
attempted to influence American foreign policy,
including antiwar movements. In the context of
the course, students read key documents that
have defined American foreign policy.
Women and International
Human Rights
Political Studies 248 GSS, Human Rights
Traditional human rights activists have largely
ignored the cultural, religious, political, and eco-
nomic conditions that impede women from
becoming part of civil societies and equal politi-
cal players. The failure to address the root causes
of womens political inequality means that
equality efforts hit a glass ceiling. This in turn
impedes both democracy and international
human rights movements. This course analyzes
the unique problems of women in the develop-
ing world and studies feminist strategies to
address those issues, including the Convention
on the Elimination of All Forms of Discrimi-
nation against Women (CEDAW). It explores
how CEDAW mandates a legal vision of womens
equality that surpasses any current legal protec-
tions in the U.S. Constitution or laws. The
course also demonstrates how other factors (such
as religion) operate to exclude and affect women
in gender-specific ways. Readings are drawn
from the works of scholars including Amartya
Sen and Martha Nussbaum, and case studies in
successful feminist legal strategies for imple-
menting CEDAW and other international legal
instruments and procedures.
Dreams of Perfectibility I:
The Quest for a Moral Foreign Policy
from Jefferson to FDR
Political Studies 249 American Studies
From the early days of the Republic, this nations
intense drive for absolute security has shaped its
history and national character. Americans have,
of course, gone to war for a variety of specific
reasonsto expand their territory for economic
gain, in response to affronts to their national
honor and territorial integrity, and to secure
their nations role as the guardian of freedom
and the promoter of democratic values. More-
over, the nations overarching response to its
need to counter real or imagined foreign threats
has been the use of unilateral action as the surest
method of achieving national security. But U.S.
foreign policy has always been justified by
appeals to American exceptionalism. America as
an exemplar or as a crusaderthese are the
moral poles of U.S. foreign policy. Yet no
American foreign policy can be successful in the
long term without a moral component. Should
the United States have a democratizing mission?
What are the consequences of this search for
perfectionism in an imperfect world?
Politics of Russia and the Soviet
Successor States: 1985Present
Political Studies 255 GIS, RES
This course examines the monumental political,
social, and economic changes that have swept
Russia since 1985. Why did communism col-
lapse? What political, economic, social, and his-
torical factors explain the relative difficulties of
Russias postcommunist transition? Where is
Putins Russia heading? What role did the
United States play in the collapse of commu-
nism and the apparent failure of Russias transi-
tion? In answering these questions the course
considers political, social, and economic struc-
tures; the mass media; legal systems; and societal
attitudes. It explores the transformation of
Russia not only through academic books and
articles, but also through literature, film, and the
speeches and writings of political figures. The
course attempts to put the Russian transforma-
tion in perspective through a selective examina-
tion of changes in neighboring countries,
including Ukraine, Belarus, Georgia, and the
Baltic states.

Politics and News Media
Political Studies 256
This seminar examines broad questions about the
relationship between the news media and poli-
tics. It addresses the interaction between govern-
ment and news media, concentrating on the
characteristics of different media systems, the
role of news media in elections, and the impact of
news media on the formation of foreign and
domestic policy. It also focuses on recent news
media restrictions related to national security
concerns. Although much of the course consid-
ers contemporary news media in the United
States, significant attention is devoted to the-
matic comparisons of media in Russia, Italy,
Germany, South Africa, and other countries.
Strategies of Radical Political and
Social Change
Political Studies 258 GIS
How can we change the political condition of
society? Can such change be achieved through
force of will, organization, and political strate-
gies, as Che Guevara and Mao argued? Or is
long-lasting political change a product of slower,
more passive transformations of the social fab-
ric, such as industrialization, increased literacy
and education, or the rise of postmaterialist val-
ues? This course examines various strategies
designed to trigger and achieve social and polit-
ical change. Within the voluntaristic views, two
drastically opposed strategies have existed for a
long time: violence and nonviolence. Which
one is more effective? Which one more ethical?
Students consider, for example, the guerrilla
strategy used historically in Latin America. Such
armed struggles are then compared to nonvio-
lent strategies, from Gandhi to contemporary
civil disobedience. While there are certainly
ethical reasons for choosing one over the other,
other factorssuch as state penetration of soci-
ety, stricter and more standardized legal codes,
and developments in law enforcement technolo-
giesare also discussed.
From Anarchy to Democracy:
Contemporary Spanish Politics
Political Studies 259 GIS
During the 20th century, Spain went from anar-
chist politics, civil war, and fascist uprising dur-
ing the interwar years to an emblematic example
Political Studies 89
of right-wing authoritarianism during the Cold
War, and finally to a stunning case of Third
Wave democratization by the late 1970s. What
explains this series of political transformations,
and what do they teach us about the domestic
and international factors that condition politi-
cal development in general and the rise of
democracy in particular? This course explores
these questions together with a variety of sub-
jects that animate democratic politics in pre-
sent-day Spain. Among them are the recovery of
the memory of civil war and dictatorship, the
rise of separatist politics and terrorist activity in
the Basque country, the recent wave of Latin
American immigrants to major Spanish cities,
and Spains rising profile in international affairs.
Environmental Politics
in the United States
Political Studies 260 American Studies,
Environmental Studies, Social Policy
Environmental politics involves many crucial
themes in American politics: How does govern-
ment regulation work and fail to work? How do
competing interests and values shape policy out-
comes? How do federal, state, and local govern-
ments interact? How do policymakers grapple
with (or evade) complex technical issues? What
do the American people really value, and what
do they really understand? How do social move-
ments and activists try to change the system?
This course examines toxic waste and environ-
mental justice, climate change and energy pol-
icy, wilderness conservation, endangered species
protection, and other major issues.
America and the Arab World
Political Studies 264 GIS
This seminar focuses on the complex and con-
tradictory relationship between the United
States and the Arab world. The first half of the
course puts U.S.-Arab relations in historical per-
spective: students discuss the creation of Arab
nation-states, the pivotal year 1948, Nasserism,
the Cold War, the Six-Day War, and the first
Gulf War, among other topics. The class then
considers challenges to the American role (if
any) in the Arab world. Topics include oil, fun-
damentalism, terrorism, democratization, trade,
the Gulf emirates as liberals, and the war in Iraq.
90 Social Studies
Congress: Campaigns and
Policymaking
Political Studies 265 Social Policy
By constitutional design, the U.S. Congress
particularly the House of Representativesis
the branch of the federal government most often
and directly accountable to the citizens who
elect its members. It is also the least trusted of
the major government institutions, and yet, its
members usually win reelection. Who are the
people we choose to make our laws, and why
are we so ambivalent about them? This course
considers how Congress is organized and how it
has changed over time, how it is influenced by
various forms of lobbying, and how it interacts
with the executive and judicial branches.
Special attention is paid to the Republican
Revolution of 1994 and to recent congressional
campaigns.
Holy War and Sacred Peace: Religious
Conflict in the 21st Century
Political Studies 266 Human Rights
After a century in which religion was widely
believed to be fading from international politics,
the 21st century opened with religion playing an
increasingly prominent role in world affairs. The
secularization paradigmthat as countries
became more economically advanced they would
also become more secular and rational in their pol-
iticsno longer seems solid. The course examines
the rise of new religious and quasi-religious
movements in the world today: the rise of Islam
and political Islam, the explosive growth in
Christianity in the United States and the devel-
oping world, new forms of radical Hindu politics,
and the return of religion to the formerly com-
munist world. The rise of apocalyptic thinking
in the new religious communities is considered,
along with the rise of fundamentalism (and the
differences between fundamentalisms), and the
new forms of religious mobilization are placed in
the context of broader forces of economic and
social change in the contemporary world.
Foundations of Law
Political Studies 267 Human Rights
Corporate executives hire high-priced lawyers to
flout the law with impunity. Indigent defendants
are falsely convicted, and even executed for
crimes they did not commit. This course explores
the apparent disconnect between law and jus-
tice. Can contemporary legal systems offer jus-
tice? Can we, today, still speak of a duty to obey
the law? Is it possible to do justice? Through
readings of legal cases as well as political, liter-
ary, and philosophical texts, students address the
problem of administering justice as it emerges in
the context of contemporary legal institutions.
Texts include selections from Dostoevsky, Kant,
Twain, Melville, Plato, Blackstone, Holmes,
Milton, and others.
Revenge and the Law
Political Studies 268 Human Rights
Although law is built upon the exclusion of
vengeance, revenge maintains a constant pres-
ence in criminal law. In spite of the best efforts
of philosophers, moralists, and jurists to banish
it, revenge remains an irrepressible social and
legal force. This course asks the question: Can
revenge be a just motive for criminal punish-
ment? By considering those in the victims rights
movement who argue for the importance and
justice of legalizing and thus legitimating
revenge, we ask whether justice is actually some-
thing other than legalized revenge. Students
examine the phenomenon of revenge as it has
been practiced, imagined, and conceived through-
out history. Through a close reading of texts,
films, and works of art, we explore why revenge
persists as an ideal of justice despite the best
efforts of lawyers to banish it.
The Power of Healing: The Politics of
Medicine in East Asia
Political Studies 270 Asian Studies, GIS
This course examines the history, culture, and
politics of health, disease, and medicine in East
Asia. It begins by focusing on the development
of East Asian healing traditions, with a particu-
lar emphasis on traditional Chinese medicine.
The course then explores the political conflicts
that ensued after the introduction of Western
biomedicine to the region. In addition to tracing
the impact of these conflicts on ideas, institu-
tions, and practices in East Asia (primarily
China, Japan, and Korea), students also consider
parallel conflicts in the United States over
acupuncture and other Asian medical practices.
The third part of the course focuses on a variety
of contemporary issues in the politics of medi-

cine in East Asia, including public health, family
planning, mental health, and newly emerging
diseases. Course readings are drawn from the dis-
ciplines of history, anthropology, sociology, and
political science.
Politics of Globalization
Political Studies 274 GIS, Human Rights
Advocates of free markets see globalization as a
positive force that can generate employment and
raise the worlds living standards. Critics see it as
an excuse for the exploitation of workers and the
expropriation of resources of poor countries,
environmental degradation, cultural homoge-
nization, and a race to the bottom in living stan-
dards. This course is framed by the question:
What is new about globalization and what is not?
If globalization is new, what does one make of
earlier historical processes that were global in
scope, such as Western colonial expansion, the
settling of entire continents by peoples from
another continent, the slave trade, or attempts to
create universal communities of faith? Does glob-
alization describe a distinct and linear process of
social change taking place in our time? The
course concludes with a discussion exploring the
causes and consequences of September 11th, and
asks if we are seeing yet another historical phase
of intensive global interaction being checked by
countervailing forces.
Dreams of Perfectibility II:
The Quest for Hegemony from
FDR to Bush II
Political Studies 295 American Studies
Immediately after World War II, a clash of ide-
ologies developed into a cold war between the
two victors, the United States and Soviet
Russia. To what extent was this a moral struggle
and to what degree a classic conflict of great
powers? The course analyzes the direction of
U.S. foreign policy during an era that has been
characterized as a Pax Americana. Readings
include new material dealing with the Soviet
approach to the postwar world in excerpts from
Soviet archives. The second half of the 20th
century also traces a trajectory from American
predominance to American decline, and then,
with the collapse of the Soviet Union, to
American hegemony. The end of the Cold War
marked the end of the bipolar world and the
Political Studies 91
emergence of the United States as a megapower.
The question now is, will the 21st century be the
American Century?
Rule of the People
Political Studies 310 Human Rights
Democracy means, more or less, rule of the
people. H. L. Mencken said, Democracy is the
theory that the common people know what they
want and deserve to get it good and hard. Do
people rule in the United States? Do people
know what they want, and should they get it?
Or do they get what they deserve? These issues
point to empirical questions about the American
political system and the citizens who putatively
run it. This course addresses our knowledge
about the publics role in policymaking, and its
intellectual and moral competence to make pol-
icy. Special attention is paid to racial politics,
gender issues, and other controversies that com-
plicate our evaluation of majority rule. Ample
time and support is devoted to student research
projects, which may run the gamut of topics in
American politics.
Immigration and Citizenship
Political Studies 311 GIS, Human Rights,
SRE
This course examines the way that responses to
immigration have affected existing policies and
practices of citizenship. Studies focus primarily
on the postWorld War II experience of devel-
oped countries and the practical and theoretical
issues raised by that experience, such as the chal-
lenge of integrating culturally and religiously
diverse new social groups of immigrant origin
and the ways in which different countries have
confronted this task. Topics addressed include
multiculturalism, minority rights, visions of state
and nationhood, alien voting rights, and related
issues.
Power Politics
Political Studies 318
The realist tradition in international relations
has long been central to the method by which
rulers and policymakers deal with the foreign
policy of the state. This Upper College seminar
concentrates on analyzing the classic works of
the so-called realist tradition. Readings include
Bolingbroke, David Fromkin, Alexander
92 Social Studies
Hamilton, Hobbes, Hume, George Kennan,
Henry Kissinger, Locke, Machiavelli, Lorenzo
de Medici, Hans Morgenthau, Harold Nicolson,
Thucydides, Woodrow Wilson, and Fareed
Zakaria. Theory is combined with a historical
study of power politics from 1815 to 1940. In
this context the exercise of the balance of power
in Europe as against Wilsonian universalism in
20th-century America is examined.
The Spread of Democracy
Political Studies 320 GIS, Human Rights,
LAIS
Since the mid-1970s, more than 40 nations in
Europe, Latin America, Africa, and Asia have
exited authoritarian rule and inaugurated demo-
cratic government, occasioning a global demo-
cratic revolution of unprecedented proportions.
The rise of open and competitive political sys-
tems in parts of the world once seemingly con-
demned to dictatorship raises at least two critical
questions: What accounts for the triumphant
rise of democracy at the end of the 20th century?
And what are the prospects for democratic con-
solidation among fledgling democracies? These
questions provide the anchor for this seminar on
the politics of democratization. Students con-
sider whether democracy is the outcome of
material prosperity or skillful political actors;
which kinds of political institutions and arrange-
ments are best suited to a new democracy; how
democratizing societies settle the legacies of
repression of the retreating authoritarian regime;
and what the links are between democratization
and political violence. The cases covered include
Spain, Argentina, Russia, and South Africa.
Americas Role in the World:
Topics in Contemporary American
Foreign Policy
Political Studies 322
This course, open to students who have com-
pleted an introductory course in American for-
eign policy, is a research seminar that focuses on
conveying the overall nature of U.S. global for-
eign policy while challenging students to gain an
in-depth knowledge of one major contemporary
policy issue. The course reviews a combination of
background works in American foreign policy
theory and strategy, paying particular attention to
the intersection between the domestic realities of
U.S. politics and the forces and interests shaping
the international arena. Balancing the theoreti-
cal and historical reading is a systematic study of
world and American news, with a consideration
of how the news media affect foreign policy.
American Politics Seminar: Religion
and Politics
Political Studies 327 American Studies,
Religion
This course illustrates the application of various
research methods to a major theme in American
politics: the impact of religious identities, move-
ments, and dividesincluding the apparent
contemporary cleavage between religious and
secular Americans. It considers, for instance,
Supreme Court rulings, oral history and other
historical accounts, quantitative public opinion
analysis, and empirical tests of hypotheses about
how divergent religious beliefs play out in public
policy debates. Topics include the role of reli-
gious beliefs and institutions in major social
movements (e.g., civil rights and anti-abortion
movements) and contemporary debates about
the proper relationship between church and
state. Texts include portions of George Lakoffs
Moral Politics, James Morones Hellfire Nation,
Stephen Carters The Culture of Disbelief, Pat
Robertsons The New World Order, and others.
Course work includes written responses to read-
ings and oral presentations about topics relevant
to the major theme of the course, in addition to
research papers.
Popular Protest in the Modern World
Political Studies 329 Asian Studies
What moves people to take to the streets to
protest injustice? Why do people risk their lives
for political change? Under what conditions are
these kinds of political actions effective? This
seminar aims to give students command over the
major social science theories about protest
movements, social movements, rebellions, and
revolutions. It provides an overview of the his-
torical development of this school of social sci-
ence theory, and reviews texts drawn from the
leading theoretical approaches employed by
scholars today, including moral economy, ratio-
nal choice, popular culture, and social move-
ment theory, among others. Theoretical readings
are paired with case studies of transnational

protest movements such as the anticommunist
movements of 1989, recent antiglobalization
protests, and movements for human rights and
the environment.
The Politics of Democratization
Political Studies 330 GIS, Human Rights
The American invasion of Iraq and the attempt
to implant democracy in the very heart of the
Middle East has awakened interest in the poli-
tics of democratization. Underlying this interest
is a cluster of questions and inquiries. What
makes for a successful transition from dictator-
ship to democracy? Can democracy be success-
fully imposed from the outside? What kind of
governing institutions (parliamentary versus
presidential, for instance) are best suited for a
new democracy? These and other questions are
examined in this seminar through the lenses of
the expansive literature on democratization
accumulated since the late 1970s. The course
reviews key concepts in the study of democrati-
zation, theoretical approaches to understanding
the sources of democratic stability and perfor-
mance, and the politics of democratization in
four distinct historical and geographic settings:
Spain, Brazil, Russia, and Iraq.
Rethinking Difference: Civil Society
in World Politics
Political Studies 337 GIS, Human Rights
This course reviews debates over the meaning of
civil society and related terminology (social
capital, civic engagement) and the impor-
tance of civil society organizations, from civic
associations to protest groups, to democratic per-
formance and stability. It examines the configu-
ration of civil society across a wide range of
states, from the United States to Western
Europe to Latin America to the postcommunist
world, in order to compare and contrast how
civil society affects the nature and quality of
democracy in different countries. The final part
of the seminar investigates the economic and
political effects of what has been termed global
civil society, from the Internet to the rise of
international NGOs. Readings include Omar G.
Encarnacin, The Myth of Civil Society: Social
Capital and Democratic Consolidation in Spain and
Brazil; Robert Putnam, Making Democracy Work:
Civic Traditions in Modern Italy; and Grzegorz
Ekiert and Jan Kubik, Rebellious Civil Society:
Political Studies 93
Popular Protest and Democratic Consolidation in
Poland, among others.
International Politics of South Asia
Political Studies 344 Asian Studies, GIS
South Asiaconsisting of Afghanistan,
Bangladesh, Bhutan, India, the Maldives, Nepal,
Pakistan, and Sri Lankais the site of major
international tensions in todays world. The
possibility of an enduring U.S. military presence
not only in Afghanistan, but in surrounding
countries including the Central Asian republics,
raises the specter of the unfolding of a 21st cen-
tury Great Game (Rudyard Kiplings phrase to
describe the 19th-century rivalry between Russia
and Britain). In this scenario of a new Great
Game, the United States would seek to control
not territories, but access to oil and gas reserves.
This course provides the historical and cultural
background necessary to understand todays con-
flicts and to examine closely a few key issues.
Topics include the war in Afghanistan and the
politics of Central Asian oil, Indo-Pakistani
relations and the Kashmir dispute, and the nuclear
tests by India and Pakistan. Also reviewed are
the efforts of SAARC, the Kathmandu-based
organization of regional cooperation.
The Politics of Economic Development
Political Studies 345 Asian Studies, GIS,
LAIS
This seminar explores the intersection between
politics and economics, centering on the vital
problem of economic development. It considers
some of the fundamental questions of political
economy: What is development? Are some
political systems better at economic develop-
ment than others? Is there a trade-off between
political freedom and economic growth? How
does economic development affect politics? The
first third of the course provides a broad overview
of the dominant theoretical approaches to polit-
ical economy. The rest of the course is devoted
to examining contemporary issues and prob-
lems of development. Topics covered include
inequality, labor, democratic transitions, post-
communist transitions, structural adjustment,
globalization, and the reversal of development.
Empirical cases are drawn from almost every
region in the world, especially Europe, East Asia,
and Latin America.
94 Social Studies
Democrats, Theocrats, and Tyrants:
Seminar in Mideast Politics
Political Studies 346 GIS, Human Rights,
Jewish Studies
This seminar gives students an overview of
approaches to the study of Middle Eastern poli-
tics, a background in selected salient issues, and
a general knowledge of significant political
events in the region. The course material covers
a variety of topics in the Arab world, including
the Mashreq (Egypt, Lebanon, Saudi Arabia,
etc.) and the Maghreb (North Africa). It also
focuses on the non-Arab Middle Eastern coun-
tries of Israel and Iran, and to a lesser extent
Turkey. Within that context, the course exam-
ines issues central to both the study of the region
and the mastery of key concepts in comparative
politics. These include the role of Islam in
Middle Eastern politics, chances for and obsta-
cles to democratization, terrorism, the develop-
ment of institutions, the ways and means of
dictatorships, and revolution. Readings include
Ajamis Dream Palace of the Arabs, Munsons
Islam and Revolution in the Middle East, Espositos
Islam and Democracy, Makiyas Republic of Fear,
and Fromkins A Peace to End All Peace, among
other texts. Films such as The Battle of Algiers,
Lawrence of Arabia, and Wedding in Galilee sup-
plement the readings.
Civil Society and Democracy in Africa
Political Studies 347
This course examines the extent to which free-
dom of expression has empowered civil society
and opposition political parties to challenge
threats to democracy in various states on the
African subcontinent. In countries where
authoritarian regimes have curtailed the right of
freedom of expression and prevented the media
from effectively playing its role as a watchdog
over government, abuse of human rights,
poverty, corruption, and a general decline in liv-
ing standards have proliferated. The course ana-
lyzes case studies of countries where civil society,
working in tandem with the political opposition,
the media, the church, the trade unions, and the
judiciary, have effectively challenged dictator-
ship. Censorship and ownership of mass media
by government, as well as the complex role of
Western NGOs and media coverage in the strug-
gles of postcolonial Africa, are also investigated.
A number of southern African countries that
have endured threats to democracy under the
rule of authoritarian regimes are considered case
studies during this course.
Political Representation and Social
Differences
Political Studies 348 GIS, Sociology
What are the main lines of political division in
the United States and in countries around the
world? How does the divide between liberals and
conservatives relate to questions of class, gender,
race, and other categorizations, if at all? Are val-
ues independent from social positions? This semi-
nar crosses borders between political sociology,
electoral analysis, identity formation, and what
political scientists call spatial analysis. It exam-
ines the conflicts associated with political repre-
sentation both from the subjective angle of
identities, as they relate to self and experi-
ence, and from a macrosociological perspective
on society. Topics in political sociology such as
electoral sociology, social movements, and iden-
tity politics are reviewed, and the relational and
discursive mechanisms of identity formation are
analyzed from a political theory perspective.
BardWest Point Seminar:
The Nature of Power
Political Studies 349
Hans Morgenthau, one of the preeminent inter-
national relations theorists, wrote that power
may comprise anything that establishes and
maintains control of man over man. Thus power
covers all social relationships which serve that
end, from physical violence to the most subtle
psychological ties by which one mind controls
another. This seminar investigates physical vio-
lence, subtle psychological ties, and everything
in between in an attempt to understand the
nature and role of power in the international sys-
tem. Readings are drawn from the great books
that explore power in all of the major schools of
international relations theory: Morgenthaus
Politics Among Nations, Mearsheimers The Tragedy
of Great Power Politics, Zakarias From Wealth to
Power, Nyes Soft Power, Keohanes Power and
Interdependence, and Kagans Of Paradise and
Power, among others. Debates on the nature and
use of power benefit from joint sessions with
Professor Scott Silverstone and his students at the

United States Military Academy, West Point.
Prerequisites: Political Studies 104 and/or permis-
sion of the instructor.
Radical American Democracy from
Emerson to Arendt
Political Studies 358 Human Rights
This seminar is an exploration of radical
American democracy. While most characteriza-
tions of democracy see it as a form of govern-
ment, this course explores the essence of
democracy as a specifically modern way of life.
To do so, it turns to some great thinkers of
American democracy such as Ralph Waldo
Emerson, Henry David Thoreau, Walt Whitman,
Ralph Ellison, W. E. B. DuBois, and Hannah
Arendt. What unites these radical democrats is
the conviction that democracy is a practice of
individuals rather than an institutional form of
governance. As an ideal of radical individual-
ism, American democratic thought offers, per-
haps surprisingly, an aristocratic critique of the
limits of democratic government even as it
makes possible our culture of narcissistic con-
sumerism. The aim is to understand the demo-
cratic spirit of radical individualism that has
proven so seductive and powerful since its mod-
ern birth in the American revolution. Texts
include Emersons essays The American Scholar and elsewhere? How would one make sense of
and Experience, Thoreaus Walden, Ellisons this shift in world historical terms?
Invisible Man, and Arendts On Revolution.
War Is Hell: The Use of Force in
International Relations
Political Studies 360 GIS, Human Rights
War is the continuation of politics by other
means. So said the Prussian military theorist
Karl von Clausewitz more than 170 years ago,
and it remains true. But what has changed is the
nature of conflicts that often fail to adhere to
classical principles of great power battles. This
course introduces students to the major debates
and issues concerning the use of force or the
threat of its use in international politics, with a
focus on the changing nature of security studies.
Some issues examined include how wars start
and end, how wars are influenced by various
political and other factors, responses to terror-
ism, and weapons of mass destruction. This
course helps students to develop a broad theoret-
ical context as well as the opportunity to apply
Political Studies 95
those theories to specific case studies including
Iraq, Somalia, Congo, India-Pakistan, Algeria,
Afghanistan, and Ireland.
The Great Asian Transformation
Political Studies 361 Asian Studies, GIS
There has been much interest lately in what
appears to be a global shift in economic power
toward Asia. The dramatic economic growth of
Asian countriesnotably of China and India
undoubtedly will have consequences for global
politics. But it would be misleading to view this
shift entirely through traditional state-centric
lenses, for there is a change in the spatial organi-
zation of the world economy. After all, manufac-
turing in Asia is incorporated into the global
supply chains of transnational companies, and
for many such companies a technology hub in
Asia is a link in a global innovation chain. It has
also become difficult to draw sharp lines between
countries and their neighborhoods. A number of
East Asian countries and the overseas Chinese,
for instance, are a part of the story of Chinas
transformation. This course looks closely at
these dimensions of the Asian transformation
and poses a few long-term questions: Can this
pattern be sustained? What are its consequences
for the well-being of the people in the region
Public Policy Seminar
Political Studies 371 Social Policy
Public policy can be loosely defined as what gov-
ernments do about various issues: for instance,
making laws and regulations, or allocating funds
for specific programs. Some policy analysis focuses
on understanding the policy-making process
how a wide range of actors and conditions influ-
ence the policy-making agenda and policy
outcomes. Other public policy analysis focuses
instead on evaluating the social effects of public
policy, both intended and unintended, and con-
sidering how policy can be designed to achieve
desired social outcomes. If public policy matters,
then we need to consider both how it is made
and what it does or can do. This seminar begins
with an overview of policy making in the United
States through broad themes such as policy
entrepreneurship, agenda setting, federalism,
and cost-benefit analysis. It goes on to examine
96 Social Studies
selected aspects of U.S. social welfare policy
with an eye to understanding the sources and
effects of past and present policy, as well as the
prospects for future policy initiatives. Students
write research papers examining specific issues
in public policy (not necessarily limited to the
United States).
The Politics of Terror: Confronting
Violent Political Change
Political Studies 376 Human Rights
This course examines violence and politics in an
attempt to understand the singular case of ter-
rorism: its history, evolution, and techniques.
Seminal texts of terrorism and some of their
more celebrated applications are studied, with a
special emphasis on the origins, tactics, and
goals of al Qaeda. Terrorism is placed within the
broader subject of practicing politics through
violence, particularly revolution and coup dtat.
The problems of reporting on terrorism are also
discussed, with special attention given to the
ways in which terrorists use the power of the
press to their advantage.
Advanced Topics in Political and Legal
Thinking
Political Studies 380 Human Rights
This course focuses on a close reading of one
important thinker or book in the tradition of
political and legal theory. Authors and books
vary from semester to semester.
Psychology
Contemporary psychology encompasses such
areas as cognitive psychology, neuroscience,
social psychology, developmental psychology,
and clinical and personality psychology. The
Psychology Program addresses these various dis-
ciplines with a broad spectrum of representative
course offerings. The program is designed to
embrace a variety of student needs and interests.
For those intending to do graduate work in psy-
chology, neuroscience, clinical psychology, psy-
chiatry, or kindred helping professions, it provides
a rigorous grounding in the content areas and
research methods of psychology and offers stu-
dents opportunities to participate in significant
research and laboratory experiences. However,
psychology majors often go on to a variety of
pursuits after college, and the language and ana-
lytical approaches of psychology have become a
common basis for many professional endeavors.
The curriculum is also designed to offer many
opportunities for students whose interest in the
field is more casual or perhaps related to other
areas in which they are interested. Psychology
has natural linkages with many other disciplines;
psychology majors often take courses in such
fields as cognitive science, sociology, biology,
anthropology, and linguistics, and students from
other fields find courses in the different areas of
psychology relevant to their area of study. All
courses are open to nonmajors, although some
have specific prerequisites. The Research Confer-
ence is an advanced junior seminar that focuses
on particular topics within the field of psychol-
ogy. It is an experience specifically geared
toward helping the student prepare for the more
intensive work that accompanies the Senior
Project.
A students four-year course of study will obvi-
ously depend upon personal interests and goals,
but there is a general pattern to all study plans in
psychology. In the Lower College, students have
the opportunity to explore the foundations of psy-
chology in Introduction to Pyschology (Psychology
103) and a range of 200-level courses. Require-
ments prior to Moderation include Psychology
103, preferably in the first year (although a score
of 5 on the AP psychology exam will fulfill the
Pyschology 103 requirement); and a sophomore
sequence consisting of Psychology 203 and 204,
Introduction to Statistics and Research Design and
Research Methods in Psychology. The introductory
course is designed to give the student an overview
of contemporary psychology from a variety of per-
spectives. The sophomore sequence provides con-
ceptual and analytical tools necessary for
advanced work in the field in the Upper College.
For Moderation, the student prepares two short
papers (his/her academic past and future) and, as
is traditional in psychology, a third paper that
summarizes and critically evaluates an article
taken from a psychology journal and is written
by all moderating students on Moderation
Saturday. Our Moderation boards typically con-

sist of three members of the psychology faculty,
with preference given to the second semester
sophomore adviser, another member of the psy-
chology faculty with whom the student has had
a course, and a member of the psychology faculty
who has not had the student in class. The pri-
mary function of the Moderation in psychology
is individual academic program planning for
Upper College work and beyond.
During the junior year the student is expected to
take two advanced seminars (Research Confer-
ences) on focused research topics. Both the
required sophomore sequence and the Research
Conferences serve as preparation for work on
the Senior Project. During the senior year the
student takes a two-course sequence developing
the Senior Project in conference with a faculty
adviser. The Senior Project is typically a critical
review of the research literature on a chosen
topic or an original study in which the student
collects and analyzes research data on a particu-
lar question.
The psychology courses that follow are listed in
six categories: core courses; developmental psy-
chology; neuroscience; cognitive psychology;
clinical and counseling psychology; and social
psychology.
Core faculty: Frank M. Scalzo (director), Christie
Chinwe Achebe, Richard Gordon, Kristin Lane,
Barbara Luka, Bart Meyers, Stuart Stritzler-
Levine
Recent Senior Projects in Psychology
Beyond Neurotransmission: Toward a New
Model and Mechanism of Depression and
Antidepressant Action
Perception of Aggression among the Latino/a
and White European Cultures
Preventing Relapse and Recurrence with
Cognitive Therapy
Self-Injurious Behaviors in Individuals with
Intellectual Disabilities: A Review of the
Literature
Social Comparison Processes of First-Year
College Students: What Happens When We
Look to Others for Validation of Ourselves
Psychology 97
The Ideal Body: Asian Womens Perception of
Body Image and Cosmetic Surgery
The Neurobiological Consequences of
Childhood Maltreatment and Their Role in
the Etiology and Course of Borderline
Personality Disorder
Core Courses
Introduction to Psychology
Psychology 103
A survey of the academic discipline of psychol-
ogy, organized around five main questions: How
do humans (and, where relevant, other animals)
act? How do they know? How do they interact?
How do they develop? How do they differ from
one another?
Introduction to Developmental
Psychology: Infancy and Childhood
Psychology 112
A human life begins with a single cell and
unfolds in almost inconceivable complexity.
Developmental psychology is the scientific study
of change and continuity over the course of life.
This introductory survey course in developmen-
tal psychology focuses on the period between
conception and puberty. It explores the ways in
which biological, psychological, cultural, and
sociological influences systematically combine
to shape the unique pattern of each life.
Introduction to Developmental
Psychology: Adolescent Development
Psychology 113
This course explores the developmental pro-
cesses that shape our lives between puberty and
the end of college. Adolescence is a time of tran-
sition, when children are prepared to take on the
roles they will fill as adults. It is also a time of
rapid change: only in early infancy do minds,
bodies, and abilities change as radically as they
do during the teenage years. While affirming
that each life unfolds in its own unique pattern,
the course examines the ways in which biologi-
cal, psychological, and sociological influences
systematically combine to shape its course. It
enables students to develop an understanding of
the concepts, methods, and research findings
central to the study of adolescent development.
98 Social Studies
Introduction to Social Psychology
Psychology 115
Humans are social animals. We thrive in the
context of a supportive social network but suffer
in the social isolation of solitary confinement.
This course explores the cognitive processes and
interpersonal forces that shape our opinions and
our actions. For example, how does the way we
think influence the way we interpret the actions
of others? How are our decisions influenced by
the social context in which those decisions are
made? Importantly, the way we think includes
not only our attitudes, but also cognitive con-
straints due to the neurophysiology of memory.
Sometimes these influences are overt; at other
times they are more subtle, including circum-
stances and processes about which we may not
be consciously aware. Specific topics covered
include conformity, group processes, stereotypes,
empathy, attitudes and attitude change, emo-
tion, and self-concept.
Introduction to Clinical Perspectives
Psychology 141
An introduction to clinical psychology, a branch
of the discipline that involves the analysis of
human psychological problems and efforts to
remedy them. The viewpoints and practices of
clinical psychologists are examined through a
variety of primary source readings. These
include autobiographical writings, case histories,
writings about the experiences of psychothera-
pists, and scientific evaluations of psychopathol-
ogy and psychotherapy. Emphasis is placed on
exploring the unique intersection of the per-
sonal and the scientific that is at the core of clin-
ical psychology.
Introduction to Statistics
and Research Design
Psychology 203 Environmental Studies
The first semester of a one-year integrated
course in applied statistics and research design
that prepares students for serious work with
quantitative data and introduces them to the
fundamental concepts of research design. The
first semester emphasizes experimental research
and parametric models; the second course in the
sequence, Psychology 204, focuses on correla-
tional research and nonparametric models. The
first semester includes elementary descriptive
and inferential statistics from t-tests through
contrasts and the analysis of covariance. Other
topics covered are the rationale of basic con-
cepts, their application, and presentation of the
results of statistical analyses; and the fundamen-
tals of the logic of experimental design and
methods for controlling the effects of relevant
variables. Computer usage establishes familiarity
with experimental software programs and the
SPSS/PC+ statistical analysis package.
Research Methods in Psychology
Psychology 204 Environmental Studies
A continuation of Psychology 203, with the
objectives of extending the skills and abilities
students acquired in that course and offering
hands-on experience in social psychological
research. An understanding of research methods
and design is developed through reading, class
discussion, lectures, and original research.
Students work together to design studies using
observational studies, archival analysis, ques-
tionnaire studies, formal experiments, comput-
erized experiments, and field studies. Student
research teams conduct, report, and present two
of the studies they have designed. Ethical issues
relevant to each stage of the research process are
discussed and students ability to assess research
reports is developed.
Developmental Psychology
The general survey course in child and adoles-
cent development familiarizes students with the
different topics and prominent schools of thought
in the field. A second introductory course focuses
on adulthood and aging. Students may do more
advanced work in fields such as the development
of childrens cognition, social development, and
life span developmental psychology.
Development and Psychopathology
Psychology 210
This course investigates the early and multiple
factors contributing to psychopathology emerging
in childhood, as well as the diagnostic and treat-
ment standards now in practice. Students work
from an empirically based developmental psy-
chopathology perspective, with an emphasis on

the risk and protective factors that shape abnor-
mal and normal developmental trajectories. The
course explores various models for understanding
maladaptive development (e.g., the role of genes,
psychosocial influences) through the examina-
tion of current research and diagnostic practices
in specific diagnostic areas (autism, Attention
Deficit Hyperactivity Disorder, etc.). Students are
encouraged to relate empirical findings to the
fields theoretical models in considering the
genetic, biological, cognitive, and cultural influ-
ences on child development.
Contexts of Development: The Family
Psychology 214
Our lives are nested in intimate relationships
that both shape and are shaped by us. This course
focuses on relationships with people in our fam-
ilies and those we hope to become family mem-
bersour romantic partners. Maintaining its
focus on families within the United States, the
course examines such questions as: What are
men and women looking for in their romantic
and sexual partners? How do relationships
change when people marry? Why do people
have children and how are they changed by the
experience? What makes someone a good par-
ent? How important are relationships with sib-
lings? Grandparents? The course also considers
the negative side of family experiences: What
are the causes of intimate violence? What hap-
pens when families change through death or
divorce? Can we survive bad families? Students
develop an understanding of the concepts,
methods, and research findings central to under-
standing individual development within the
context of family relationships and how research
can be used to shape social policy. Prerequisite:
Psychology 112 or 113, or permission of the
instructor.
Theories of Development
Psychology 311
The assumptions we make when approaching
research fundamentally shape how we read the
scientific literature, design studies, and interpret
results. This course is designed to give students a
broad basis for understanding theoretical
approaches to the study of human development
and to help them use theory effectively in the
evaluation and design of original research.
Psychology 99
Students gain knowledge of six major theoreti-
cal approaches to development; learn the role of
theory in empirical research; evaluate empirical
research in light of the link between theory and
method; apply theory in the conceptualization,
design, and interpretation of original research;
and learn to communicate ideas effectively.
Some specific topics include Kuhn and the pro-
cess of scientific inference; Piaget; Freud and his
legacy; learning theory and its derivatives; and
ecological systems theory. Discussions focus on
understanding key elements of each theory and
the fit between theories and the ways they have
been used and tested in the empirical literature.
Although its focus is on developmental psy-
chology, this course is broadly conceptualized as
an introduction to the philosophy and practice
of science.
Independent Research in
Developmental Psychology
PSY DEV
In this course, students participate in laboratory
research in child developmental psychology.
Special emphasis is placed on 3- to 5-year olds
social cognition, perspective-taking, and mem-
ory in the context of games. The bulk of the
course is taken up by independent laboratory
work and research, and students work with young
children, parents, and members of the commu-
nity to initiate research protocols. There is a
weekly laboratory meeting, plus readings, assign-
ments, two short papers (a literature review and
a summary of an empirical project) and student
presentations. Open to first-year, second-year,
and junior students with consent of the instructor.
Neuroscience
Neuroscience is a multidisciplinary area of study
that focuses on understanding the structure and
function of the central and peripheral nervous
systems. This rapidly expanding field seeks to
answer questions related to brain and behavioral
development, normal brain function, and dis-
ease processes. Overlaps exist with other disci-
plines such as biology, chemistry, mathematics,
pharmacology, and physics, and there are impor-
tant links with the social sciences and humanities.
An introductory course is offered in addition to
100 Social Studies
courses that focus on the fundamental areas of
neuroscience and contemporary issues related to
the social sciences and humanities.
Introduction to Neuroscience
Psychology 230
The ability to express thoughts and emotions
and to interact with the environment largely
depends on the function of the nervous system.
This course examines basic concepts and meth-
ods in the study of brain, mind, and behavior.
Topics include the structure and function of the
central nervous system, brain development,
learning and memory, emotion, sensory and
motor systems, the assessment of human brain
damage, and clinical disorders such as schizo-
phrenia, epilepsy, and Parkinsons disease.
Drugs and Human Behavior
Psychology 252 STS
An exploration of the biological bases for
the behavioral effects of several psychoactive
substances including therapeutic compounds,
such as antipsychotics and antidepressants, and
drugs of abuse. The course focuses on mecha-
nisms of drug action and physiological and
behavioral effects. Broader societal issues such as
drug addiction, drug policies and testing, and
controversial therapeutic interventions are dis-
cussed in relation to selected compounds.
Prerequisite: an introductory psychology or biol-
ogy course or permission of the instructor.
Developmental Neuroscience
Psychology 349
This course explores the neurobiological and
neurobehavioral aspects of animal and human
development. Processes of normal brain behav-
ioral and cognitive development are discussed,
with an emphasis on understanding vulnerabili-
ties of the developing nervous system to insults
such as drugs and environmental stressors. Primary
source journal articles and excerpts from texts
are used to investigate how animal models,
including zebrafish, are used to understand pro-
cesses of human development and psycho-
pathology. This course is an Upper College
seminar and will satisfy the research conference
requirement.
The Psychobiology of Stress and
Mental Illness
Psychology 391
Recent advances in the understanding of the
neurobiology and physiology of stress have
changed the way stress is viewed, both as a pri-
mary phenomenon and as a secondary factor
that precipitates or causes a variety of psychi-
atric disorders. The latter include phobias, panic
disorder, obsessive-compulsive disorder, post-
traumatic stress disorder, depression, and schizo-
phrenia. This research conference examines
recent findings on the mechanisms and biologi-
cal consequences of stress and explores links
between these effects and psychiatric disorders
as reported in journal articles. Students are
expected to read and develop critiques of these
articles as well as make class presentations. This
seminar is intended for students who have mod-
erated in psychology or biology, but is open to
students with suitable background.
Independent Research in Neuroscience
PSY NEU
Students participate in laboratory research in
developmental psychopharmacology, neuro-
chemistry, neuroanatomy, and/or neurobehav-
ioral teratology using the zebrafish as an animal
model. Within these general fields, specific roles
of neurotransmitter systems in normal behav-
ioral development and the neurobehavioral
effects of chemical insults during early develop-
ment are investigated. The majority of time in
this course consists of independent laboratory
work and research. Open to first-year, second-
year, and junior students with consent of the
instructor.
Cognitive Psychology
Modern psychology may be dated from the first
successful attempts to bring the mind from the
philosophers den into the laboratory, where
the preferred method of the physical sciences, the
experimental method, could be applied to dis-
cover the functional relations governing mind
and behavior. Its development can be charted by
the dates of the founding of cognitive psychol-
ogy laboratories at universities and colleges
throughout the world. Subsequently, laboratory

methods have dominated the study of sensation,
perception, memory, learning, motivation, and
thinking for more than a century. The success of
the experimental approach is marked by the fact
that it is still a fundamental area of psychology
today. However, the contemporary cognitive
psychologist must attempt to straddle the bound-
aries between physiology, psychology, computer
science, and mathematical modeling of neural
processes.
Introduction to Cognitive Psychology
Psychology 228
How do people acquire information? And once
information is acquired, what happens to it?
Does it sit, still, in the mind/brain? Or does it
change, either knowingly or unknowingly? If
information in the brain changes with time, how
might that change come about, and to what end?
This course is about how people perceive,
remember, and think about information. The
major topics covered include object recognition,
memory, concept formation, language, visual
knowledge, judgment, reasoning, problem solv-
ing, and conscious and unconscious thought. In
addition, the course considers the neural under-
pinnings of these topics. Prerequisite: Psychology
103 or permission of the instructor.
Human Memory
Psychology 248
Memory is fundamental to all aspects of learning
and behavior in all animal species. However, the
study of human memory presents a special case
because humans use language. Language pro-
vides a unique mechanism for encoding and
retrieving memories, but language also biases
memory. This course is an overview of classic
theories and current research in human learning
and memory. Students evaluate models of mem-
ory, including debates on the cognitive represen-
tations of knowledge. They examine the role of
awareness in memory, false memory, the biologi-
cal bases of memory, diseases and disorders of
memory, and methods for brain imaging.
Prerequisite: 100-level course in Psychology or
Biology or permission of the instructor.
Psychology 101
Language Technologies
Psychology 260 STS
A common expectation around 1950 was that
computers would be talking and performing
automatic translation within 10 years.These pre-
dictions were off about half a century. An
astounding degree of progress has been made in
designing language-based human-computer inter-
faces, but some issues remain seemingly insur-
mountable. Why is language processing so
difficult for a computer when an average 3-year-
old child can do it comparatively easily? To
demonstrate how the properties of different lan-
guages present special computational challenges,
this course contrasts English and Japanesein
part because of the phonological and graphemic
properties of these languages, but also due to the
availability of software. Topics addressed range
from the hopes of science fiction (the linguistic
abilities of HAL) to functional and economic
practicalities (why cell phones can use remark-
ably impoverished speech signals without our
noticing). Human factors psychology and the
role of cognitive science in applied technologies
are considered. In addition to lecture and discus-
sion, a major component of the course includes
computer labs, projects, and demonstrations.
Prerequisites: a course in psychology, experience
with a second language, and consent of the
instructor.
Language and Cognition in Cultural
Contexts
Psychology 263
Language is a social construct. This course
examines a broad range of topics relating to the
interplay of language, mind, body, and culture.
For example, rhythm and rhyme in epic poetry
are known to aid memory, but what are the cog-
nitive mechanisms that make this possible? How
do metaphors such as love is a journey and life
is a gamble convey depth of meaning in so few
words? What is the relationship between ideas
and the words we use to describe them? Do prop-
erties of language such as grammatical gender
influence memory? How do cultural categories
reflect or shape language? The goal of this course
is to examine the dynamic properties of language
and cognition in social contexts. Prerequisite:
previous 100-level course in psychology, anthro-
pology, or sociology or consent of instructor.
102 Social Studies
Cognitive Psychology: Conceptual and
Laboratory-Based Approaches
Psychology 327
Cognitive psychology is a comparatively young
and rapidly growing research domain concerned
with the representation and use of knowledge in
the human brain. This course examines the pro-
cesses of attention, perception, mental imagery,
learning, memory, and decision making with spe-
cial attention to the methods used to investigate
properties of the mind. It includes a laboratory
component where participants actively engage in
testing how people acquire, remember, and use
knowledge. The course explores cognition from a
variety of perspectives, including biological and
computational models, and investigates the ways
in which our cognitive systems structure or con-
strain our experience of reality.
Language and the Brain
Psychology 352
How is it possible for people to comprehend and
produce language? What happens in our brains
when we learn another language? How do devel-
opment and aging influence our ability to learn
new languages? These are some of the topics
investigated in this course. Linguistic abilities are
contrasted with cases in which language produc-
tion and comprehension are not developing
smoothly. For example, what is happening in the
brains of people who stutter, are dyslexic, or suffer
from auditory hallucinations in schizophrenia?
Can the ability to communicate be regained
after a person has a stroke? Evidence from brain
imaging techniques such as functional magnetic
resonance imaging (fMRI) and event-related
potentials (ERPs) is marshaled to investigate
language-processing abilities. Lastly, some rare
but very strange selective deficits are studied,
and students review what these findings mean
for brain organization. Prerequisite: Moderation
in psychology or consent of instructor.
Psycholinguistics
Psychology 356
This course integrates topics in linguistics, psy-
chology, computer science, and neuroscience. It
examines recent research addressing the com-
prehension, production, and acquisition of lan-
guage. The neurological bases of language are
also considered. Individuals enrolled in the
course should have some background in cognitive
psychology and psychological research methods.
Independent Research in Cognitive
Psychology
PSY COG
This course provides an opportunity for guided
research in psycholinguistics. Students con-
tribute to ongoing studies of language compre-
hension, including preparing stimuli, working
with participants, analyzing collected data,
reviewing recently published empirical papers,
and developing independent projects. Require-
ments include consistent participation in weekly
lab meetings and two short papers. Open to first-
year, second-year, and junior students with con-
sent of the instructor.
Clinical and Counseling
Psychology
Students taking courses in clinical and counsel-
ing psychology may have quite varied intellec-
tual interests and goals. Some may be preparing
to enter one of the helping professions: clinical
psychology, psychiatry, social work, school
counseling and guidance, or related fields. Others
may be pursuing an interest in the intersection
of psychology and literature, philosophy, cul-
tural studies, or other fields. Graduate programs
differ in their requirements, but students who
wish to prepare for graduate school should take
at minimum Psychology 213, Theories of
Personality, and Psychology 241, Abnormal
Psychology.
The Nature and Treatment of
Psychological Disorders
Psychology 140
This introductory course examines some of the
most important behavioral disorders, such as
phobias, panic disorder, obsessive-compulsive
disorder, eating disorders, schizophrenia, and
mood disorders. These syndromes are the bread
and butter of the clinical psychologist and other
mental health workers, and they have also
become a part of the common cultural vocabu-
lary of our time. Students become familiar with
the basic descriptive characteristics of these dis-
orders, how common they are, and what is

known about their causes and treatment. Of par-
ticular concern is how the contemporary study
of psychopathology is aided by fundamental sci-
entific knowledge about learning and condition-
ing, development and cognition, social and
cultural influences, and genetic influences and
brain mechanisms.
Introduction to Clinical Perspectives
Psychology 141
See Psychology Core Courses for description.
Theories of Personality
Psychology 213
Although building grand theories of personality
has gone out of fashion in contemporary
psychology, these systems play an important role
in understanding the history of psychology and
continue to provide central, although often
implicit, frameworks for clinical thinking.
Moreover, personality theories have influenced
knowledge in many other disciplines, including
literary studies, anthropology, politics, history,
and art criticism. This course reviews the major
theories of personality, including but not limited
to those of Freud, Jung, Sullivan, Rogers, and
Kelly. A central perspective is how the biogra-
phy of the theorist and various historical and
intellectual influences came to shape the theory.
Counseling from a Multicultural
Perspective
Psychology 235 Africana Studies, SRE
The contemporary demographic profile of the
major communities and school systems in the
United States is one of rapid change and grow-
ing diversity. This trend is expected to continue
unabated throughout the 21st century. While
some mental health needs are commonly shared,
how they are met often resonates in unique
ways within and among this diversity. Such a
scenario must sit uneasily with any mental
health professional, no matter how well mean-
ing, who is only versed in the traditional mono-
cultural approach to counseling. Against this
backdrop, the course explores the history, aims,
and assumptions of traditional counseling;
examines innovative approaches to to diversity-
sensitive practices with African Americans,
Latino/a people, Asian Americans, Native
Americans, and Caucasians; and expands the
Psychology 103
counseling repertoire with the attitudes, beliefs,
knowledge, and skills needed to effectively and
sensitively serve clients from diverse racial, eth-
nic, religious, and socioeconomic backgrounds.
Abnormal Psychology
Psychology 241
A review of the principal forms of psychopathol-
ogy, with an emphasis on clinical definition, for-
mal diagnosis, etiology, and treatment. The
system of psychiatric diagnosis offered by the
DSM-IV is utilized in defining clinical syndromes
including anxiety disorders, conversion disor-
ders, psychophysiological disorders, antisocial
and impulse disorders, schizophrenia, affective
disorders, alcoholism, and eating disorders. Case
descriptions are also included in the reading.
Theoretical perspectives include psychodynamic,
social learning, biological, and contemporary
research on the etiology of syndromes.
Helping and Counseling Skills:
Theory and Practice
Psychology 242
This course examines the basic helping skills
that support the foundation of most psychologi-
cal and interpersonal interventions, as well as
the theoretical foundations from which they are
derived. Using a three-stage, research-based pro-
cess model of exploration, insight, and action,
the course highlights and relates the facilitative
skills of each stage to the theory or theories that
inform them. Barriers to the implementation of
these skills are also examined. Course work
includes laboratory exercises, videos, and discus-
sions. Prerequisite: Sophomore II or Upper
College status.
Introduction to Counseling Psychology
Psychology 253
Counseling psychology has been described as
the most broadly based applied specialty of the
American Psychological Association (APA),
whose practitioners focus on the broadest array
of professional psychological activities of any
specialty. This course untangles this claim by
exploring the following questions: What is
counseling psychology? What are its defining
features and roots, its areas of overlap with and
dissimilarities to other psychological specialties?
Who is a counseling psychologist, how and
104 Social Studies
where is she/he trained, and what is the range of
activities referred to above? This comprehensive
overview covers the history of the field and
addresses the four paradigms that comprise the
fundamental approaches to counseling: psycho-
analytic/psychodynamic, cognitive-behavioral,
humanistic/experiential, and the fourth force
of multiculturalism. It examines counseling
techniques, assessment in counseling, career
development, interventions, group procedures,
and consultation.
Introduction to Counseling Theories
and Social Work
Psychology 261 SRE
An overview of selected counseling models. The
attraction of these models is their potential for
wide application to normal developmental issues
by counselors and social workers and for teach-
ing self-counseling skills. Students examine
these models in the context of their historical or
intellectual origins. The approaches explored
include psychoanalytic (Freud), person-centered
(Rogers), Adlerian therapy (Adler), reality ther-
apy (Glasser), behavior therapy (Lazarus), cog-
nitive behavior therapy (Ellis), and family
systems (Minuchin).
Current Treatments of Psychological
Disorders
Psychology 319
The fields of clinical psychology and psycho-
therapy have undergone dramatic changes in
recent years. Classical approaches to treatment,
although contributing much to our understand-
ing of how therapeutic relationships work, were
focused on the entire personality of the individ-
ual, and the evidence for their effectiveness in
bringing about lasting behavioral changes is
limited. The newer approaches have given
greater emphasis to cognitive and behavioral
processes and the effort to develop more effi-
cient and evidence-based approaches to behav-
ioral change and the resolution of symptoms.
This course examines a number of these newer
approaches through the intensive reading of a
new and dynamic advanced text, David Barlows
The Clinical Handbook of Psychological Disorders.
In this work, experienced clinicians not only
provide a review of current knowledge of
psychological disorders but also offer extensive
clinical examples of treatment, including the
transcripts of sessions. Students are also expected
to examine the research literature on treatment
approaches and disorders. This course fulfills a
research conference credit for moderated psycho-
logy students. Prerequisite: a previous course in
psychological disorders or abnormal psychology.
Eating Disorders:
Clinical and Cultural Perspectives
Psychology 354 GSS
This course reviews clinical conceptions of,
research on, and cultural issues relating to eating
disorders. The first five weeks are devoted to a
clinical discussion of anorexia nervosa and
bulimia nervosa. In addition to an overview of
the clinical features of these conditions, classic
accounts by master clinicians such as Hilde
Bruch and Arthur Crisp are read, as well as
research articles covering the biology and genet-
ics of eating disorders, the question of whether
such disorders are on a continuum with nor-
mal dieting and body image concerns, and
other topics. The course examines some of the
assessment tools, such as the Eating Disorder
Inventory, that have been used in clinical work
and clinical research on the subject. Finally, stu-
dents review literature on the cultural issues
relating to eating disorders, including female
identity, body image, obesity, dieting and exer-
cise, and others. This course is intended for
moderated students, although students who
have had a course in abnormal psychology may
be considered.
Social Psychology
Social psychology is the study of how we think
about, influence, and relate to one another. It
includes topics such as persuasion, attraction,
prejudice, and gender roles. The world is chang-
ing at a rapid pace, and the perspectives of social
psychology have never been more important.
Relationships are increasingly interdependent,
and actions have broad implications beyond
small worlds of family, friends, and neighbor-
hood. Social psychology provides insights and
findings to explain the rapid changes taking
place in the world, from the womens movement
to the search for peace in troubled areas. As a

scientifically based view of human behavior,
social psychology is applied to many real world
settings, such as the workplace, diplomacy,
health, and law, and provides a complementary
perspective for courses in American studies,
anthropology, economics, gender and sexuality
studies, multiethnic studies, political studies,
and sociology.
Introduction to Social Psychology
Psychology 115
See Psychology Core Courses for description.
Stereotypes, Prejudice, and
Discrimination
Psychology 215 GSS, Human Rights,
SRE
A great deal of social psychological research and
theory over the past century has focused on the
inferences people draw about others based on
their group membership. These inferences have
dramatic consequences for the ways people eval-
uate and behave toward others. This course
explores stereotyping, prejudice, and discrimina-
tion from two different perspectives: when and
why people use stereotypes and how these issues
impact the experience of minority group mem-
bers. Also examined are the implications of
these processes for intergroup conflict, violence,
and antidiscrimination policies.
Intelligence Testing and the Struggle
for Ideological Domination
Psychology 225 SRE, STS
Scientists from disciplines as diverse as biology,
psychology, and sociology have asserted that
intelligence is genetically determined and
unequally distributed, not only among individu-
als but also among races, social classes, and men
and women. This fact has been cited to
explain or justify social inequalities related to
education, crime, income, and political power.
After considering what the contested definitions
of intelligence might mean, this course evaluates
the evidence for the above claim, in part by
reviewing the evidence for experiential effects
on intelligence. It explores various approaches
to the testing of intelligence, including the
examination of brain anatomy and physiology,
laboratory study of problem solving in nonhu-
man animals, and IQ testing. Finally, it considers
Psychology 105
some of the social programs suggested by theory
and research on intelligence that governments
have enacted or rejected.
The Man and the Experiment that
Shocked the World: The Work and
Legacy of Stanley Milgram
Psychology 348 STS
It has now been 40 years since the original work
of Stanley Milgram demonstrated that large
numbers of individuals, in multiple samples of
American men and women studied, were willing
to punish another person when ordered to do so
by an experimenter. The prominence of the ini-
tial work and the continued salience of such
study in social psychology cannot be overstated.
The domain of the Milgram study is worthy of
continuing interest not only because of the vast-
ness of both criticism and praise to which the
work was subjected, but also because of its rele-
vance to our time. This Upper College seminar
serves as a Research Conference for psychology
majors, but is not limited to psychology or even
social studies majors. The single criterion for
enrollment is a willingness to read with care. A
portion of the work contained in the body of the
obedience literature is reviewed from the per-
spective of trying to assess the continuing status
of the phenomenon and the explanations and
understandings that have been brought to light.
Social Support and Social Isolation
Psychology 357
One of the most effective ways of coping with
stress is to draw on social support. Social support
can lower blood pressure, strengthen the immune
system, and prolong life among cancer patients.
In contrast, social isolation has been linked to
psychological maladjustment, poor health, and
increased death rates. This course explores the
continuum from social support to social isola-
tion, and examines why our relationships with
others (or lack thereof) can have such profound
effects on physical and mental health. Topics
include coping strategies, stress and health, and
the causes and effects of ostracism. This course
fulfills a research conference credit for moderated
psychology students. Prerequisite: moderated sta-
tus in psychology or consent of instructor.
106 Social Studies
Psychology of Social Influence:
Conformity, Norm Formation,
Obedience, and Resistance
Psychology 382
Half a century has passed since the pioneering
works of Solomon Asch and Muzafer Sherif, and
40 years since the profound and controversial
investigation of Stanley Milgram. During the
intervening years and extending to the present,
social psychologists have learned much about
the facts and dynamics of conformity, norm
formation, obedience, and resistance to social
influence. Investigators still explore the condi-
tions under which each behavioral form is either
maximized or minimized, and many theories
have been formulated in an attempt to provide a
comprehensive understanding of the behaviors
under scrutiny. This conference is designed pri-
marily for moderated psychology majors who
have considerable background in reading origi-
nal contributions to the social science literature.
Students make multiple class presentations
drawn from the body of research on each topic
and from attempts at theory designed to under-
stand social influence processes. Prerequisite:
permission of the instructor.
Perspectives on Racial Identity
Psychology 392 Africana Studies, SRE
In January 1999 the American Psychological
Association (APA) endorsed a number of aspira-
tion guidelines to develop and enhance new
domains of proficiency for psychologists with spe-
cial focus on racial and ethnic identity. While
recognizing that the integration into psychologi-
cal theory, research, and practice of racial and
ethnic identity as psychological constructs has
only recently begun, it called for a deeper knowl-
edge and awareness of race and ethnicity in psy-
chology and a more active response. Psychologists
are now urged to learn about cultural, ethnic,
racial groups, biracial and multicultural identity
development as these relate to practice, research,
education, and theory. This seminar aims to
enhance this awareness and knowledge of eth-
nic/racial identity development through readings,
discussions, critiques of seminal works, and recent
formulations, reformulations, and controversies.
Prerequisite: Moderation in social studies or per-
mission of the instructor.
Independent Research in Social
Psychology
PSY SOC
This course provides an opportunity for guided
research in social psychology. Students partici-
pate in laboratory research on stress and social
relationships and conduct an independent pro-
ject. The majority of time in this course consists
of independent laboratory work and research.
Requirements include participation in a weekly
laboratory meeting, readings, assignments, two
short papers, and student presentations. Open to
first-year, second-year, and junior students with
consent of the instructor.
Religion
Religious ideas and practices have been crucial
in shaping distinctive human societies through-
out history, and they continue to exercise criti-
cal influence in the world of the 21st century.
We study the various phenomena we call reli-
gion for many reasons: for their intrinsic inter-
est; to understand how particular religious
expressions may reinforce or challenge their
own social and historical settings; and to con-
sider how they may also challenge and broaden
our own understandings of the world.
At Bard, religion offerings are organized within
three primary approaches to the study of reli-
gious phenomena: interpretive, historical, and
theoretical. Entry-level as well as more advanced
courses exemplifying each approach are regu-
larly offered.
Interpretative: Religions articulate their dis-
tinctive views of how people act, feel, and think
through texts and conduct. Religious texts artic-
ulate classic views of what makes the world, how
people relate to it, and how they relate to one
another. Learning to let these sources speak to us
in their own terms is indispensable to the study
of religion, and sometimes demands specialized
linguistic competence. Human practices like-
wise evoke or embody religious systems. By
describing what people have done and do on
religious grounds, we can learn to analyze the
actions, emotions, and thoughts commended by
religious systems.

Historical: Religious ideas and practices unfold
in particular times and places. The historical
approach explores religions as social and cultural
manifestations across time. Religion courses
falling under the Historical rubric are varied.
Many focus on the chronological development
of different types of thought and practice within
one major religion, as it has been formulated
over the centuries. History courses may also
involve more than one religion, in which case
two or more religions are typically examined in
a comparative light, or one in particular may
be explored more intensively within a single his-
torical period, as in courses that investigate a
certain religion within the modern or contem-
porary era. Finally, place can play a central role
in history courses, where the study of a world
religion and its historical development centers
on one region where it has been practiced, or
where a region that is home to many religions is
looked at in terms of how its many traditions
have interacted through time.
Theoretical: From the Greek word for viewing,
theory calls attention to the conceptual frame-
work by means of which scholars observe and
analyze religious behavior. Students of religion
employ a broad palette of theoretical orienta-
tions, drawing from anthropology, sociology, and
psychology, as well as comparative religion, to
guide their exploration of the practices and beliefs
found within particular religious systems. Theory
courses within the Religion Program assist stu-
dents in examining what questions are vital and
helpful to ask of religious data, how religion may
be linked to other social and psychological vari-
ables, and how such considerations may serve to
shape research strategies.
Students wishing to moderate into the Religion
Program should, by the semester of Moderation,
complete four religion courses, with at least one
course in each of these three approaches. Stu-
dents considering the religion major are strongly
encouraged to explore several of the five major
religious traditions of the world offered in the
Bard curriculum: Buddhism, Christianity,
Hinduism, Islam, and Judaism.
Graduation requirements in religion include at
least eight courses in the Religion Program, in
Religion 107
addition to the Senior Project and the Religion
Colloquium. Majors are encouraged as well to
take courses relevant to the study of religion
offered by other programs, such as anthropology,
sociology, psychology, theology, literature, his-
torical studies, philosophy, gender and sexuality
studies, and others. Courses outside the program
that centrally involve religious issues or texts
may, in consultation with the adviser, be counted
as religion courses. Two courses are required for
all moderands: Sacred Pursuits: Seminar in the
Study of Religion (Religion 320) and Religion
Colloquium.
Religion Colloquium is a two-credit course open
to all students, but required for students moder-
ated in religion. (Moderands will enroll in the
colloquium for four semesters, but only two of
these semesters must be for credit.) The purpose
of the colloquium is to foster a community of
scholarship among faculty and students con-
cerned with the study of religion, and to prepare
public presentations of independent research.
Weekly sessions are devoted to discussion of new
books, films, etc., as well as regular updates of
progress on student research. Public sessions of
the colloquium will be scheduled three or four
times each semester, and students enrolled for
credit will take responsibility for preparing
papers to present in those sessions.
Students are expected to study a language rele-
vant to the particular religion or area of study
upon which they intend to focus for their Senior
Project. Relevant languages taught at Bard
include Arabic, Chinese, Greek, Hebrew,
Japanese, Latin, and Sanskrit.
The Senior Project in the Religion Program will
ideally be the culmination of the students inves-
tigation of religion at Bard. Both the Sacred
Pursuits: Seminar in the Study of Religion course
and Religion Colloquium are organized in part to
aid each religion major in formulating an area
for more concentrated investigation. In the final
semester of their third year, all moderands pre-
sent a prcis of their proposed project at the col-
loquium. The Senior Project should reflect a
sustained analysis of a carefully defined topic in
the critical study of religion.
108 Social Studies
Core faculty: Richard H. Davis (director), Bruce
Chilton, Paul E. Murray, Jacob Neusner, Kristin
Scheible
Recent Senior Projects in Religion
And I Saw . . . Ascending into the Presence
of the Divine: Maaseh Merkabah in Judaism
and Early Christianity
Fever and the Sacrifice: Investigations in the
Daksa Narrative of the Santiparvan
Girl Meets Death: A Theological Memoir
Mutable Material: An Exploration of New Age
System Making
Shameless: Women Transcending a Traditional
Representation of Mysticism
Township Minarets and Ocean Views:
Diversity and Development in the South
African Muslim Community of Durban
Women as Other: An Analysis of Women in
Mishnaic Literature
Interpretative
Sanskrit I and II
Religion 140141 Classics
A review of Sanskrit foundations and an intro-
duction to the reading of Sanskrit texts in the
original. The readings include selections from
the Indian epic Mahabharata. Students also prac-
tice recitation of Sanskrit, to gain an apprecia-
tion of the aural quality of the perfected
language.
Scripture, Mishnah, Midrash
Religion 175 Jewish Studies
Judaism knows God through the Torah, and this
course studies writings that are part of the Torah
of Sinai. Specifically, Judaism maintains that
when God was made known at Sinai, the Torah
was formulated and transmitted for Moses in two
media: writing, with the written Torah corre-
sponding to the Five Books of Moses as we know
them; and oral formulation and transmission,
that is, a process of memory. This other part of
the one Torah of Sinai, the oral part, called in
Judaism the memorized Torah, encompasses all
of the documents that are presented in this
course, but the Torah extends far beyond those
particular documents. The course deals with the
first writings beyond Scripture that the Judaism
of the Dual Torah treats as part of the Torah
the Mishnah, Talmud, Midrash, and related writ-
ings. Each of these writings represents a moment
at which, as at Sinai, in the conviction of the
community of the faithful, the Torah encom-
passed still more truth, in an ever-growing and
never-ending transaction of revelation.
Intermediate Readings in Sanskrit
Religion 225 Asian Studies
The course combines intermediate-level read-
ings in Sanskrit with the study of Indian society
and religion. Beginning with a review of basic
grammatical structures of Sanskrit, students go
on to read the classical stanzaic verse of kavya, in
the form of Asvagosas Buddhacarita, or Life of the
Buddha (c. 200 C.E.). Students also begin to work
with bhasya, or commentary, using as their text
Sayanas 14th-century commentary on the great
Hindu work the Bhagavad Gita. In all readings,
students focus not only on the techniques of
Sanskrit poetry and prose styles, but also on the
religious, philosophical, and socioeconomic
ideas conveyed by such techniques. Prerequisite:
Sanskrit 140-141.
Devotion and Poetry in India
Religion 228
Bhakti means participation in or devotion to
God. From 700 C.E. to 1700 C.E., in every region
of India, bhakti poet-saints sang songs and lived
lives of intense, emotional devotion to their
chosen gods. The songs, legends, and theologies
of these saints and the communities they estab-
lished permeate the religious life of India. The
course explores the world of bhakti through its
poetrypoetics and theology, bhakti and oppo-
sition to orthodox social conventions, bhakti
and gender, the interactions of Hindu devotion-
alism and Islamic Sufism, the role of bhakti in
Indian music, and the problem of bhakti in
20th-century Indian literature.
Hinduism in the Epics
Religion 242 Asian Studies
The Indian epics have long been one of the
major ways that the teachings of the Hindu tra-
dition have been transmitted. In this course stu-
dents read the Mahabharata (including the

Bhagavad Gita) and the Ramayana, with a view
to the role of the epics in Hindu ritual and devo-
tional life. In addition, students examine how
these texts have been retold and performed in
various ways up to the present.
Quran: Listening, Reading, Viewing
Religion 268 Theology
Unlike other religious texts, the Quran explains
itself. It announces itself as the word of God, and
verse after verse reiterates that its form and con-
tent provide proof of the reality of Allahs
dominion. This course aims to understand how
the Quran as a divine book is situated within
Islamic culture. In assessing the position of and
meanings in the Quran, students approach the
text through three modes of analysis: listening,
reading, and viewing. In the first part of the
course, they review scholarship on the Qurans
constitution. They then examine Quranic
recitation as the mechanism by which most
Muslims first encountered and continue to
encounter the text. Finally, following an inten-
sive study of verses in thematic clusters, students
focus on Quranic inscriptions in calligraphic
and visual arts.
Afterlives and Afterworlds
Religion 280
While the idea of an afterlife may appear univer-
sal, its form is unique to each religious tradition
in time and place. This course investigates
eschatology as an aspect of human religiosity
and aims to understand how different societies
have envisaged and transformed their visions of
a future life. In order to study concepts such as
the apocalypse, heaven and hell, and journeys to
the afterworld, the course surveys various reli-
gious and literary traditions. Texts range chrono-
logically from Sumerian literature to American
sermons, but particular attention is paid to
articulations of the afterlife and the afterworld
in Zoroastrian, early Christian, medieval Euro-
pean, medieval Islamic, and contemporary
American texts. Although materials include
secondary sources and some theoretical texts,
the course is driven by discussion of primary
sources in translation.
Religion 109
Mary Magdalene
Religion 325
Through the history of the interpretation of the
New Testament, Mary Magdalene has emerged as
a pivotal figure in the discussion of gender and
sexuality. Understanding that focus illuminates
key issues of hermeneutics, and also offers possi-
bilities for the assessment of the ancient sources
regarding Mary, whether in the New Testament
itself or in the literature of Gnosticism.
Muhammad and His Wives
Religion 339 GSS
Depending on which biography you read, the
prophet Muhammad can be either the perfect
model of a righteously guided Muslim or the
vilest example of tyranny, manipulation, and sex-
ual depravity. In between these two polarities is a
vast range of attitudes about Muslim prophecy
and Islamic faith. This class studies the politics
inherent in biographies of Muhammad and his
wives. Its aim is to analyze religious biography as
a historical and polemical form of writing and to
trace developing traditions of Muslim and non-
Muslim accounts of Muhammad and his female
companions. Readings include the first historical
accounts of the early Islamic community by Ibn
Ishaq, traditions found within sayings of the
prophet Muhammad, universal histories, devo-
tional literature, and contemporary popular man-
uals and childrens comic books. Non-Muslim
sources include medieval European tracts about
Muhammad, the first printed biographies in early
modern and Victorian England, and early and
contemporary books about Muhammad in
America.
Historical
Buddhist Thought and Practice
Religion 103 Asian Studies
A study of the basic categories of philosophy and
practice in Buddhism, a pan-Asian religious tra-
dition of remarkable diversity and expansive
geographical and chronological scope. The course
maintains a historical perspective but is struc-
tured mainly along thematic lines according to
the traditional concepts of the Three Jewels (or
Refuges): Buddha (teacher, exemplar, enlight-
ened being), Dharma (doctrine), and Sangha
110 Social Studies
(community), and the Three Trainings: Shila
(ethics), Samadhi (meditation), and Prajna
(wisdom). Readings include primary sources in
translation and historical and ethnographic
studies, all of which explore the ways in which
Buddhists, both ancient and modern, have
viewed the world and lived their lives in South
and Southeast Asia (Theravada Buddhism), East
Asia (Mahayana Buddhism), the Tibetan and
Himalayan regions of Asia (Vajrayana or Tantric
Buddhism), and Japan (Zen Buddhism).
Introduction to Judaism
Religion 104 Jewish Studies
Diverse Judaic religious systems (Judaisms)
have flourished in various times and places. No
single Judaism traces a linear, unitary, traditional
line from the beginning to the present. This
course sets forth a method for describing, analyz-
ing, and interpreting Judaic religious systems
and comparing one such system with another. It
emphasizes the formative history of Rabbinic
Judaism in ancient and medieval times and stud-
ies both its development in modern times and
Judaic systems competing with it: Reform,
Orthodox, and Conservative Judaisms in the
19th century and Zionism, the American Judaism
of Holocaust and Redemption, in the 20th. In
both the classical and the contemporary phases
of the course, analysis focuses on the constant
place of women in Judaic systems as a basis for
comparison and contrast.
Introduction to Islam
Religion 106 Theology
Is Islam in 7th-century Arabia the same religion
as Islam in 21st-century Michigan? Is a woman
in 15th-century Iran the same kind of Muslim as
a man in 19th-century Indonesia? Does West
African Islamic mysticism differ from South
Asian Islamic mysticism? This course answers
these questions by introducing Islamic religious
systems in world context. Students review a
series of cultures to explore differing elements of
Islamic practice and to understand some com-
monalities of Islamic faith. Regions encountered
include Arabia, Iran, Africa, South Asia,
Indonesia and Malay Peninsula, and America.
Themes include conceptions of prophecy, ritual
practice, development of Islamic theology and
jurisprudence, forms of mysticism, relationship
between genders, and definitions of communal
identity. Texts include the Quran, traditions of
the prophet Muhammad, philosophical treatises,
mystical guidebooks, reform literature, and con-
temporary educational manuals.
The Bible as Literatures
Religion 110
The Bible is of pivotal importance in under-
standing the development of literature and his-
tory in the West, and it offers unique insights
into the nature of the religious consciousness of
humanity. Familiarity with the biblical docu-
ments and a critical appreciation of those docu-
ments are therefore among the attainments of an
ordinarily well-educated person in our culture.
By means of lectures, discussions, quizzes, essays,
and a test, this course is designed to help stu-
dents become biblically literate. Tutorials in
Greek and Hebrew may be arranged in associa-
tion with the course.
Christian Moral Decision Making
Religion 115 Theology
Capital punishment, euthanasia, warfare, the
environment, abortion, reproductive technolo-
gies, homosexuality, premarital sexuality, and
divorce are among the issues on which individu-
als and communities seek to make appropriate
moral responses. Within Christianity, there are
several recognized sources of moral guidance:
the Scriptures, tradition, natural law, reason,
conscience, official church declarations, and
personal experience. Diverse Christian tradi-
tions variously weight these sources, resulting in
differing outlooks not only between traditions
but in the application of shifting standards of
moral reasoning from issue to issue within tradi-
tions. Moreover, church history offers striking
illustrations of significant reframings of moral
standards for such issues as capital punishment,
usury, slavery, homosexuality, and abortion,
which result in radical reassessments and rever-
sals on matters long regarded as settled. Focusing
on a selection of moral issues, this course closely
examines notions of the processes of moral deci-
sion making within Christianity, as well as vari-
ous understandings of the moral life itself.

Hindu Religious Traditions
Religion 117 Asian Studies
This course provides a historical overview of the
series of religious movements in India collec-
tively referred to as Hinduism. Readings drawn
from a vast corpus of mythic and epic literature
present the gods, goddesses, and heroes that
have been central to Hindu religious practice
throughout history. Students explore a range of
social and devotional paths taken by Hindus by
examining caste structure and social location, as
well as the paths of action, devotion, and wis-
dom (karma, bhakti, and jnana, respectively).
Moving into the contemporary context, the
course focuses on modern ethnographic accounts
of how the tradition is lived, both in India and
the United States, with a special eye to the con-
struction of sacred space through temples and
pilgrimage.
The Future of Christianity
Religion 120 American Studies, Theology
During the final decades of the 20th century,
sharp questions regarding the continued viability
and usefulness of Christianity were raised with
increasing force and frequencynot only by its
external critics, but by thoughtful Christians.
The social contexts of such questions include the
challenge to Western imperialism in all its forms
by developments such as the popular pursuit of
individualized spiritualities without religious
affiliation, the reconceptualization of gender and
sexuality, and the emergence of technologies that
extend human manipulation of the world in ways
that were previously unimaginable. These and
other contexts, however, are only the immediate
forms of still more deeply rooted intellectual
challenges to traditional Christian beliefs and
practices. Modern Biblical studies, linguistics,
archaeology, and historical studies have com-
pelled Christians to reexamine foundational
assumptions about their respective traditions. At
stake in contemporary disputes about moral
issues, church polity, discipline, and doctrine are
the conceptual foundations of Christianity. Can
they be rethought? Or, to draw on an aphorism of
Jesus, will new wine burst the wine skins?
Religion 111
Catholicism and American Society
Religion 122 American Studies
Life in the American republic presented Roman
Catholics with new opportunities and chal-
lenges, including religious pluralism, democratic
ideals, and minority status in a predominantly
Protestant society. Within the framework of a
historical overview, this survey course examines
the understandings and strategies employed by
Catholic organizations and individuals as they
engaged life in the United States to craft a dis-
tinctively American Catholic culture. American
Catholic responses to the social, cultural, and
theological challenges posed by the post-Vatican
II, post-1960s period are examined in depth.
Religious Foundations of Western
Civilization
Religion 123 Theology
The history of Western civilization, from late
antiquity and the fall of Rome to the present day,
represents a working out of a grand conversation
between the religions of the West, Judaism and
Christianity, and the politics and culture of
Europe (encompassing the European overseas
diasporas). In four large divisions, totaling 14
topical units, this course describes the high
points of the history of West. The survey demon-
strates how religion has laid the foundations of
Western civilization, and how for much of his-
tory it has defined political and cultural issues of
the West. Representative cases of literature, phi-
losophy, music, architecture, and art are used to
illustrate the interplay of religion with politics
and culture, from Augustine to the cathedral to
baroque music in the Catholic Reformation, and
on into deism and the American experiment.
The Islamic component of European civilization
enters into the survey at appropriate points.
Readings stress both descriptive, narrative histor-
ical accounts and living expressions of senti-
ment, intellect, and emotion by participants
during the great ages covered by the course.
Preference given to first-year students.
History of Islamic Society
Religion 130 GIS, Medieval Studies,
Middle Eastern Studies
The rise of Islam in Arabia dramatically affected
the historical landscape of territories stretching
from Spain to the Indus Valley and from Central
112 Social Studies
Asia to Yemen. This course surveys the political,
social, religious, and cultural developments of
these Islamic worlds from the 7th to 16th cen-
turies C.E. It examines each regions initial
encounter with Muslims, investigates the pro-
cess by which these regions transformed into
Islamic societies, and determines how their
particular cultural and dynastic forms evolved
and eventually influenced the idea of the
Islamic World. The course addresses topics
such as the process of conversion, the relation-
ship between Muslim rulers and their Muslim
and non-Muslim subjects, the maturation of
Islamic theology and sciences, the formation of
Islamic art, and the growth of political and reli-
gious institutions. Readings include historical
monographs, biographical traditions, poems,
epic tales, political and religious manuals, and
philosophical treatises.
Narrating the Modern Middle East
Religion 160
In 1979, Iran underwent a revolution that over-
threw the Shah and replaced his rule with an
Islamic theocracy. In an attempt to understand
the revolutions significance within Middle
Eastern history, two narratives have emerged.
The first argues that the presence of an Islamic
state is a divergence from the process of modern-
ization; the second interprets the revolution as a
culmination of political and religious resistance
against imperialism and colonialism. Students
examine historical monographs, imperial com-
muniqus, ethnographies, novels, and films in
order to assess these opposing narratives. The
course brings into focus the interrelations between
imperialism, Islamic reform and revival, nation-
alism, and colonialism from the 16th to the 20th
centuries. It analyzes social and political move-
ments of the British, French, Iranian, and
Ottoman governments, as well as how events
influenced and were influenced by the peoples of
the various regions of the Middle East.
Sexuality and Spirituality
Religion 213 GSS, Theology
Contemporary reappraisals of the domains of sex-
uality and spirituality have shed new light on the
boundaries placed between them in Christian tra-
ditions. This course examines the historical,
social, cultural, and theological roots and signifi-
cance of these boundaries, as well as the numer-
ous tensions and movements that cluster around
them within contemporary Christianity, for
example, regarding sexual ethics, sexual orienta-
tion, and gender. Theological attempts to move
beyond the presumed opposition of sexuality and
spirituality are examined in detail. Extra-Christian
religious perspectives, including Judaism, Islam,
Buddhism, and the cultic beliefs and practices of
indigenous populations, are drawn into the dis-
cussion for comparison.
History of Early India
Religion 221 Asian Studies, History
An overview of the early history and culture of
South Asia, from its earliest urban civilization in
the Indus Valley (25001800 B.C.E.) up to the clas-
sical period of the Gupta dynasty in northern India
(300550 C.E.). Within this three-millennium
frame, the class looks at archaeological recon-
structions of the Indus Valley civilization and
textual reconstructions of early Indo-Aryan or
Vedic culture, the period of second urbanization
in the Indo-Gangetic plain and the transition
from tribal organization to kingdoms, the rise of
the Mauryan imperial formation, the emergence
and growth of heterodox orders of Buddhists and
Jains and responses to their challenge from
orthodox Hindus, the post-Mauryan period of
Central Asian rule, and the articulation of a
classical Indian culture during the Gupta period.
While it traces this chronological history, the
course pays greater attention to key issues and
debates within Indian history: social hierarchy
and the development of caste society, the status
of women, the roles of religious specialists in the
political order, and the ideology and practice of
kingship.
Buddha Imagined: The Literary and
Artistic Landscape of Buddhism
Religion 254 Asian Studies
This course begins by examining the earliest
images of the Buddha. How is the absent Buddha
represented? Drawing upon literary and artistic
sources, the course considers how the biography of
the Buddha is writ upon the landscape of his birth-
place, and how his projected presence through
images, relics, and stupas reinvents Asia in
Buddhist terms. It then moves beyond the
paradigmatic biography of the Buddha to examine

how new myths and images evolve to imagine and
explain an expanding religious tradition. From
early aniconic, symbolic stand-ins for the image
of the Buddha to the later highly articulated and
vast pantheon of Mahayana holy beings, the
course explores the transformation of the central,
mythic narrative and images as they are received
and interpreted by other cultural settings.
Liturgy
Religion 259 Theology
Under the name of liturgy, a term for a
civic duty in the Greco-Roman world, early
Christianity referred to the range of its worship,
running from formal Eucharist in cathedrals to
private meditation in the desert. The origins,
influence, and development of liturgy constitute
the principal interests of this course.
Sacred Times: The Festivals of
Christianity
Religion 267
The sacrificial practice of the ancient Near East
resulted in a calendar of sacred time that has
influenced both Judaism and Christianity. How
does time become sacred? Where have the cal-
endars of the past intersected to shape the expe-
rience of time today? Those questions foreground
this inquiry into the functioning of the Christian
calendar.
India and Greece
Religion 272 / Classics 272 Theology
This team-taught course explores the present
state of the comparative method as applied to
the histories and mythologies of two complex
civilizations. It begins with the perennial ques-
tion of shared Indo-European origins and what,
if anything, we might posit as history. Turning
to rich and foundational cosmogonic and catas-
trophic myths operative in texts such as Hesiods
Theogony and Ovids Metamorphoses and in the
Indic Vedas and Puranas, the course considers
cosmological structures of time and space, and
also varying possible relations between males and
females both mortal and immortal. It continues
to pursue these themes in the enduring epics, the
Odyssey and the Ramayana. In a more intensive
mode, reflecting the special scholarship of each
professor, study turns to the interaction of ritual
and sacred places in selected texts, principally
Religion 113
the odes of Pindar and the edicts of Asoka. The
course culminates with a revisiting of historical
questions, examining evidence of direct contact
between the two civilizations and how they rep-
resented each other as the other, the barbarian.
Same-Sex Unions and Christianity
Religion 273 GSS, Theology
The legitimizing of same-sex unions, both civilly
and ecclesiastically, has emerged in recent years
as a major preoccupation within many Christian
communions. In addition, assertions regarding
Christian rejection of such relationships have
been invoked by political authorities within the
United States as evidence to support their con-
tinued rejection by civil society. Drawing on
scriptural, historical, cross-cultural, scientific,
and theological materials, this course brings a
critical light to bear on arguments against efforts
to legitimize same-sex unions within Christianity.
Students examine oft-cited scriptural texts,
examples of the varieties of heterosexual mar-
riage in Christian history, and the monograph of
John Boswell, Same-Sex Unions in Premodern
Europe, which generated much controversy
when it was published in 1994. Other readings
include recently generated official ecclesiastical
documents that marshal scriptural, historical,
and scientific data in support of or in opposition
to the legitimizing of same-sex unions as a per-
manent feature of church and society.
Jesus
Religion 274 Theology
Recent study of the material and cultural con-
texts of ancient Israel has advanced critical
understanding of Jesus, but the religious context
of Jesus and his movement has received less
attention. This course investigates Jesus not just
as a product of 1st-century Galilee, but also as a
committed Israelite. Students analyze the
visionary disciplines that lie at the heart of his
announcement of the divine kingdom, his ther-
apeutic arts, his parabolic actions and sayings,
and his death and resurrection. The course
examines the narrative order of his life: his con-
ception, birth, and nurture; his association with
and break from John the Baptist; his emergence
in Galilee as exorcist, healer, and prophet; his
confrontation with Roman as well as cultic
114 Social Studies
authorities in Jerusalem; and his execution and
postmortem appearance to his disciples.
The History of Christian-Muslim
Relations
Religion 283 Medieval Studies
This course provides a historical overview of
Christian-Muslim relations by discussing the
lives and writings of significant persons against
the backdrop of important events and develop-
ments, including the exploration of some of the
key issues that have divided Christians and
Muslims. The course is open to all students
interested in religion and history.
Legends and Legitimacy in Theravada
Buddhism
Religion 345 Asian Studies
This course explores the genre of chronicle
(vamsa) as employed in Southeast Asian
Theravada Buddhist cultures. It examines the
relationship between myth and history, and con-
siders how mythically infused histories are con-
ceived, preserved, explained, and employed.
Following a review of the social history of
Theravada Buddhism, the course focuses on the
earliest texts from Sri Lanka, the Mahavamsa
and Dipavamsa, where stories of three visits of
the historical Buddha bolster Sinhala Buddhist
claims of authority and culminate in the heroic
tale of the second century B.C.E. Sinhalese King
Dutthagamini. Students examine how these
texts have been employed in current nationalist
and Buddhist fundamentalist movements, and
then consider an informative case from 15th-
century Northern Thailand, where an orthodox
Theravada chronicle follows similar patterns
and claims a preordained status for the nascent
kingdom of the 7th-century Queen Cama.
James, Brother of Jesus
Religion 352 Theology
The Gospels plainly identify James, whose name
in Aramaic was Jacob, as Jesus biological
brother, and the book of Acts portrays him as
the most prominent leader of Jesus movement
in Jerusalem after the resurrection. Yet his role
in the primitive church has been obfuscated by
the dogma of the virgin birth and by the pre-
eminence accorded to Peter in the apostolic
hierarchy. This course, both a lecture series and
a sequence of seminars, draws James out of the
doctrinal shadows and permits him to be assessed
within his own context.
Theoretical and Philosophical
Pilgrimage
Religion 133
A consideration of pilgrimage as one unifying
theme in the exploration of human religiosity.
As a religious arena in which multiple cultural
patterns converge and shape each other, pilgrim-
age in its various forms has also played a signifi-
cant historical role in shaping trade and
commerce, geographic consciousness, centers of
political power, and artistic forms. While this
course will regularly return to examinations of
what religionists and anthropologists have called
ritual pilgrimagessuch as the Islamic hajj to
Mecca and the Hindu yatra to Benaresit also
investigates pilgrimage more metaphorically, by
looking at literary (John Bunyans well-known
Christian allegory, The Pilgrims Progress), leg-
endary (the Tibeto-Himalayan Buddhist king-
dom of Shambhala), and visionary (the Huichol
Indians peyote quests) journeys. Both humanis-
tic and social scientific interpretive and theoret-
ical works, such as those of Barbara Aziz, Joseph
Kitagawa, James Preston, and Victor and Edith
Turner, are read as frameworks for the analyses.
Theology of Judaism
Religion 201 Jewish Studies, Theology
Theology thinks philosophically about religion;
it generalizes and orders, proportions and regu-
larizes the complex and diverse data of behavior
and belief that the data of a religionits canon-
ical writings, for exampleconvey. The out-
come is a system and a structure of belief that
not only coheres but accounts for further data.
This course illustrates what it means to think
philosophically about the data of a religion. The
case is that of Judaism in its normative writings
deriving from the formative age, the first six cen-
turies C.E. In these texts Judaism sets forth a the-
ological system and structure, making a coherent
statement through the myriad of legal, exegeti-
cal, and narrative details. This course sets forth
the theology of Judaism that defines the norm:
the system and structure that animate the

Rabbinic canon and form the philosophical
basis of Judaism.
Myth and the Arts of India
Religion 241 Asian Studies
Stories about the legendary heroes and gods of
India form the basis for much of the literature,
visual art, and performing arts of southern Asia.
Students examine narratives from the Hindu
epics, Puranas, and other literary sources relating
the deeds of Vishnu and his incarnations, the
various manifestations of the Goddess, Siva in
his multiple forms, and the Buddha Sakyamuni
and his former lives. The class also explores how
these myths have been visually represented in
painting and temple sculpture and how they are
retold in the performative traditions of Indian
drama and dance. The preservation and transfor-
mation of these mythological traditions in the
arts of Bali and Indonesia are also considered.
Women and Buddhism
Religion 261 Asian Studies, GIS, GSS
This course explores the sacred images and social
realities of women in the Buddhist world.
Specifically, it considers the ways in which cate-
gories such as woman, feminine, gender, explain the basis for toleration. Each religion is
and nun have been explained and imagined by
Buddhist communities (as well as by academics
and feminists) through various historical and cul-
tural locations. It examines early Buddhist sources,
the stories surrounding the founding of the nuns
order and the songs of women saints (Pali
Therigatha), and considers gender(ed) imagery
in Mahayana sources, with a sustained focus on
the evolution of the bodhisattva Kuan-Yin in
China, along with the feminine principle as
envisioned by Vajrayana Buddhists in Tibet. A
significant portion of the course focuses on how
real women in the contemporary Buddhist land-
scape, especially those who have taken vows,
resolve tensions inherent in the Buddhist tradi-
tion. Readings include recent, provocative books
in the field of Buddhist studies.
America and the Muslim World
Religion 282 American Studies,
Human Rights
The first Muslims in America were West African
slaves. Since then American encounters with
Islam have been far richer and more complex
Religion 115
than the news media and popular culture sug-
gest. This course explores U.S. perceptions of
Islam and how they have influenced culture and
politics. It begins by tracing patterns of
American consumption, from Muslim slaves to
the craze for oriental carpets. It then considers
the presence of Muslim communities and con-
cerns in politics from 19th-century discussions
about the prophet Muhammad to the rise of
organizations like the Nation of Islam in the
20th century. Finally, it reviews contemporary
images of Muslims and Arabs in American cul-
ture, and explores 21st-century perceptions of
America held by Arabs and Muslims in the
Middle East. Texts include historical mono-
graphs, primary sources, material culture, film,
and public image polls.
Special Topics in the Study of
Religion: Religious Foundations
of Tolerance
Religion 290 Theology
This seminar takes up the ideas of major world
religions on how to make sense of religious dif-
ference. Judaism, Christianity, Islam, Buddhism,
Hinduism, and other religions are asked to
presented through academic papers written for
this seminar by various experts.
Sacred Pursuits: Seminar in the Study
of Religion
Religion 320 Anthropology
The modern study of religion is an eclectic field,
drawing upon many other disciplines in its
attempt to circumscribe and comprehend the
diversity of human religiosity. This course exam-
ines critically various approachesincluding
psychological, sociological, anthropological, and
phenomenologicalto the study of religion in
the 20th century. The class considers where this
field of study may be heading in its postmodern
present. Required for religion majors.
Seminar in Islamic Law: Jihad
Religion 321 Human Rights
In its root meaning of struggle, jihad is one of
the key generative categories for Islam and
Islamic law. The term refers to the believers
struggle against evil inclinations, the jurists
struggle to make sense out of the sacred texts,
116 Social Studies
and the armed struggle against unbelievers.
Taking jihad as its primary lens, this course
traces the history and development of Islamic
law from its Quranic roots to its modern appli-
cations, considering the place of jihad alongside
rules of ritual, prayer, business transactions, and
inheritance. Strong emphasis is placed on the
classical texts of the early centuries in order to
understand the interpretive strategies employed
by later generations. Students work primarily
with Arabic sources in English translation. An
Arabic tutorial is available for students who
have completed two years (or the equivalent) of
Arabic language study.
Belief within a Religiously
Plural World
Religion 323 Human Rights, Theology
The proximity of religious traditions in an
increasingly global society tends to undermine
absolutist and exclusivist truth claims by render-
ing them both socially and psychologically
untenable. What are the alternatives? This sem-
inar explores the question by tracing its biblical
and historical roots and antecedents and exam-
ining its modern emergence among diverse reli-
gious thinkers, including C. S. Lewis, Paul Tillich,
Karl Rahner, Thomas Merton, Bede Griffiths,
Rosemary Radford Ruether, and John Hick.
Prerequisite: Moderation in social studies or per-
mission of the instructor.
Ritual and Performance Studies
Religion 350 Anthropology, Asian Studies
This seminar explores theories of ritual and per-
formance as they have developed in disciplines
of religious studies, sociology, anthropology, and
theater studies. Using a series of case studies, the
seminar considers how these symbolic and trans-
formative human practices are represented and
analyzed within various theoretical perspectives.
Particular attention is paid to rituals and cere-
monial performances in the public sphere.
Political ceremonies such as royal coronations
and presidential inaugurations are examined,
along with enactments of public protest such as
Gandhis Salt March, religious festival proces-
sions (Mardi Gras, Rath Yatra), and performa-
tive dramas (the Ramlila).
Religion Colloquium
This colloquium, open to all students but
required of religion moderands, fosters a commu-
nity of scholarship among students and faculty
interested in the study of religion and features
public presentations of independent research.
The colloquium is designed to encourage inter-
disciplinary and comparative perspectives on stu-
dents topics of particular interest. Weekly
sessions are devoted to discussion of new books,
films, CD-ROMs, etc., as well as regular updates
of progress on Senior Projects. Public sessions of
the colloquium are scheduled three or four times
each semester; students who enroll for credit pre-
pare papers to present in these sessions. Outside
speakers and faculty members also are invited to
present papers in these public forums.
Social Studies
Courses listed under this heading are interdisci-
plinary in nature and thus cross a number of pro-
grams within the Division of Social Studies.
Introduction to Human Rights
Social Studies 101 / Human Rights 101
See Human Rights 101 for full course description.
The Question of Race
Social Studies 111 American Studies,
Human Rights, SRE
Race remains one of the most prominent divi-
sions in human societies around the globe. This
course poses a series of questions by way of intro-
ducing students to the subject: What is race?
Why is race important? How does race affect
social, political, and cultural arguments? The
course offers a wide series of readings, focused
both on the national and international dimen-
sion of race and identity, to begin to answer
some of these questions in a broad-based, intro-
ductory manner. This is a required core course
for students concentrating in Studies in Race
and Ethnicity.

Latinos in the U.S.A.:
Film, Memoir, Fiction
Social Studies 140 / LAIS 140
This course provides a broad introduction to the
history and experience of Latinos in the United
States through memoir, film, and history. As
Latinos have become an important demographic
category in the United States, they have begun
to articulate their condition through a variety
of media, the most prominent of which have
been film, memoir, and autobiographical fiction.
Readings include a number of diverse Latina/o
writers, representing Dominican, Mexican
American, Cuban, Salvadoran, and Puerto Rican
voices, and contemporary cinematic representa-
tions of Latino life and culture are viewed. The
course seeks to establish a sophisticated under-
standing of the issues facing U.S.-based Latinos:
assimilation and Americanization, language and
bilingualism, immigration, racism, issues of gen-
der and sexuality, and gaining and expanding
cultural citizenship in the United States.
Black Thought: Beyond a Boundary
Social Studies 214 Africana Studies, SRE
Taking its title from the essay by C. L. R. James,
this course reviews the ideas of influential 20th-
century writers who considered themselves to be
subjects of the African diaspora. These writers
including James, Franz Fanon, Maryse Cond,
and Aim and Suzanne Csairepushed the
boundaries on nation, race, and identity and
shaped whole schools of political and social
thought in the later 20th century. As the debates
swirl and shift around the politics of race, iden-
tity, gender, and empire, do these once-canoni-
cal figures still have relevance?
Foundations of Marxism
Social Studies 220 Human Rights,
Political Studies
An exploration of the essentials of Marxism, this
course evaluates that theorys various interpreta-
tions and assesses its future in light of recent cap-
italist victories. Students discuss the basic
writings of Marx and the key texts of other
Marxist thinkers, such as Lenin, Stalin, Mao,
Gramsci, and Marcuse. Enrollment is limited
but open to first-year students.
Social Studies 117
The Ecological Crisis: Radical
Perspectives
Social Studies 229 Environmental Studies,
Human Rights
The crisis posed by collapsing ecosystems on a
global scale is a threat of incalculable propor-
tion; indeed it places the future at risk. As it can
be shown that the driving force behind this cri-
sis is the relentless expansion of the capitalist
system, and as Karl Marx provided the most
cogent understanding of capitalism, it follows
that the study of the ecological crisis and that of
Marxism can be usefully combined. The course
is not merely the diagnosis of a civilizational
pathology; it also is about radical pathways that
can be taken to overcome the crisis, and raises
the questions of an ecologically rational society,
what a world beyond capitalism might be like,
and how we are to get there.
Race and Visual Analysis
Social Studies 232 American Studies,
Film and Electronic Arts, SRE
Film has been an enormously important phe-
nomenon in determining how audiences see
themselves and the world around them. This
introductory course explores cinematic repre-
sentations of race, providing scholarly analysis
with weekly screenings and readings keyed to a
single film. Films include commercial main-
stream productions as well as independent and
alternative films and videos. The goals of the
course are to give students the initial tools in
reading and analyzing images: reading and
describing film images, doing a sequence analy-
sis, and acquiring the ability to mix shot analysis
and interpretation in a small, focused essay.
Classification, Taxonomies,
Folksonomies: Tagging the World
Social Studies 236
This course examines the kinds of unconscious
cultural assumptions that result from systems of
organizing knowledge. For example, in the
1880s, as the library was becoming an increas-
ingly central repository for knowledge, Melvil
Dewey created a scientific system for the orga-
nization of all current and, he believed, future
knowledge. The two assumptions in his system
were that he had created the best system for
organizing all existing knowledge and that any
118 Social Studies
knowledge that could not be fit into it was, by
his definition, irrelevant. It wasnt until the
1920s that an increasing number of writers and
librarians argued that Deweys system was, in
fact, one of exclusion. Now, with the ubiquity of
search engines such as Google that provide
access to the expanding universe of the Web,
systems for classifying information have emerged
that are increasingly fluid and dynamic. This
course examines these systems, with their own
inherent biases and limitations, and considers
the sociocultural impact of classification systems
in general.
Latina/o Cultural Polemics
Social Studies 305 American Studies,
GSS, Human Rights, LAIS, SRE
This course offers a detailed study of the dimen-
sions of debate by Latina/o cultural producers and
scholars regarding the issues confronting their
communities through readings of relevant polem-
ical writing, including radical memoir, manifesto,
political poetry, performance art, independent
film, and the critical essay. Topics include cultural
nationalism, sexual identities, feminist politics,
political action and resistance, borderlands the-
ory, and the rhetoric of cultural identity. This
course serves as a junior seminar for concentrators
in Studies in Race and Ethnicity (SRE).
Constitutional Law: Civil Rights
and Liberties
Social Studies 318 Human Rights
This course focuses on the legal boundaries
between individual autonomy and state control,
boundaries that are never static since the
Constitution is an organic document, subject to
continual interpretation by the Supreme Court.
Topics of study include the nature and limits of
freedom of speech and religion, equal protection
(including affirmative action), intimacy and pri-
vacy (including abortion), due process in crimi-
nal law, and emerging concepts of constitutional
adjudication such as critical legal studies and
feminist jurisprudence. Landmark Supreme Court
cases and opinions are examined, enabling stu-
dents to consider the process of legal reasoning
and the Courts reliance upon or deviation from
prior legal authority. Relevant commentaries and
historical documents are also read and discussed.
Sociology
Sociology at Bard aims to provide an under-
standing of the structure and processes of society,
explain and chart the course of social changes,
and offer knowledge of the sources of those
actions and ideas that are learned and shared
through social membership. While contempo-
rary complex societies are of central concern,
cross-cultural comparative materials also lend
meaning to the particular patterns of American
life. Students are encouraged to engage in
internships and original research.
Students planning to moderate in sociology are
required to take Sociology 101, Introduction to
Sociology; Sociology 203, History of Sociological
Thought; and Sociology 205, Introduction to
Research Methods, before Moderation. For Mod-
eration, students submit the standard autobio-
graphical outline of past and future work and a
10-page essay on a topic of their choice that has
been approved by their adviser. In the junior and
senior years students are expected to take
Sociology 304, Contemporary Sociological Theory;
two Major Conferences; and a minimum of four
elective courses, at least one in each of the four
elective categories. Each student must write a
Senior Project.
Students may arrange a joint major in sociology
and another program, for example, Studies in
Race and Ethnicity, Gender and Sexuality
Studies, or Environmental Studies. The require-
ments for Moderation and course work will be
similar to those listed above, but will vary with
the requirements for the program selected.
Sociology courses are listed as required courses
or elective courses (grouped under the headings
gender, race, and class; social institutions; social
control; and cultural studies).
Core faculty: Michael Donnelly (director), Amy
Ansell, Yuval Elmelech, Joel Perlmann

Tutorials and Major Conferences
A selection of tutorials and Major Conferences
from recent years indicates the range of individ-
ual study beyond the listed courses.
American Social Movements
Controversies in Education
Culture and Power
Minorities and the Media
The Death Penalty and Public Opinion
Women and Work
Recent Senior Projects in Sociology
Diseased Gender: Women, Psychiatry, and
Cultural Ideology in 1950s America
From Unionization to Grassroots Organizing:
The Growth of Community-Based Social
Justice Groups in Central Coal-Mining
Appalachia
Housewives to Housemaids: International
Migration of Women
Rethinking and Restoring Arts Education in
Public Schooling
A Social Geography of Cape Town: The
Making of Racialized Space and the Post-
Apartheid Landscape
The Redevelopment of Harlem and the
Participation of the Abyssinian Baptist
Church
Required Courses
Introduction to Sociology
Sociology 101 American Studies,
Environmental Studies
An introduction to the sociological perspective,
the course illuminates the way in which social
forces impinge on individual lives and affect
human society. It is organized into four main
parts: (l) Key sociological concepts and methods
are introduced through the study of the fathers
of sociology: Durkheim, Weber, and Marx;
(2) forms of social inequality are examined,
particularly those based on class, race, and
gender; (3) important social institutions are
surveyed: the family, the economic order, the
political order, education, and religion; and
Sociology 119
(4) interrelated issues of ideology, social move-
ments, and social change are studied.
History of Sociological Thought
Sociology 203 Human Rights
This course retraces the origins of modern social
theory in the aftermath of the democratic revo-
lutions in America and France and the capitalist
Industrial Revolution in Britain. Readings are
drawn in particular from the major works of
Marx, Weber, Durkheim, and Simmel. In this
way many of the enduring themes of sociology
are introduced: alienation and anomie; social
disorganization and community; class conflict
and solidarity; secularization and the decline of
traditional religion; and bureaucracy, division of
labor, and professional expertise. The contribu-
tions of classical sociologists to subsequent social
science, in addition to their political or ethical
aspirations to criticize, reform, or revolutionize
modern society, are assessed.
Introduction to Research Methods
Sociology 205 Environmental Studies,
Human Rights, Social Policy
This course enables students to understand and
use the various research methods developed in
the social sciences, with an emphasis on quanti-
tative methods. The course is concerned with
the theory and rationale upon which social
research is based, as well as the practical aspects
of research and the problems the researcher is
likely to encounter. Students first learn how to
formulate hypotheses and research questions,
choose the appropriate research method for the
problem, and maximize chances for valid and
reliable findings. They then learn how to per-
form simple data analysis and interpret and pre-
sent findings in a written report.
Contemporary Sociological Theory
Sociology 304 Human Rights
A critical investigation into the development of
modern sociological theories in the United
States and Europe, this course examines, among
other schools and traditions, functionalism, con-
flict theory, exchange and rational choice the-
ory, symbolic interactionism, feminist theory,
and critical theory. Readings include works by
Ralf Dahrendorf, Jon Elster, Michel Foucault,
Harold Garfinkel, Erving Goffman, Jrgen
120 Social Studies
Habermas, George Herbert Mead, Talcott
Parsons, and Dorothy Smith. Prerequisite:
Sociology 203 or permission of the instructor.
Elective Courses
Gender, Race, and Class
Inequality in America
Sociology 120 American Studies,
Environmental Studies, GSS,
Human Rights, Social Policy, SRE
An examination of the ways in which socially
defined categories of persons (e.g., women and
men, blacks and whites, rich and poor, native-
and foreign-born) are unevenly rewarded for
their social contributions. Sociological theories
are used to explain how and why social inequal-
ity is produced and maintained, and how it
affects the well-being of individuals and social
groups. The course has two general themes: the
structure of inequality as part of the study of the
unequal distribution of material and social
resources (e.g., earnings, wealth, occupations)
and the processes that determine the allocation
of people to positions in the stratification system
(e.g., education, intelligence, parental wealth,
gender, race).
Sociology of Education
Sociology 130 American Studies, GSS,
SRE
What is the role of education in preparing stu-
dents for the next stages of life? How do schools
serve the needs of other social institutions, such
as the family and the labor market? What are the
long-term consequences of gender, racial, and
ethnic differences in education? This course aims
to introduce students to sociology of education as
a field of study, to present the relationships
between education and other social institutions,
and to develop critical thinking regarding the
educational issues studied. After an overview of
the main sociological theories of education, the
class examines topics such as education and
socialization; achievement and social success;
education and ethnic inequality; segregation and
desegregation; parental resources and achieve-
ment; gender roles and gender inequality; and
education, marriage, and family formation.
Sociology of Whiteness
Sociology 208 SRE
Over the course of the past five years there has
been a dramatic increase in sociological atten-
tion paid to the interrelated issues of white racial
attitudes, white racial identity, and white
racism. This course surveys the recent work
undertaken in what has become known as
whiteness studies, with a focus on recent
developments in American race relations, mod-
ernizing trends in the expression of racist senti-
ments, and how racial beliefs serve to justify and
defend relations of white advantage.
Science and Society: Debates on Race
and Gender
Sociology 234 Human Rights, SRE, STS
This course revisits the study of race and ethnic-
ity in the context of emerging genetic research. It
focuses on the genetic turn in scholarship on
human genetic variation, placing it within its
social and cultural history and examining its
implications for our understanding of the cate-
gory race. The course is structured historically,
beginning with examination of the history of the
race concept in anthropology, the eugenics
movement in the United States, and eugenics in
Nazi Germany. Next, more recent anthropologi-
cal and sociological accounts of race are surveyed
in relation to the genomics revolution. This rev-
olution has witnessed the rapid growth in the
development of technologies for genetic analysis,
a technical change that has led to achievements
such as the completion of the human genome
sequences. Finally, we consider the implications
and potential social consequences of this emerg-
ing research on human genetic variation across
scientific domains such as health and disease
(including racialized medicine), genetic screen-
ing, and forensics.
Race and Ethnicity: The Key Concepts
Sociology 246 Africana Studies, American
Studies, Human Rights, SRE
Although it is popular today to celebrate the
existence of a postracial world, race continues
to affect us in multiple ways. Given the sheer
ubiquity of race matters, it is more crucial than
ever to carefully understand the variety and par-
ticularity of meanings and uses with which racial
concepts have been historically associated. This

course, by situating the study of race and ethnic-
ity within its own historical and intellectual
context, exposes students to the broad diversity
of scholarship in the field and conveys the
excitement and challenge of the enterprise. Key
concepts surveyed include race formation, eth-
nic identity, assimilation, racism, race and sci-
ence, racial categorization, race and politics,
gendered racism, segregation, discrimination,
and whiteness.
Rights, Multiculturalism, and
Citizenship
Sociology 255 / Africana Studies 255
Human Rights, SRE
See Africana Studies 255 for description.
Race: Special Topics
Sociology 309 American Studies, SRE
This course surveys a range of special topics cur-
rent in the sociological literature on race and
ethnicity. It is organized on the basis of close
readings and critical analyses of works published
in the past several years, chosen for their sig-
nificance and potential impact on the future
direction of the subfield. Topics include multira-
cialism, assimilation and contemporary immi-
gration, black feminism/sexuality, color-blind
racism, and the concept of race in science.
Prerequisite: Upper College status or permission
of the instructor.
Power and Powerlessness
Sociology 328
An examination of the dynamics of power and
powerlessness and how the two serve to main-
tain inaction in the face of injustice. The class
investigates how patterns of power and power-
lessness may limit action upon inequalities by
preventing issues from arising, grievances from
being voiced, and interests from being recog-
nized; questions the extent to which power may
serve to shape conceptions about the nature and
extent of the inequalities themselves; and exam-
ines moments when power relations alter and
rebellion emerges, in order to understand the
ways in which resistance itself may feed back
into patterns of power and powerlessness.
Prerequisites: moderated status in sociology or
permission of instructor.
Sociology 121
Social Institutions
Sociology of Marriage and Family
Sociology 125
How do we choose the people we date and even-
tually marry? Why do people divorce and remarry?
What effect does marital separation have upon
the success of children later in life? This course
uses sociological literature to study these ques-
tions. Focusing primarily on family patterns in
the United States, the course examines the pro-
cesses of partner selection, the configuration of
gender and family roles, and the interrelationships
among family and household members. Topics
include explanations of religious and racial/ethnic
intermarriage, household and work roles, divorce
and remarriage, parenthood and single parent-
hood, and intergenerational relationships.
The Workplace as Civic Space
Sociology 252 Human Rights
This course explores the workplace as a site for
civic action in our society. Starting with the
debate over Wal-Mart and criticisms of its work-
place practices, the class discusses some of the
strategies being debated for mobilizing workers
and community allies to action, both here in the
United States and around the developing world
in the factories where Wal-Mart buys its prod-
ucts. Initial topics examined include the struc-
tural, economic, and cultural factors acting as a
barrier to organizing in workplaces like Wal-
Mart; the role of workplace organizations in our
economic and civic life; and the rise of different
organizations in the workplace, from worker
cooperatives to labor unions. The goal of the
course is to give students both the theoretical
and practical tools to analyze the limits on labor
power and options for expanding the civic role
of workplace action in our society.
A Sociological Classic: Middletown
and America
Sociology 322 American Studies
This course is based upon a close reading of two
books by Robert and Helen Lynd, Middletown
and Middletown in Transition. The authors lived
and did research in the typical American com-
munity of Middletown for several months during
the 1920s and again during the Great Depression;
their two volumes appraise all aspects of social
122 Social Studies
life in the community, including class structure
and class relations, local politics, courtship,
childraising, schooling, and religion. Taken
together, the books provide an unparalleled
understanding of American society and culture
in the 1920s and 1930s and are an indispensable
model for community studies. Students write a
term paper based upon either the Lynds work or
other classic works in American community
studies.
Seminar on Social Problems
Sociology 332 Africana Studies, American
Studies, Human Rights, Social Policy, SRE
We often read shocking stories about children in
poverty, segregated and failing schools, family
dissolution, and numerous other problems in
contemporary American society. While these
accounts provide a sensational and superficial
treatment of various social problems, what do
researchers really know about the causes of and
solutions for these problems? This seminar
provides a critical survey and analysis of the
research on various topics including poverty and
wealth; schools and education; teenage preg-
nancy and abortion; gender inequality in the
workplace; racial segregation and discrimina-
tion; ethnicity and immigration; and others.
The course also provides a framework for devel-
oping the skill of academic writing and the
appropriate use of theories, research questions,
and hypotheses.
Welfare States in Comparative
Perspective
Sociology 338 GIS, Human Rights,
Political Studies, Social Policy
The era of big government is over. Is it? If so,
with what consequences? This course retraces
the main lines of development of the welfare
state, examining the social demands and political
conflicts out of which welfare emerged, and the
values and principles that have subsequently
informed welfare policies. The course considers
debates and conflicts over the scope and aims of
welfare states during the last two decades, and
examines innovative policy ideas to reform the
welfare state or bring it into line with changing
realities. Case studies are drawn from Sweden,
Germany, Britain, Italy, and the United States;
comparison of the limited, piecemeal approach
of the latter with more comprehensive European
social democracy is a consistent focus. The pol-
icy arenas discussed include youth unemploy-
ment and job sharing; equal opportunity for
women; the social integration of marginalized
groups; flexible time regimes; and the challenge
of an aging population.
Social Control
The Historical Sociology of
Punishment
Sociology 242 Human Rights
This course first examines the character of pun-
ishment and the rationales for punishing in a
variety of different historical circumstances.
Cases are drawn from studies of primitive soci-
eties, Puritan New England, 18th- and 19th-
century Western Europe, the American South,
and the recent period in the United States and
Great Britain. Comparisons among such dis-
parate cases are meant to suggest broad develop-
ment patterns in punishing and more specific
queries about the connections between culture,
social structure, and penal strategies. The case
materials also offer a historical perspective on
such contemporary issues and controversies as
the appropriateness of retribution, the declining
concern for rehabilitation, the rationales for and
uses of the death penalty, and the scope of crim-
inal responsibility.
Punishment, Politics, and Culture
Sociology 260 Human Rights, Political
Studies
Other than war, punishment is the most dra-
matic manifestation of state power. Whom a
society punishes and how it punishes are key
political questions as well as indicators of its
character. This course considers connections
between punishment and politics in the contem-
porary United States. The course asks whether
we punish too much and too severely, or too lit-
tle and too leniently. Students consider the
politicization and racialization of punishment
and examine particular modalities through
which the state dispenses its penal power, e.g.,
maximum-security prisons, torture, and the
death penalty. Among the questions discussed
are: Does punishment express our noblest aspira-

tions for justice or our basest desires for
vengeance? Can it ever be an adequate expres-
sion of, or response to, the pain of the victims of
crime? When is it appropriate to forgive rather
than punish? These questions are considered in
the context of arguments about the right way to
deal with drug offenders, sexual predators, and
terrorists. In addition, the treatment of punish-
ment in constitutional law, e.g., the prohibition
of double jeopardy and of cruel and unusual pun-
ishment, is examined. Throughout, the class tries
to understand the meaning of punishment by
examining the way it is represented in politics
and popular culture.
The Impact of Law and Legal
Institutions on the Economy, Social
Organization, and Social Movements
Sociology 335 Human Rights
Many analysts treat the law as an outgrowth of
existing institutions, whether reflecting existing
class power in Marxist formulations or the bal-
ance of interest groups in pluralistic conceptions
of government. This course, however, reverses
the causal arrow to understand how the existence
of particular legal structures reshape economic
institutions and limit the options for peaceful
social change. Starting with core texts on the
sociology of law, including Max Weber and
Jrgen Habermas, the class asks what law is and
what laws role in society should be, including
the nature of bureaucracy created under those
legal structures. It then turns to writers who
detail competing conceptions of why and
whether courts should be given independent
power separate from democratic institutions,
both at common law and through constitutional
review. The course then examines three major
themes of the effect of law on society: the struc-
ture of the economy, race and racism, and the
role of women in society. A strong emphasis in
the course is understanding not just the static
effects of the law but also the constraints put on
the ability of social movements to effect demo-
cratic change to contest those legal structures.
Cultural Studies
Cultural studies is a new interdisciplinary area
that offers great potential for confronting such
Sociology 123
important contemporary sociological issues as
multiculturalism, nationalism, leisure, media,
ideology, and sexuality. Cultural studies focuses
on the link between cultural representations,
symbols, and practices and the establishment,
critique, and maintenance of relations of power
and inequality. In doing so, it contributes to the
long-standing attempt within sociology to
understand the links between individual and
society, agency and structure, history and biogra-
phy. By encompassing a wide range of topics in a
frame that links the study of history, culture, and
society, cultural studies offers its own theory and
method that challenge sociologists to address in
a more systematic way the insights of literature
and the arts.
Culture Wars
Sociology 227 American Studies,
Political Studies
Contemporary domestic battles over controver-
sial issues such as same-sex marriage, abortion,
and affirmative action have led many to charge
that the Culture Wars of the early 1990s have
returned to the forefront of public attention.
This course examines the most recent iterations
of the Culture Wars as they became manifest
during the 2004 election season. Besides a unit
that focuses on the election itself, attention is
also given to the historical sources of the moral
and cultural conflicts at issue; empirical debate
about the validity of the Culture War thesis
itself; the charting of various factions of the con-
temporary conservative movement; and a survey
of various policy arenas targeted by cultural war-
riors, including environment, law, science, wel-
fare, education, sexuality, and public art.
Whats Left? Whats Right?
The Rise and Fall of the Modern
Ideological Spectrum
Sociology 229 Political Studies
Do classifications of left and right really help
us to classify conflicting outlooks on globaliza-
tion or other aspects of the North-South divide?
What about political teachings associated with
one or another kind of intense religious commit-
ment? Where/how does identity politics fit in
the familiar scheme? This course provides a his-
torically grounded account of the ideological
spectrum from left to right and demonstrates
124 Social Studies

how extremes of ideology dominated political become the sites for the production and
discourse and sociological analysis in the 20th entrenchment of new forms of class-based and
century. Beginning with the emergence of politi- ethnoracial inequality/injustice? How are such
cal ideology as a distinctive cultural-political inequalities expressed in, and reproduced
form, primarily in the liberalism of the anti- through, the spatial organization of the
authoritarian political parties of revolutionary metropolis? What are the origins and causes of
Europe in the 18th and 19th centuries as well as such inequalities? How have processes of urban
in their conservative counterformations, stu- restructuring transformed the meaning of citi-
dents review several varieties of socialism, zenship and social justice within major U.S.
nationalism, progressivism, and yet more radical urban regions? What are the prospects for creat-
alternatives. The course then considers whether ing more socially and spatially just cities in the
the 20th-century picture of the ideological field coming years and decades? The theoretical foun-
still applies as we move into the current epoch. dations of the seminar build toward a series of
case studies, one of which is focused around
Late Modern Political Theory: questions of hyperghettoization and mass
Knowledge and Organization incarceration in the United States.
Sociology 241
Since the end of the 19th century, political the- America, Its Jews, and Israel
ory has grappled with the question of whether Sociology 3335 / History 3335
politics can be reduced to a science. Conflicting American Studies, Jewish Studies,
theories share common features. First, late mod- Middle Eastern Studies
ern approaches are strongly marked by attention See History 3335 for a full course description.
to social theory, the intellectual project centered
on problems of modern rationality. Second, con-
ceptions of political knowledge are closely
linked to conceptions of organization (and the
fear of disorganization). Earlier emphases on
justice and authority are overshadowed by
questions about the intelligence of political
rule. This course compares major 19th- and
20th-century proposals for institutionalizing
rationality in the political system, including
those advanced by Mill, Engels/Marx, Weber,
Mannheim, Dewey, Marcuse, and Habermas, as
well as some outstanding critics of the project,
including Nietzsche, Hayek, and Foucault.

Cities of Injustice? Critical

Geographies of Late Modern U.S.A.
Sociology 310
This seminar explores the contemporary urban
condition in the United States and beyond. Its
goal is to help students develop analytical tools
through which to decipher and critically inter-
pret some of the large-scale transformations of
urban economic, political, and social life that
have unfolded during the last 30 years, with spe-
cific reference to questions of social justice and
injustice. The course is framed around several
broad questions: In what ways have cities
 Division of Languages
and Literature
For many Bard students, the study of English and American literature and world litera-
ture in translation is the central focus of their work. They explore literature within special
periods such as medieval or Renaissance Europe, relations among national literatures in
forms such as lyric poetry or the novel, or literature within the context of culture.

Students in the Writing Program in Fiction and Poetry not only take workshops and
tutorials in fiction or poetry, but also are required to study a foreign language and mod-
erate in literature as a second concentration. Those who choose foreign languages as
their central concern can explore a range of area studies through programs such as
Asian, French, German, Latin American, and Middle Eastern studies; this allows them
to develop concentrations that are fully interdisciplinary, bringing together work in
culture, history, and other fields. Students may also concentrate in the literature of a
language other than English, from within an area studies program or as a literature
major. All students in the division are encouraged to study languages other than
English. Like language area studies, the Literature Program invites exploration in a
range of interdisciplinary contexts such as Victorian, gender and sexuality, medieval,
or Irish studies. Comparative studies of literature and the other arts and of theories of
literature are a regular part of the course offerings.

Goals and requirements vary by program. Consult individual program descriptions for
details.

Tutorials, Major Conferences, and Senior Projects

Seniors must summon up imagination, knowledge, discipline, and independence for

the Senior Project. Over the years, students have done translations of poetry and fic-
tion; critical studies of traditional and contemporary literary figures, genres, and prob-
lems; and original work in critical theory. Much of this work has broken new ground.
Some projects, on condition of permission from the divisional faculty, may take the
form of a novel, poem sequence, play, or collection of short stories.

All Senior Projects, on completion and acceptance by the adviser and the project
review board, are placed in the library, where they serve as both a memorial of the stu-
dents enterprise and a useful reference or stimulus for later generations.

125
126 Languages and Literature

Senior Project work is considered the equivalent of two courses and extends over two
semesters. In the first, the student meets weekly with his or her adviser and writes a first
draft. In the second, while the student completes the text independently, meetings may
be less frequent. The faculty of the division teach a number of Upper College tutorials
and Major Conferences designed to help prepare students for the Senior Project.

Recent Senior Projects in Languages and Literature

On the Margins: Locating Discursive Resistance in Gothic and Postcolonial Texts

Better Dead Than Red: The Amazingly Apolitical Writings of Chen Ran and
Liudmila Petrushevskaya (Chinese and Russian)
From One Open Window to Another: A Translation of Four Short Stories by the
Spanish Author Carmen Martin Gaite (Spanish)
Looking Back at Fascism: The Social Responsibility of Literature and Film in
Postfascist Italy (Italian)
The Poem as Saxifrage: The Poetics of Absence, Impossibility, and Fragmentation,
in Stphane Mallarm, Ren Char, and Andr du Bouchet (French)
Homeric Hymn to Demeter: Translation and Essays Examining the Role of Demeter
in the Context of the Life and Literature of Archaic Greece (Classical Studies)
The Scars of War: World War I and Early German Cinema (German)

Literature
The study of literature at Bard is distinctive in
its unusual flexibility and breadth. English, U.S.,
and world literatures in translation are central,
as are criticism and the theory of literature,
which deepen awareness of literature as an aes-
thetic and cultural activity. Students interested
in studying the literature of a language other
than English can do so through a program (such
as French or German studies), which offers an
interdisciplinary perspective, or in the context
of world literature (as Literature Program
majors). For students and faculty alike, writing
courses are frequently linked with literary study.
The Literature Program at Bard is free from the
barriers that are often set up between different
national literatures or between the study of lan-
guage and the study of the range of intellectual,
historical, and imaginative dimensions to which
literatures changing forms persistently refer.
Literary studies are vitally engaged with inter-
disciplinary academic programs such as Asian,
classical, gender and sexuality, medieval, and
Victorian studies. An active connection with
Bards arts programs is maintained through liter-
ature courses concerned with painting, film, aes-
thetics, and representational practices across a
range of fields.
Students considering how to design a program
in the study of literature receive special encour-
agement to read precisely and with careful
attention to word, sentence, and line; emphasis
is also placed on developing powers of imagina-
tion and critical intelligence. The culmination
of the students work is the Senior Project, which
may be in the form of criticism, translation, fic-
tion, poetry, literary theory, or historical analysis.

Study Plans
A student planning to concentrate in the
Literature Program should begin by taking at
least one of the sequence courses in English,
U.S., or comparative literature, but is also free to
choose an elective course at the 100 or 200
level. All courses at this level concentrate on
close readings of literary texts and frequent prepa-
ration of critical papers. They often include
training and practice in the basic discipline of
literary analysis, and introduce historical and
critical perspectives that deepen awareness of
literary contexts. Together with the intensive
reading of literature in historical context that
makes up the required sequence courses, elective
courses at the 100 to 200 level form the founda-
tion of the concentration in literature.
To moderate in literature a student must have
taken at least six courses in the division. Two of
these must be from one of the three literature
sequences (English, U.S., or comparative litera-
ture). The two must be from the same sequence,
but need not be consecutive: for example, the
student may enroll in U.S. Literature I and III.
Foreign-language courses or a creative writing
workshop may also be used to meet the six-
course requirement. After Moderation, the stu-
dent chooses seminars at the 300 level and,
often, tutorials in special topics as well. Students
are encouraged to study a language other than
English, and study-abroad programs are easily
combined with a concentration in literature.
For Moderation itself, the student submits a 10-
page critical paper based on work for one of the
sequence courses; the short Moderation papers
required of all students; and fiction or poetry if
the student is a double major in the Writing
Program. The work is evaluated by a board com-
posed of the students adviser and two other
members of the Literature Program faculty. For
students with double concentrations in other
programs, the board includes appropriate faculty
representatives of each. The flexibility of the
Literature Program encourages students to go on
after Moderation to develop new areas of special
interest, as well as to go more deeply into fields
they have already come to know.
Literature 127
Course sequences in literature are as varied as
the students themselves. If a students primary
interest is, for example, world literature, courses
in African, French, Latin American, and U.S.
literatures might be supplemented, over four
years, by postcolonial theory, Spanish, and, from
outside the program, political studies. For a stu-
dent who is primarily a poet, a double concen-
tration with the Literature Program might
involve close study from a range of periods of
poetry in English and French, as well as tutorial
work in poets important to the student. A stu-
dent with special interests in English literature
might take courses at different levels, in a range
of authors and forms, and find a focus in critical
theory, a single period, or novels, plays, or
poetry. An interdisciplinary program such as
gender and sexuality or Victorian studies often
helps shape the focus of the Literature Program.
Senior Projects may be critical studies of writers
from any literature, from Shakespeare to Woolf,
Achebe to Zola. Sometimes a project combines
creative and critical work, sometimes transla-
tion and criticism. Interdisciplinary work, stud-
ies in literary theory, and cultural criticism have
become increasingly popularfor example, the
study of servants in 18th- and 19th-century
English literature, the nature of metaphor,
French literary philosophy, or spectatorship in
classic Hollywood films of the 1930s. Students
continue the study of well-known figures
Shakespeare, Tolstoy, Joycewhile developing
new interests such as Celtic literature, medieval
Arabic poetry, or Joan of Arc.
Core faculty: Mark Lambert (director), Chinua
Achebe, John Ashbery, Mary Caponegro, Deirdre
dAlbertis, Terence F. Dewsnap, Elizabeth Frank,
Donna Ford Grover, Rebecca Cole Heinowitz,
Thomas Keenan, Robert Kelly, Benjamin La
Farge, Ann Lauterbach, Nancy S. Leonard,
Norman Manea, Bradford Morrow, Francine
Prose, Joan Retallack, Justus Rosenberg, Geoffrey
Sanborn, Peter Sourian, Karen Sullivan, William
Weaver
128 Languages and Literature
Literature 100-Level
Courses at this level introduce the foundations of
literary study at Bard. In addition to reading the
text with attentiveness, imagination, and pre-
cision, students look at cultural and intellectual
contexts in which the work may be placed, and
consider ways in which different kinds of literary
criticism may stimulate, enrich, change, and
challenge their understanding of that work.
Frequent papers allow exploration of different
approaches to writing about literature.
First Fiction Workshop
Literature 121
This course is for students who propose a com-
mitment to writing and have already written sto-
ries or worked toward narrative text of any
length. Students also read selected writers and
discuss general writing principles. Student work
is examined through group response, analysis,
and evaluation. The course is open by permission
of the instructor; a writing sample is required.
First Poetry Workshop
Literature 123
This workshop is intended for new students who
desire to learn the discipline of creating works of
art and experiment with making their own writ-
ing a means of learning about literature and
poetry. It stresses growth in the students work;
individual awareness of activities, rhythms, and
tellings that are possible in poetry; and an under-
standing of how poets go about learning from
their own work. The focus is the students own
writing, along with the articulation (private and
shared) of responses to the writing of others.
Readings in contemporary and traditional poetry
develop familiarity with poetic form, movement,
and energy. Attendance at evening poetry read-
ings and lectures is required. Open by permission
of the instructor; a writing sample is required.
The Ring of the Nibelung
Literature 187 / German 187
See German 187 for a full course description.
Kafka: Prague, Politics, and
the Fin de Sicle
Literature 199 / German 199
See German 199 for a full course description.
Americans Abroad
Literature 2002 Africana Studies, SRE
The period after World War I was an exciting
time for American artists who chose to come of
age and discover their own Americanness from
other shores. Students read writers of the
so-called Lost Generation, including Ernest
Hemingway, Gertrude Stein, and F. Scott
Fitzgerald. The course also includes expatriate
writers (such as Jean Toomer, Claude McKay,
and Jessie Fauset) who are best known for their
participation in the Harlem Renaissance. This
course looks at a period in which American
culture found roots abroad.
Modern Satire
Literature 2003
This seminar examines 20th-century satiric
writing and its context. Writers studied include
Aldous Huxley, Evelyn Waugh, Dorothy Parker,
Nathanael West, W. H. Auden, Mary McCarthy,
and David Lodge. Students may experiment
with satiric forms in two of their three papers.
Prerequisite: Some familiarity with the traditions
of satire (for example, Literature 240).
Asian Canons and Cultures
Literature 2004 Asian Studies
This course introduces conceptions of self, soci-
ety, and the universe, as they were formulated in
Asia, through an intensive engagement with
canonical literary, philosophical, and religious
texts such as the Analects, Bhagavad Gita,
Lotus Sutra, Ramayana, Tale of Genji, and Tao
Te Ching. In addition to reading these works in
translation, students are introduced to the char-
acteristics of the different classical Asian lan-
guages that enabled the works distinctive forms
of rhetoric and thought.
Survey of Linguistics
Literature 201 / Classics 201
See Classics 201 for a full course description.
Aesthetics of Narrative
Literature 2011
Students examine the varieties of modern narra-
tive and the aesthetic questions that shape the
readers attention and involvement. How does a
narrative reflect its own telling and give signs as
to where to findor losethe author? How

does it create sympathy with a self-absorbed
teller? Does confusion or hostility sometimes
foster narrative involvement? How does literary
narrative differ from film narrative? Works read
include Joseph Conrads Heart of Darkness,
Charles Dickenss Great Expectations, William
Faulkners Absalom, Absalom!, Sigmund Freuds
The Wolf-Man, Samuel Becketts Molloy,
Marguerite Durass The Lover, and Raymond
Chandlers The Big Sleep. Film adaptations of
Great Expectations and The Big Sleep are screened.
Theory of narrative is drawn from the works of
Mikhail Bakhtin, Peter Brook, Julia Kristeva,
Maurice Blanchot, and Diana Fuss, among others.
The Novel in English
Literature 2014 Victorian Studies
This course constitutes an investigation of the
realist tradition in English fiction, beginning
with Victorian multiplot construction and work-
ing toward the formal innovation of the modern-
ist novel. Central texts include Emily Bronts
Wuthering Heights, Charlotte Bronts Jane Eyre,
Dickenss Bleak House, Eliots Middlemarch, Hardys
Tess of the DUrbervilles, Jamess The Ambassadors,
Conrads Heart of Darkness, Lawrences Women in
Love, and Woolfs To the Lighthouse. Readings in
narrative theory and the history of the novel are
used to supplement textual studies.
American Indian Fictions
Literature 2015 American Studies,
Human Rights, SRE
By the time DArcy McNickle, the first major
American Indian novelist, began publishing his
work, Indians had been stock literary figures for
more than 300 years. In works ranging from
Mary Rowlandsons captivity narrative to the
novels of Willa Cather, white American writers
had generated a fixed and ungrounded notion of
Indianness. Students in the course examine the
tradition of fiction through works about and by
Indians. In addition to McNickle, Rowlandson,
and Cather, authors include Charles Brockden
Brown, James Fenimore Cooper, Herman
Melville, Helen Hunt Jackson, Black Elk, N.
Scott Momaday, James Welch, Leslie Marmon
Silko, Louise Erdrich, and Sherman Alexie.
Literature 129
Articulate Sounds:
Reading Poetic Texts
Literature 2019
How do we make sense of a poem? What is the
poem designed to do? What systems and charac-
teristic features are put in place to get this work
done? What is poetic knowledge? The aim of
this course is to develop close reading and rea-
soning skills. Students pay attention to the
sound system of prosody and become aware of
grammar, rhetoric, and the uses of figurative lan-
guage. Presentations and assignments orient stu-
dents toward making interpretations of poems
based on analysis of the poetic line via detailed
scansions and other appropriate notations,
discussion of the relationship between meaning
and metrical structure, analysis of line openings
and endings, and the work of metaphor and
other figurative language. Readings include
a broad survey of short poems by Wyatt,
Shakespeare, Jonson, Donne, Herbert, Milton,
Blake, Shelley, Keats, Whitman, Dickinson, Yeats,
Eliot, Stevens, Williams, Hopkins, Pound, Auden,
Oppen, Niedecker, Hejinian, and Ashbery. Addi-
tional readings in rhetoric, poetics, and linguis-
tics may also be included.
Literature, Language and Lies:
Reading Word by Word
Literature 2020
Throughout history, written language has been
used to create masterpieces, pump out propa-
ganda, delight and delude, and reveal and obscure
the truth. But unless we read closelyword by
word, line by line, sentence by sentenceit can
be hard to distinguish among these uses. In this
class, students read the short stories of great
writers (James, Cheever, Chekhov, Joyce,
Mansfield, OConnor, Beckett, Bowles, etc.) as
well as current issues of the New Yorker and New
York Times, looking at the ways in which words
are used to convey information and insight,
transmit truth and beauty, and form and trans-
form our vision of the world.
Mark Twain
Literature 2021
Students in this course research and make class
presentations on Mark Twains major works,
including Innocents Abroad, Roughing It, Life on
the Mississippi, The Adventures of Huckleberry
130 Languages and Literature
Finn, A Connecticut Yankee in King Arthurs
Court, The Tragedy of Puddnhead Wilson, The
Mysterious Stranger, and Letters from the Earth.
Prerequisite: permission of the instructor and one
U.S. literature sequence course or a course in
either American studies or American history.
The Making of Modern Theater
Literature 2022 Theater
This introductory course traces the emergence
of distinctively modern forms of theater in late
19th- and 20-century Europe. Students engage
closely with a number of major dramatic texts,
whose importance in this process is widely rec-
ognized. Attention is paid to the fact that the-
ater is not a textual genre, but an embodied
practice played out in real time and in a con- intensively in these texts, of linking what one
crete space. How do playwrights such as Wilde,
Brecht, or Beckett exploit this fundamental
fact? To what problems or concerns do their for-
mal strategies respond? Why do the performance
practices of avant-garde movements, such as
Futurism or Dada, seek to break down the
boundaries between theater and other art forms?
Readings include plays by Bchner, Jarry,
Strindberg, Pirandello, Handke, and Mller.
Comparative Literature I, II, III
Literature 204A, 204B, 204C
This three-semester sequence is devoted to an
examination of the development of primarily
continental European literature and its historical
framework. Each course may be taken indepen-
dently. The first semester examines the shift from
texts such as The Song of Roland and its account
of Charlemagnes invasion of Muslim Spain to the
Provenal love lyric and its emphasis on courtly
refinement; the fabliaux, or obscene comic poetry
of the Middle Ages; Chaucers Canterbury Tales,
which brings together courtly, scholastic, and bur-
lesque traditions; and two 15th-century authors,
Christine de Pisan, often considered the first
feminist of Western letters, and Franois Villon,
poet-thief of late medieval France. Another focus
is the relationship between the medieval history
text, the music that often accompanied its recita-
tion, and the illustrations that often decorated
manuscripts.
The second semester examines literature of the
Renaissance and Reformation in continental
Europe. Students focus on the relationships
among historical developments such as the
discovery of the New World; Protestantism; the
wars of religion; and contemporary poetic,
dramatic, or novelistic texts. Authors include
Boccaccio, Juana Ins de la Cruz, Marguerite de
Navarre, Descartes, Erasmus, Luther, Molire,
Pascal, Petrarch, Rabelais, and Racine.
The third semester considers the peculiar and
perplexing European literary transformation
from romanticism to modernity. Careful reading
of selected texts emphasizes the relation between
the self and others, as it occurs in language:
What does it mean to meet others in words?
Students also examine the problem, posed
thinks or knows with ones actions. Readings
include works by Kleist, Goethe, Hlderlin, Keats,
Wordsworth, Baudelaire, Mallarm, Ponge, Rilke,
and Celan.
Modern Arabic Literature in
Translation
Literature 2060 Middle Eastern Studies
This course surveys the history and texts of
diverse and polycentric literary and artistic tra-
ditions of the Middle East and North Africa dur-
ing the last two centuries. Students explore
works of fiction, poetry, visual art, autobiogra-
phy, memoir, film, and historiography. Students
also review the major literary, cultural and
philosophical currents that shaped the modern
Arab world. Analysis and reading are informed
by recent developments in cultural and critical
theory. Authors studied include Naguib Mahfouz,
Yusuf Idris, Mahmoud Darwish, Hanan al-Shaykh,
and Hoda Barakat. The course introduces stu-
dents to the diversity of aesthetic responses in
Arab literary and cultural practice. Students
examine questions of nation and identity forma-
tion, religion, tradition, colonial and postcolonial
history, and diaspora.
Goethes Faust:
Sympathy for the Devil?
Literature 209 / German 309
Students in this course undertake an intensive
study of Goethes drama about a man in league
with the devil. The dynamics of Fausts striving
for knowledge of the world and experience of

life, and Mephistopheles advancement and sub-
version of this striving provide the basis for
analysis of the plays central themes of individu-
ality, knowledge, and transcendence. The themes
are examined in regard to their meaning in
Goethes time and their continued relevance
today. To gain a fuller appreciation of the vari-
ety, complexity, and dramatic fascination of
Goethes Faust, students also consider Faust lit-
erature before and after Goethe and explore the
integration of Faust in music, theater, and film
(for example, Arrigo Boitos opera Mefistofele
and Friedrich W. Murnaus film Faust). The
course is taught in English. Students with an
advanced proficiency in German are encouraged
to read Faust in the original.
Major American Poets
Literature 210
American poetry found its own voice in the first
half of the 19th century when Emerson chal-
lenged American scholars to free themselves
from tradition. For the next three generations
most of the major poets, from Walt Whitman to
Robert Frost and Wallace Stevens, acknowl-
edged Emerson as a crucial inspiration. Emerson
and two of his contemporaries, Longfellow and
Poe, were the first to achieve international
fame, but it was in Whitmans poems that a dis-
tinctively American voice was first hearda
voice that was both oracular and plainspoken.
At the same time, the oddly metered, introspec-
tive poems of Emily Dickinson, mostly unpub-
lished during her lifetime, spoke in a New
England voice that was no less distinctive and
no less American. Then, only 30 years after her
death, the powerful modern voices of T. S. Eliot,
Wallace Stevens, Ezra Pound, H. D., Marianne
Moore, William Carlos Williams, Robinson Jeffers,
e. e. cummings, and Hart Crane began to be
heard. The class reads selected poems by each of
these and gives equal time to Frost.
Byzantium
Literature 2107 Medieval Studies
This course considers the culture and literature of
Byzantium, from the citys founding in 330 C.E. to
its fall to the Turks in 1453. Texts include writ-
ings by Greek church fathers; chronicles on the
Byzantines by Greeks, Muslims, and Westerners;
treatments of such important events as the icon-
Literature 131
oclast controversy and the Crusades; and princi-
pal works of medieval epic, romance, and lyric
poetry from this region. The focus is the city now
known as Istanbul and its surrounding territories,
along with the Byzantine presence in the Balkans
and parts of Italy, Russia, and northern Africa.
Study concludes with the influence on later civi-
lizations of what Yeats called the holy city of
Byzantium.
The African American Tradition
Literature 2139 Africana Studies
From the late 18th century to the present,
African American writers have explored, in
extremely powerful ways, the experience of
being bound, the unbinding force of imagina-
tion, and the current that moves toward the lost
banks of memory. This course examines the
fiction, poetry, autobiography, drama, essays,
and speeches of writers ranging from Phillis
Wheatley to Paul Beatty, paying particular
attention to the dynamics of bondage, imagina-
tion, and memory, but ranging broadly through
subjects such as spirituality, lynching, sexuality,
and passing. Authors include Harriet Wilson,
Frederick Douglass, Charles W. Chesnutt, Zora
Neale Hurston, Richard Wright, Ralph Ellison,
Toni Morrison, and Amiri Baraka.
Domesticity and Power
Literature 2140 American Studies,
GSS, SRE
Women who wrote of the home and marriage and
who detailed the chatter of the drawing room
were not merely recording the trivial events of
what was deemed to be their place. Many
American women writers of the 19th and 20th
centuries used domestic novels as insightful
critiques of American society and politics. Stu-
dents in this course read a range of work, includ-
ing Catherine E. Beecher and Harriet Beecher
Stowes handbook of housekeeping, The
American Womans Home (1869), and the novels
and short stories of Harriet Jacobs, Frances E. W.
Harper, Kate Chopin, Nella Larsen, Jessie Fausett,
Edith Wharton, and Willa Cather.
Victorian Essays and Detectives
Literature 215 Victorian Studies
Victorian-era essays on education, science, reli-
gion, and politics are studied in relation to
132 Languages and Literature
detective stories by Wilkie Collins, Arthur Conan
Doyle, R. Austin Freeman, and Israel Zangwill.
Issues raised by essayists are often relevant to the
tendencies of detective stories, such as a relatively
realistic presentation of society and demonstra-
tion of empirical habits of mind. At the same
time, the detective story, like most popular litera-
ture, reflects the images, problems and biases of
its time, providing context for the essays.
St. Petersburg: City as Text
Literature 2151 RES
The magical and terrible spaces of St. Petersburg
have inspired Russian writers and artists and con-
founded the Russian quest for an integral
national identity ever since Peter the Great
founded the city in 1703. This course examines
the myth of St. Petersburg in Russian literature
and culture, with consideration of how the city
has been constructed as a literary, artistic, and
folkloric text and has determined the course of
Russian culture and selfhood. Special attention is
given to the nature of the city as a sign, with
appropriate strategies for reading the city.
Readings range from the classic texts of Pushkin,
Gogol, and Dostoevsky to 20th-century prose,
poetry, memoir, and the carnival performances
associated with the citys 300th anniversary cele-
brations. The course is conducted in English.
Classics of Francophone African
Literature
Literature 2152 Africana Studies
Even though literature from francophone Africa
is not yet a century old, it has already produced
many important and enduring works. Students
examine books written in the postcolonial period
(up to the 1990s) and explore how this literature
has evolved in its themes and aesthetics. Works
are read in translation. Students wishing to take
the course as part of French studies will read texts
in the original and participate in tutorials.
Myth and Variation in Russian
Modernism
Literature 2153 / Russian 2153 RES
Russian literature and arts of the first decades of
the 20th century are marked by a preoccupation
with the relationship between art and life. For
Russian writers and artists of this period, looking
to the future, to another reality, or to a higher
state of beingoften against the background of
catastrophic sociohistorical contextsimplied a
creative process that may be best characterized as
mythology in the making. This course traces the
relationship among various Russian art forms
(including literature, theater, film, visual arts, and
architecture) of the modernist period. Also
explored are the links between art, gender, and
politics. Students read works by Sologub, Bely,
Blok, Mandelstam, Mayakovsky, Zamiatin, Babel,
Olesha, Platonov, and Bulgakov, as well as mod-
ernist manifestos and recent critical analysis. The
course is conducted in English.
Dark Comedy: Humor in African
American Literature
Literature 2154 Africana Studies,
American Studies, SRE
Students explore the use, in African American
literature, of humor, particularly satire, as a tool
for identifying and deconstructing the absurdities
of race, assimilation, and historic memory. The
course begins with the newly emboldened writers
of the Harlem Renaissance. Students read George
Schuyler and Wallace Thurman and examine
how the political comedy of those writers was fur-
thered by Ralph Ellisons Invisible Man. Through
close reading of the works of Zora Neale Hurston,
Langston Hughes, and Charles Johnson, students
identify how African and southern American
folklore informed the modern comic tradition.
Chester Himess Pinktoes and Ishmael Reeds
Mumbo Jumbo provide an opportunity to explore
gender and status in relationship to satire. Trey
Elliss Platitudes, Paul Beattys The White Boy
Shuffle, and Percival Everetts Erasure reveal why
a disproportionate percentage of black Americas
strongest writers continue to be drawn to the
satiric form.
African American Autobiographical
Narrative
Literature 2155 Africana Studies,
American Studies, Human Rights, SRE
The goal of this course is to give students an
understanding of autobiography as the core
medium of black American literature for its first
two centuries and as a vehicle of artistic and
political power through the civil rights move-
ment and into the modern era. Students begin
with The Interesting Narrative of the Life of

Olaudah Equiano and follows the evolution of the
slave narrative through the works of Harriet
Jacobs and Frederick Douglass. Using Booker T.
Washingtons Up from Slavery as a bridge between
the worlds of bondage and freedom, students
continue their study through an examination of
Langston Hughess The Big Sea, Richard Wrights
Black Boy, Claude Brownes Manchild in the
Promised Land, Assata Shakurs Assata, Maya
Angelous All Gods Children Need Traveling Shoes,
and John Edgar Widemans Brothers and Keepers.
Romantic Literature in English
Literature 2156 Human Rights
This course offers a critical introduction to the
literature produced in Britain at the time of the
Industrial Revolution, French Revolution, and
Napoleonic wars. Throughout the course, stu-
dents question the assumptions built into the
interestingly problematic term traditionally used
to categorize this literature, romantic. Students
also explore the extent to which key conflicts in
British culture during the period (the founding of
the United States, independence movements in
the Americas, the development of free trade ide-
ology, and the debates over slavery and colonial-
ism) are still at issue today. The centerpiece of the
course is the close reading of poetry. Strong
emphasis is placed on the historical and social
contexts of the works and specific ways in which
historical forces and social changes shape, and
are at times shaped by, the formal features of lit-
erary texts. Readings include the works of Blake,
Wordsworth, Helen Maria Williams, Edmund
Burke, Thomas Paine, Mary Wollstonecraft,
Robert Southey, Coleridge, Percy Shelley, Mary
Shelley, Keats, and Clare.
Enduring Short Stories and Novellas
Literature 2157
This course constitutes an in-depth study of the
difference between the short story (built on figu-
rative techniques that are closely allied to those
employed in poetry and that allow the writer to
achieve remarkable intimacy and depth of mean-
ing) and the novella (which demands the econ-
omy and exactness of a short work yet allows a
fuller concentration and development of charac-
ter and plot). Students in the class explore the
artistic accomplishments of such masters as
Voltaire, Tolstoy, de Maupassant, Chekhov,
Literature 133
Aleichem, Mann, Isaac Babel, A. France, Camus,
Kafka, Colette, and Borges. In addition to writing
several analytical papers, students present a short
story or novella of their own.
Modernist Poetry and Painting
Literature 2158
Wallace Stevens famously argued that the poet
is in rapport with the painter. This course con-
siders ekphrastic works (for example, how Auden,
Williams, and Stevens described paintings) and
how ideas about poetry and painting influenced
each other in the first few decades of the 20th
century. Students study cubism, futurism, vorti-
cism, expressionism, symbolism, and surrealism
and consider their literary counterparts. Students
also study spaces that inspired discussions, essays,
and poems about the relationship between poetry
and painting (e.g., Stieglitzs Gallery 291, the
135th Street Library, and the important armory
shows and exhibitions that took place between
1910 and 1920). Writers and painters studied
include Gwendolyn Bennett, Hart Crane, Charles
Demuth, H. D., Aaron Douglas, T. S. Eliot, Roger
Fry, Henri Gaudier-Brzeska, Juan Gris, Marsden
Hartley, Langston Hughes, Alfred Kreymborg,
Wyndham Lewis, Stphane Mallarm, John
Marin, F. T. Marinetti, Marianne Moore, Georgia
OKeeffe, Ezra Pound, Man Ray, Gertrude Stein,
Wallace Stevens, Alfred Stieglitz, Paul Valry,
and William Carlos Williams.
Into the Whirlwind: Literary Greatness
and Gambles under Soviet Rule
Literature 2159 RES
This course examines the fate of the literary imag-
ination in Russia from the time of the Revolution
to the stagnation of the Brezhnev period.
Students look at the triumphant imaginative lib-
eration in writers such as Isaac Babel, Vladimir
Mayakovsky, Osip Mandelstam, and Mikhail
Bulgakov; the struggle with ideology and the ter-
ror of the 1930s in the works of Yuri Olesha, Anna
Akhmatova, Boris Pilnyak, Lidia Chukovskaya,
Mikhail Zoshchenko, Varlam Shalamov, and Yuri
Tynyanov; and the hesitant thaw as reflected in
Boris Pasternaks Dr. Zhivago. The course con-
cludes with Alexander Solzhenitsyns One Day in
the Life of Ivan Denisovich and Venedikt Erofeevs
Moscow to the End of the Line. Readings are supple-
mented with an examination of political and
134 Languages and Literature
historical documents that provide a sense of con-
text. After the violent ebullience of the revolu-
tionary period, how did literature stay alive
during the period of mass repression, censorship,
and terror, when millions of Soviet citizens were
imprisoned or shot? What formal/aesthetic
choices did writers make in negotiating the
demands of official ideology, on the one hand,
and authentic literary expression, on the other?
What image of history and of man did these
engineers of human souls produce? All readings
are in English.
Ancient Law and Human Rights
Literature 216 / Classics 216 Classical
Studies, Human Rights
See Classics 216 for a course description.
Powers of Horror: Sublimity,
Exoticism, and Monstrosity
Literature 2160 Human Rights
The genre of horror, often called the gothic,
encompasses texts as wide-ranging as the 18th-
century novel The Castle of Otranto and the
television series Buffy the Vampire Slayer. This
seminar focuses on the gothic genre as a response
to such historical developments as the slave
trade, the rise of the bourgeoisie, the Cold War,
and imperialism. Students explore such figures as
the oriental tyrant, the corrupt priest, the savage,
the vampire, the monster, and the madmanin
order to ascertain why such figures emerge at the
precise moments when Western culture seems so
confidently to assert its orderliness, rationality,
and humanitarianism. Readings include Radcliffes
The Mysteries of Udolpho, Lewiss The Monk,
Hoggs The Private Memoirs and Confessions of a
Justified Sinner, Peacocks Nightmare Alley, Stokers
Dracula, and Le Fanus Carmilla, as well as critical
works by Marx, Freud, Foucault, Huyssen, and
Jameson. Screenings include Nosferatu, Island of
Lost Souls, Shock Corridor, and episodes from
Buffy the Vampire Slayer.
Postcolonial African Fiction: Political
and Spiritual Centers
Literature 2161
Students examine the ways in which modern
African literature identifies and responds to the
alienation it experienced as a consequence of
European colonialism. The course takes a histor-
ical and biographical approach, in order to show
differing emphases and themes in 20th-century
African fiction. Was there a political, social, and
spiritual center to Africa before the coming of
Europeans and, if so, can this center be identified,
retrieved, or created anew? Are African writers
translating their personal experiences of alien-
ation and disorientation into their work? How
does literature present social, political, and spiri-
tual problems in terms of language, character,
metaphor, and structure? How do the texts
expand the consciousness of readers who may not
be African? Authors and texts include: Dambudzo
Marechera (Zimbabwe), The House of Hunger;
Bessie Head (South Africa/Botswana), Maru; M.
G. Vassanji (Kenya/Canada), The In-Between
World of Vikram Lall; Ken Saro-Wiwa (Nigeria),
Sozaboy; Helon Habila (Nigeria), Waiting for an
Angel; Moses Isegawa (Uganda), Abyssinian
Chronicles.
Fictional Writers and the Russian
Metatext
Literature 2162 RES
Fiction in which the main character is a writer, or
in which the narrator refers explicitly to the pro-
cess of writing, often takes on a self-referential
function. What does it mean to write about writ-
ing? What can a fictional text whose subject is
fictional texts tell us about the potential of lan-
guage as a self-shaping tool, or about the role of
art in a given cultural context? This course
employs such metatextual questions in its study of
fiction by major Russian authors of the 19th and
20th centuries. The class explores literary theories
on genre, irony, aesthetics, and the reader-writer-
character triangle in the linkage of construction
of self to construction of text, particularly in fic-
tion that experiments with forms such as the fic-
tional diary or the complex frame narrative. A list
of authors studied includes Bulgakov, Chekhov,
Dostoevsky, Lermontov, Pushkin, and Nabokov.
Innuendo
Literature 2163
This course consists of studies in the not-quite-
said of fiction, poetry, drama, and theory.
Students learn to distinguish the contexts and
purposes of different kinds of innuendo by the

analysis of speech acts, poetic statements, philo-
sophical claims, and social prohibitions. Readings
are drawn from Ferdinand de Saussure and other
linguists, J. L. Austin, Deborah Tannen, Wallace
Stevens, John Ashbery, Ann Lauterbach, Miss
Manners, Proust, Chekhov, Wilde, Beckett,
Giorgio Agamben, Maurice Blanchot, and
Jacques Derrida. Students are required to com-
plete critical and creative writing assignments.
Spiritual Crises
Literature 2164 Theology
Students explore narratives of spiritual crisis in
the Christian (especially Catholic) traditions.
What is the relationship between spiritual crisis
and the development of the modern self? What
role has God played in the construction of the
self as we know it? How do the authors of these
narratives conceive of God, and what do they
mean when they refer to believing in him? Is it
possible to find meaning in these narratives if one
is not a Christian or a religious believer? Authors
studied include St. Paul, Augustine, Dante
Alighieri, Martin Luther, Ignatius Loyola, Teresa
of Avila, John Donne, George Herbert, Blaise
Pascal, John Henry Newman, Thrse de Lisieux,
Georges Bernanos, and Simone Weil.
Literary Theory
Literature 2165
An intensive introduction to recent theories of
literature and culture, set against the background
of questions about identity and difference in the
Western tradition. What links the recurrent the-
oretical preoccupation with language to questions
about the ethicopolitical stakes of literature?
Students examine a range of answers to the ques-
tions of how meaning is produced or ascribed,
why it happens, and who or what decides on it.
Attention is also paid to emerging debates about
democracy, publicity, justice, and global cultural
exchanges. Readings include Saussure, Jakobson,
Barthes, Austin, Derrida, de Man, Lacan,
Irigaray, Cixous, Butler, Haraway, Ronell, Spivak,
Foucault, Zizek, Virilio, Benjamin, Heidegger,
Nietzsche, Marx, and Freud.
Free Speech
Literature 218 / Human Rights 218
See Human Rights 218 for a course description.
Literature 135
Reading and Writing the
Personal Essay
Literature 2181
This course involves equal parts reading and
writing and is for students who want to develop
their creative writing and analytic thinking.
Readings are taken from Phillip Lopates The Art
of the Personal Essay, which traces the long tra-
dition of the personal essay, from Seneca to
Montaigne to contemporary stylists such as
Richard Rodriguez and Joan Didion. The per-
sonal essay is informal, begins in the details of
everyday life, and expands to a larger idea.
Emphasis is placed on craft: how scenes and
characters are developed, how dialogue can be
used, how form can fracture from linear narra-
tive to collage. Student work is critiqued in a
workshop format. This course is for fiction writ-
ers, students with experience in writing work-
shops, poets who want to explore another genre,
and writers who enjoy expressing ideas through
the lens of personal experience. Those who
bring knowledge from other disciplines are
encouraged to apply. Candidates must submit
samples of their work.
Nonfiction Workshop: Writing Science
Literature 2182
This is a course for science and humanities stu-
dents who share a fundamental belief in the
importance of science literacy. To laypersons,
contemporary science is often impenetrable.
They need clear, informative, and engaging
explanations of contemporary work in science,
particularly as these affect ethical and political
decisions at every level of society. Students write
about science in a number of formats: essays,
editorials, feature articles, and book reviews.
Students also address the problems that
inevitably arise when the search for voice con-
fronts subject matter that is hard to simplify or
explain. The course is limited to 15 students
who have each passed a lab and/or quantitative
science course at Bard.
Ancient Lyric: Translations and
Imitations
Literature 219 / Classics 219
See Classics 219 for a course description.
136 Languages and Literature
Queer Theory
Literature 2192 GSS
To engage in queer theory is to challenge the
conventional practices and assumptions of a
sexuality-blind discipline or practice and to
enlist a wide variety of languages and forms to
shed light on lesbian, gay, bisexual, and trans-
gender culture and history. If queer theory takes
its point of departure from the feminist studies
of the 70s and the 80s, it enlists the traditions of
activism, historical narrative, radical critiques of
gender, and changing attitudes toward intersex
individuals. Students refine their understanding
of sexuality and gender within todays culture.
Writers Workshop: Prose Fiction
Literature 221
This course consists of practice in imaginative
writing, along with readings of selected authors.
Students present their own work for group
response, analysis, and evaluation. Prerequisite:
permission of the instructor.
Writers Workshop: Poetry
Literature 222
Students present their work to the group for
analysis and response. Readings include con-
temporary poets and studies of the problematics
of poetics. This course is for students who have
completed at least one college-level writing work-
shop. A writing sample is required.
Workshop in Cultural Reportage
Literature 223
This course is for the self-motivated student
interested in actively developing journalistic
skills relating to cultural reportage, particularly
criticism. Stress is placed on regular practice in
writing reviews of plays, concerts, films, and tele-
vision. Work is submitted for group response and
evaluation. Readings draw from Agee, Connolly,
Orwell, Shaw, Sontag, Wilson, and contemporary
working critics.
Writing the World: Nonfiction Prose
Literature 2232
This is a course in two skills: students learn to
make excellent nonfiction prose and to see the
world around them. When it comes to the art of
nonfiction prose, the emphasis nearly always falls
on the personal. In this course, students turn their
gaze outward and write from direct experience.
Models are drawn from history and the broad cat-
egory of nonfiction writing that is often, and
absurdly, called current events. For students in
the course, the goal is to become compelling wit-
nesses and makers of acute prosebut the goal is
also art, not journalism. Students write four to
five pages every week.
Philosophical Pedagogy from Plato to
Humboldt
Literature 2233
This course offers students an in-depth survey of
the development of pedagogical thought, from
antiquity through the late Enlightenment. Ever
since Platos Republic, the problem of education
has been at the center of a host of philosophical
issues ranging from the nature and purpose of
human existence to questions concerning the
political organization of society. Through a rig-
orous, critical engagement with the classic
works of philosophical pedagogy, this course
focuses on the following four questions: (1)
What is the function of education in the devel-
opment of the individual and what are the
proper goals of the pedagogical process? (2)
What are the most effective methods for attain-
ing these goals? (3) What sort of knowledge is to
be imparted by education, and to whom? (4)
What is the function of education in the repro-
duction (or transformation) of existing social
relations? Readings include works by Plato,
Aristotle, Quintilian, Rousseau, Comenius,
Locke, Herder, Kant, Pestalozzi, and Humboldt.
Philosophies of Poetry from Plato
to Dada
Literature 2235
Like most Enlightenment and Romantic writers
on aesthetics, Kant and Hegel considered poetry
the highest of all arts. Plato, on the other hand,
was famously hostile to poetry. Poetry and phi-
losophy have often been at odds with one
another, and yet Ludwig Wittgenstein claimed
that philosophy ought only to be written as a
form of poetry. This course explores the place
of poetry in culture and in philosophy from clas-
sical Greece to the historical avant-garde.
Students examine the nature of poetry and poet-
ics, as well as literary criticism as it relates to
poetry. Readings include selections from

Aristotle, Plato, Longinus, Horace, Sidney,
Puttenham, Milton, Pope, Burke, Kant, Schiller,
Schlegel, Novalis, Hegel, Blake, Rimbaud,
Shelley, Mallarm, Dickinson, Lautramont,
Marinetti, Pound, Tzara, Loy, and Wittgenstein.
Students are required to write critical essays, but
there is also an opportunity to write manifestos
and poetic statements.
Life in the Medieval Church
Literature 2241 Medieval Studies
Throughout the Middle Ages, Christians inter-
preted and reinterpreted the accounts of the lives
of Jesus Christ, the apostles, and the martyrs of
the early church; strove to imitate these lives in
their own daily existence; and struggled to adapt
these early models of sanctity to a world radically
different in its social, economic, and cultural
organization. Should one remove oneself from
the corruption of the world or remain within it
and attempt to reform it? Should one study clas-
sical literature and philosophy, in the hope that
they will strengthen ones faith, or avoid these
fields, in the fear that they will weaken it? The
history of the church in the Middle Ages is
largely the history of changing answers to these
questions. Readings will be drawn from biblical,
patristic, Benedictine, Cistercian, Dominican,
Franciscan, and other sources.
Classics of American Drama
Literature 229 / Theater 229 American
Studies
This course traces the development of American
theater back to the immediate post-Revolutionary
era; explores 19th-century popular drama; and
examines the emergence, in the 20th century, of
fruitful tensions between American middle-
brow entertainment and the modernist avant-
garde. How, within an often commercial medium,
have playwrights crafted visions of American
life? Playwrights studied include Royall Tyler,
Dion Boucicault, Eugene ONeill, Lillian
Hellman, Arthur Miller, Tennessee Williams,
Edward Albee, August Wilson, and others.
Like Strangers in Our Own City:
Life and Literature in the Late Roman
Republic
Literature 230 / Classics 230
See Classics 230 for a course description.
Literature 137
Rewriting Conquest: Latin America
and the Anglo-American Imagination
Literature 2307 LAIS
Ever since its discovery in 1492, Latin America
has been (re)produced for European audiences as
literature, art, history, and science. The Spanish
conquistadors created dazzling prospects of
America that stoked the imagination and whet-
ted colonialist ambitions. With the crumbling of
the Iberian empires, the republics of Latin
America were thrown open to British and North
American entrepreneurs, scientists, and adven-
turers who struggled to define Anglo-imperialism
as different from its Iberian antecedents. In the
20th and 21st centuries, Latin America has
attracted such diverse chroniclers as Beat poets,
ecotourists, radical Marxists, and multinational
CEOs. In this course, students examine why
Latin America has been and remains such a pow-
erful object of artistic and political attention.
Readings include selections from Columbuss
Four Voyages, Dazs Conquest of New Spain,
Robertsons History of America, Prescotts History
of the Conquest of Mexico, and Todorovs Conquest
of America. The course includes the screening of
relevant films.
Modern American Drama
Literature 2308 Theater
This course introduces students to important
American plays from about 1914 to 1955 and
examines the relationship between modernism
and the theater, as well as the ways in which
European expressions of modernism influenced
American playwrights. Playwrights studied include
Djuna Barnes, Jane Bowles, e. e. cummings,
Langston Hughes, Zora Neale Hurston, Mina
Loy, Arthur Miller, Clifford Odets, Frank OHara,
Eugene ONeill, Gertrude Stein, Thornton
Wilder, and Tennessee Williams.
Florence
Literature 231 Italian Studies, Medieval
Studies
In 1527 Niccol Machiavelli wrote, as an aside
in a letter about a local political conflict, I love
my country more than my very soul. What was
it about Florence, Machiavellis country, that
brought him to value it more than his immortal
being? The course begins with Machiavellis his-
tory of Florence and the political treatises that
138 Languages and Literature
brought him such notoriety. Dantes ambiguous
writings about the land from which he was
exiled, Coluccio Salutatis vision of civic human-
ism, and Botticellis critique (in his paintings) of
his citys politics are considered, as are the major
intellectual movements that originated in
Florence and are reflected in the works of
Petrarch, Boccaccio, da Vinci, Vasari, and the
neo-Platonist Marsilio Ficino.
Louisiana
Literature 2312 French Studies
This course considers Louisiana not just as a
place but as an idea. What does Louisiana (and
New Orleans, in particular) mean in the
American imagination? How did the various
populations distinctive to this regionthe
Creoles, Cajuns, Americans, and free people of
color, among othershelp define this meaning?
The history of the region is one of traumatic
change, beginning with its sale to the United
States in the Louisiana Purchase and including
the Civil War, Reconstruction, Jim Crow,
cholera and yellow fever epidemics, the flood of
1927, the oil boom and bust, and Hurricane
Katrina. How has the idea of Louisiana (and
New Orleans) persisted through all of these
crises? Students read the first French accounts of
Louisiana, then turn to works by George
Washington Cable, Kate Chopin, William
Faulkner, Lafcadio Hearn, Zora Neale Hurston,
Louis Armstrong, Tennessee Williams, and
Walker Percy.
American Gothic
Literature 2331
This course examines ways in which American
authors have used the gothic genre to engage
with social, political, and cultural concerns. The
gothic novelthe stronghold of ghost stories,
family curses, and heroines in distressuses
melodrama and the macabre to disguise horrify-
ing psychological, sexual, and emotional issues.
In America the genre has often confronted top-
ics pertinent to national identity and history.
Readings include 19th- and 20th-century novels
and short stories by Nathaniel Hawthorne, Edgar
Allan Poe, Harriet Jacobs, Henry James, Louisa
May Alcott, Charlotte Perkins Gilman, Edith
Wharton, William Faulkner, Shirley Jackson,
and James Baldwin.
The Gothic Tradition in
Romantic Literature
Literature 2332 GSS
In the late 18th century, the gothic emerged
across Europe as a powerful discourse well-suited
to the tempestuous politics of the time. This
class explores the phenomenon of the gothic
revival in British literature, as well as its debts to
French and German literary traditions. Students
read central gothic novels, including Walpoles
The Castle of Otranto; Radcliffes A Sicilian
Romance; Lewiss The Monk; Dacres Zofloya, or
the Moor; Godwins Caleb Williams; Maturins
Melmoth the Wanderer; and Hoggs The Private
Memoirs and Confessions of a Justified Sinner.
Students also examine relevant poems by
Coleridge and Keats; plays by Shelley and
Inchbald; and French and German works with
which British texts were in dialogue, including
writings by de Sade, de Stal, Diderot, Goethe,
Hoffman, and Schiller. In addition, the class
explores the impact of the gothic across the dis-
ciplines (aesthetic theory, political commentary,
etc.). Central themes addressed in class discus-
sion include the constitution of gender, sublimity
and terror, transgression and taboo, sentiment
and sensibility, colonialism and orientalism, and
the relationship between high and popular cul-
ture during the romantic era.
Race and the American Novel
Literature 2372 Africana Studies,
American Studies
In her influential collection of critical lectures,
Playing in the Dark, Toni Morrison asks, How is
literary whiteness and literary blackness made,
and what is the consequence of that construc-
tion? How do embedded assumptions of racial
(not racist) language work in the literary enter-
prise that hopes and sometimes claims to be
humanistic? In a country where authors of
European descent are considered universal writ-
ers, while writers of African and other ancestries
are marginalized into ethnic ghettos, what has
been the effect on American literature? How was
this literary caste system formed, evaluated,
maintained? How have the categories of white-
ness and blackness shaped and defined
American literature? Using Morrison and other
critics as guides, the course begins its investiga-
tion with Edgar Allen Poes Narrative of Arthur

Gordon Pym of Nantucket, Herman Melvilles
Benito Cereno, Harriet Beecher Stowes Uncle
Toms Cabin, and Mark Twains Puddnhead
Wilson. On the other end of the ethnic divide,
students examine slave narratives (including
Frederick Douglasss Narrative), Africanist fic-
tion (such as Frank Webbs The Garies and Their
Friends), and the stories of Charles W. Chesnutt.
Students also read Willa Cathers Sapphira and
the Slave Girl, William Faulkners Light in August,
Ernest Hemingways To Have and Have Not,
Nella Larsens Quicksand, and Ralph Ellisons
Invisible Man.
Modern African Fiction
Literature 238 Africana Studies,
Human Rights, SRE
The second half of the 20th century saw the
emergence of modern African literature. Students
are introduced to this new writing through key
texts. Works written originally in French or
Arabic are read in their English translations.
Wherever appropriate, the course relates the lit-
erature to Africas past traditions as well as its
contemporary reality. Authors studied include
Cheikh Hamidou Kane, Alex La Guma, Nadine
Gordimer, Ferdinand Oyono, Amos Tutuola,
Nawal El Saadawi, Tsitsi Dangarembga, Tayeb
Salih.
Satire
Literature 240
This is a two-semester course, divisible. The first
semester deals with traditions of satire (humorous
social criticism) from ancient times through the
Renaissance and Enlightenment to the late 19th
century. Writers studied include Aristophanes,
Horace, Juvenal, Petronius, Machiavelli, Molire,
Voltaire, Swift, Pope, Wilde, and Beerbohm.
Students have the option of experimenting with
satiric forms in two of their three papers.
Chaucers Canterbury Tales
Literature 2401 Medieval Studies
Students examine the unities, contrasts, plea-
sures, and meanings of this rich collection. A
study of Chaucers language is conducted using
background reading (for example, Boethiuss
Consolation of Philosophy), but the course is pri-
marily an examination of a great poem.
Literature 139
Interrogating Feminism(s)
Literature 2403 GSS
During the 1960s and 1970s, a second wave of
feminism emerged, a movement with many
divergent voices and many ideals of feminism.
This course is concerned with how the many
women writers, poets, and artists fashioned new
ways of self-representation in an ever-changing
social and political scene. Students begin by
examining Simone de Beauvoirs The Second Sex.
It was this book that inspired feminists such as
Betty Friedan, Erica Jong, and Germaine Greer.
Students also read Audre Lorde, Doris Lessing,
Adrienne Rich, and other writers and poets.
Fantastic Journeys and the Modern
World
Literature 2404
The modern period has been characterized as a
time of unimaginable freedom, as well as existen-
tial angst, exile, and loss. It is a triumphant
embracing of the new, as well as a troubling
encounter with machines and the menace of
totalitarianism. It is a time when barriers of all
sorts began to crumblebarriers between past and
present, foreground and background, high and low
culture, beauty and ugliness, good and evil. This
class examines the response of writers from
America, Central and Eastern Europe, and Russia.
Each of these writers lived at an axis of modernity
and has something powerful to say about the
advent of the modern period. In their fantastic
parallel worlds, machines take on lives of their
own, grotesque transformations violate the laws of
science, and inversions of normality become the
norm. Through these conceptions, a vision of
modernity emerges that questions the most basic
presumptions of Western civilizationin art,
morality, politics, the psyche, and social life.
Readings include The Marvelous Land of Oz (L.
Frank Baum), The Metamorphosis (Kafka),
R.U.R. (Capek), War with the Newts (Capek), The
Street of Crocodiles (Schulz), Sanatorium under the
Sign of the Hourglass (Schulz), Envy (Olesha), and
The Bedbug (Mayakovsky).
African Women Writers
Literature 246 Africana Studies,
GSS, Human Rights, SRE
The dramatic emergence, midway through the
20th century, of modern African literature was
140 Languages and Literature
amplified, within a decade, by the distinct
voices of a remarkable band of women writers
whose work is now established as a significant
part of Africas revolutionary literature. Students
in this course study novels and short stories by
some of the leading women writers from the
1960s to the present. Readings are done in
English originals or translations from French
and Arabic. Among the writers considered are
Flora Nwapa, Marianna B, Tsitsi Dangarembga,
Alifa Rifaat, Bessie Head, and Ama Ata Aidoo.
Arthurian Romance
Literature 249 Medieval Studies
This course examines the variety of concerns,
meanings, and pleasures in medieval narratives
of King Arthur and his knights. Texts include
the Mabinogion, Geoffrey of Monmouths History
of the Kings of Britain, Layamons Brut, Chrtien
de Troyess Lancelot, Wolfram von Eschenbachs
Parzival, Gottfried von Strassburgs Tristan, the
vulgate Quest of the Holy Grail, Sir Gawain and
the Green Knight, Malorys Tale of the Death of
King Arthur, and Spensers Faerie Queene.
English Literature I, II, III
Literature 250, 251, 252
Major writers, genres, and issues in the history of
English literature are explored, from the
medieval period through the mid-20th century,
in a regularly offered sequence of three inde-
pendent but related units. In general, Literature
250 includes medieval and 16th-century poetry
and drama, with some attention to prose.
Writers include Shakespeare, Chaucer, the
Gawain poet, Sidney, More, Marlowe, and Ben
Jonson. Literature 251 includes poetry, fiction,
drama, and criticism of the 17th and 18th cen-
turies by Donne, Herbert, Marvell, Wroth,
Milton, Congreve, Fielding, Pope, and Swift.
Literature 252 concentrates primarily on the
novel and poetry in the 19th and 20th centuries,
with some attention to criticism and drama;
writers include Wordsworth, Coleridge, Eliot,
Dickens, the Bronts, Hardy, Arnold, Joyce,
Shaw, Lawrence, and Woolf. Any course in the
sequence may be taken independently, but all
students interested in English literature, espe-
cially those considering graduate studies, are
encouraged to take two or more parts.
Shakespeare
Literature 2501
Students engage in an intensive exploration of a
range of Shakespeares plays, including Twelfth
Night, A Midsummer Nights Dream, Much Ado
About Nothing, Measure for Measure, Macbeth,
Hamlet, Othello, and The Tempest. Although stu-
dents sometimes watch a Shakespeare film, or
work with a play as performers, this is primarily a
literature course. Topics discussed include con-
temporary issues, such as race and ethnicity, gen-
der, the body, and ethical conflicts.
Shakespearean Tragedy
Literature 2502 Theater
Students explore all of Shakespeares important
tragediestogether with readings from theatri-
cal history and criticismand watch films, or
work (as performers) with a play. The reading
list includes Romeo and Juliet, Julius Caesar,
Hamlet, Othello, Macbeth, King Lear, Antony and
Cleopatra, and Coriolanus.
Studies in Shakespeare
Literature 2503 Theater
An examination of selected plays in every genre
in which Shakespeare wrote: comedy, tragedy,
history, and romance. Discussion is grounded in
the close reading of actual texts. Plays studied
include A Midsummer Nights Dream, Troilus and
Cressida, Hamlet, King Lear, Henry IV (Parts I
and II), Richard III, The Winters Tale, and The
Tempest.
Shakespeares Comedies
Literature 2504
This course starts with readings of A Midsummer
Nights Dream, As You Like It, Twelfth Night, and
Much Ado About Nothing, the four essential, nor-
mative, Shakespearean comedies. Students then
examine the sometimes disturbing dramas (The
Merchant of Venice; Measure for Measure; The
Winters Tale; The Tempest; Henry IV, Part I ) in
order to consider the meanings and values of
comedy and the comic in Shakespeares work.

Literature of the United States
I, II, III, IV
Literature 257, 258, 259, 260 American
Studies, Victorian Studies
This regularly repeating sequence of four inde-
pendent but related units explores major authors
and issues in American literature, from its
Puritan origins to the 21st century. Literature
257 examines writings from the first three
generations of Puritan settlement in 17th-century
Massachusetts, in relation to each other and also
to later American texts bearing traces of
Puritan concerns. Authors include notable Puritan
divines, poets, historians and citizens, and later
writers such as Jonathan Edwards, Irving,
Emerson, Dickinson, Twain, and Robert Lowell.
Literature 258 includes Hawthorne, Melville,
Dickinson, and other writers of the American
Renaissance. Literature 259 studies works written
from the postCivil War period to the start of
the Depression, emphasizing the new and evolv-
ing spirit of realism, naturalism, and emergent
modernism. Authors include Henry James,
Twain, Dreiser, Wharton, Frost, Louise Bogan,
Dawn Powell, and Fitzgerald. Emerson began his
essay Experience by asking: Where do we find plays. Liam OFlaherty, Lennox Robinson,
ourselves? Literature 260 asks this question of
American literature in the wake of World War
II and September 11. Authors include Mailer,
Baldwin, Tennessee Williams, Ginsberg, Updike,
Roth, Carver, and Cisneros, among others.
Growing Up Victorian
Literature 261 Victorian Studies
Children in Victorian literature come in a vari-
ety of forms: urchins, prigs, bullies, and grinds.
They are demonstration models in numerous
educational and social projects intended to cre-
ate a braver future. Readings include nursery
rhymes, fairy and folk tales, didactic stories,
autobiography, and at least two novels: Hughess
Tom Browns Schooldays and Merediths The
Ordeal of Richard Feverel.
The 19th-Century Continental Novel
Literature 264
This course acquaints students with distin-
guished French, Russian, German, and Central
European authors. Works are analyzed for style,
themes, ideological commitment, and social and
political setting. The works offer an accurate
Literature 141
account of major artistic, philosophical, and
intellectual trends and developments on the
Continent during the 19th century. Reading
includes Dostoevskys Crime and Punishment,
Stendhals The Red and the Black, Tolstoys Anna
Karenina, Balzacs Cousin Bette, Knut Hamsuns
Hunger, and Thomas Manns Buddenbrooks.
Irish Fiction
Literature 2650 ICS
Irish stories, novels, and plays of the past 300
years have been divided between two traditions:
the Anglo-Irish tradition of writers who were
English by descent and the Catholic tradition of
modern Ireland. Readings include Swifts
Gullivers Travels, Edgeworths Castle Rackrent,
Wildes The Picture of Dorian Grey, Joyces
Dubliners, OBriens At Swim-Two-Birds, plays by
Synge and Yeats, and fiction by Bowen, Trevor,
OConnor, OFlaherty, and Doyle. Students also
read a brief history of Ireland.
The Irish Big House
Literature 2651
This course focuses on 20th-century fiction and
Molly Keane, Brendan Behan, and other
English and Irish writers have exploited the
ironic situation of the Anglo-Irish gentry living
in prestigious manors on large estates and wield-
ing social power amid a majority population
with alien codes and beliefs. By concentrating
on the symbol of the Big House, the class comes
to some understanding of the contrasting cere-
monies of life inside and outside the manor.
Autobiographical and historical selections doc-
ument the problemsdecadence, alienation,
violenceof the Big House under siege.
Women Writing the Caribbean
Literature 2670 Africana Studies, GSS,
SRE
The creolized culture of the Caribbean has
been a hotbed of womens writing from the 19th
to the 21st century. Claudia Mitchell-Kernan
describes creolization as nowhere purely African,
but. . . a mosaic of African, European, and
indigenous responses to a truly novel reality. This
course is concerned with how women, through
fiction, interpreted that reality. While confront-
ing the often explosive politics of postcolonial
142 Languages and Literature
island life and navigating the presence of
French, English, and African influence, women
saw their role as deeply conflicted. Students
begin by reading The History of Mary Prince, A
West Indian Slave, Related by Herself (1831) and
Wonderful Adventures of Mrs. Seacole in Many
Lands (1857). Other writers studied include
Martha Gellhorn, Jean Rhys, Phyllis Shand
Allfrey, Jamaica Kincaid, Michelle Cliff, and
Edwidge Danticat.
Rebels with(out) a Cause: Great
Works of German Literature
Literature 270
Students in this course survey representative
works of German literature from the 18th cen-
tury to the present. Readings include Goethes
The Sufferings of Young Werther (1774); Mother
Tongue (1990), a collection of stories by Emine
Sevgi zdamar, a Turkish-German woman writer;
and works by Schiller, Eichendorff, Heine,
Hauptmann, Wedekind, Rilke, Kafka, Mann,
Brecht, Drrenmatt, and Jelinek. The course is
conducted in English. Students with an advanced
proficiency in German are expected to read the
works in the original.
An Exalted Plainness: The Art of
Nonfiction Prose
Literature 2703
It is tempting to pretend that nonfiction prose is
simply a formalized version of the speaking voice.
But it has deep antecedents in literary history,
often more expansive in form, emotional con-
tent, and the power of the sentence than that
which exists today. This course cuts across
generic boundaries and historical periodsfrom
the essay outward and from Elizabethan England
forwardin search of useful literary examples of
nonfiction prose. This is a practical seminar,
intended to amplify and extend the imaginative
tools and the grammar a student already possesses.
The Irish Renaissance
Literature 272 ICS
The first few decades of the 20th century saw an
effort by the Abbey Theatres founders to nour-
ish a specifically Irish imagination. The revival
exploited three sources: the mythical Ireland of
Celtic legend; western Irelands poetry and story;
and a political history of invasion, oppression,
faction, and heroic gestures accompanied by a
mood of tragic failure. The course begins with a
brief history of Ireland, concentrating on the late
17th century and the battles of Boyne and
Aughrim, the abortive rising of 1798, and the
1890s spirit of nationalistic renewal. Next is a
consideration of the Abbey Theatre and its
reconstruction of legends and use of western
Irelands idioms and characters, chiefly in the
dramas of Yeats and Synge. These themes were
further developed in the literature associated
with the troubles of 191622 and in later writ-
ings that continue or challenge the themes of
the Renaissance. The list of authors studied
includes Sean OCasey, Liam OFlaherty, Frank
OConnor, Flann OBrien, and Brendan Behan.
Poetry and Athletics
Literature 275 / Classics 275
See Classics 275 for a course description.
The Holocaust and Literature
Literature 276 Human Rights,
Jewish Studies
This course is based on reading and discussing
short fiction and novels by such major writers as
Franz Kafka, Primo Levi, Tadeusz Borowski,
W. G. Sebald, Aleksandar Tisma, Danilo Kis.
Also included is work by two Nobel laureates for
literature, I. B. Singer and Imre Kertsz. The
Holocaust is considered in comparison with
other 20th-century genocides, such as those that
occurred in the Gulag, communist China,
Cambodia, and Rwanda. Students debate ques-
tions about the boundaries of art and the litera-
ture of extreme situations. Students also
examine post-Holocaust reality, the trivializa-
tion of tragedy in fashionable simplistic melo-
dramas of the current mass media culture, and
political-ideological manipulation (especially in
former socialist countries in Eastern Europe).
Chosen Voices: Major Jewish Authors
Literature 276B Jewish Studies
The course surveys the contribution of European
and North American Jewish writing to 20th-
century literature. Students examine questions of
Jewish identity, stereotypes, mythology, folk wis-
dom, humor, history, culture, relation to lan-

guage, and literary modernism. Authors studied
include Sholem Aleichem, Isaac Babel, Franz
Kafka, Bruno Schulz, Isaac Bashevis Singer,
Primo Levi, Bernard Malamud, and Grace Paley.
The Heroic Age
Literature 280 Medieval Studies
Major works of the early Middle Ages are
studied, with an emphasis on those written in
what are today France, Germany, England, and
Scandinavia. The course considers society-
shaping historical events, such as the Viking
invasions, rise of feudalism, and spread of
Christianity, and the literary works that devel-
oped in the context of these events. Emphasis is
on works now identified with the epic, such as
French chansons de geste and Norse sagas. Other
genres that set the epic in relief are also exam-
ined. Texts include Beowulf, The Song of Roland,
the Nibelungenlied, and the plays of Hrotswitha
of Gandersheim.
Different Voices, Different Views
Literature 2882
This course consists of a close reading of selected
plays, poems, and short stories by contemporary
authors from Africa, Egypt, India, and China.
The works are analyzed for their intrinsic liter-
ary merits and the verisimilitude with which
they portray the social conditions and political
problems in the respective countries. The class
examines the extent to which a variety of writ-
ers have drawn on native traditions or been
affected by extraneous artistic trends and by
belief systems such as Christianity, Islam,
Marxism, or democratic socialism. Authors
include Assia Djebar, Sembne Ousmane, Ngugi
wa Thiongo, Nawal Saadawi, Chinua Achebe,
Naguib Mahfouz, Tayeb Salih, Bessie Head,
Nadine Gordimer, R. K. Narayan, Mahasveta
Devi, and Salman Rushdie.
History of the English Language
Literature 290 Medieval Studies
Students are introduced to the facts about the
evolution of our language during the last 1,000
years or so and the ways in which linguistic
changes can be discovered, described, explained,
assessed, and grouped.
Literature 143
The Harlem Renaissance
Literature 3011 American Studies,
GSS, SRE
This course examines the rebirth of African
American artistic expression that took place in
the 1920s and 1930s. Students focus primarily
on the literature (poetry, prose fiction) and non-
fiction essays that responded to and influenced
the literature. Literary works are considered in
their sociocultural context and relationship to
the music and visual art of the period. The
course has two goals: to chronicle the birth of a
national consciousness that spawned the larger
New Negro Movement and to note the specific
role Harlem played in the artistic renaissance.
Authors studied include Langston Hughes, Jean
Toomer, Nella Larsen, Zora Neale Hurston, and
Sterling Brown. Students draw on the critical
voices of David Levering Lewis, Gloria Hull,
and Houston Baker, in order to explore the
meaning of race and gender during the period.
In Praise of Idleness: Literature and
the Art of Conversation
Literature 3013
The useful, Schiller wrote in The Aesthetic
Education of Man, is the great idol of our age. It
divorces leisure from labor and turns life into a
series of utilitarian dead ends. Conversely, the
impulse to play, to engage in gratuitous
moments of being or in seemingly evanescent
conversations, might be the only chance to con-
vert specialized knowledge into self-knowledge.
Yet conversation has often been condemned as
dangerous for its proximity to the decadent and
the idle. This course examines these issues on
rhetorical and thematic levels. Readings include
critiques of pure work (Aristotle, Schiller,
Marx, and Nietzsche); texts that expose the
vanity of conversation (Pascals Penses, Molires
Misanthrope); novels that explore the tensions
between work and conversation (Jamess The
Europeans, Updikes Rabbit Run); and texts that
offer aesthetic theories of conversation (Prousts
Swanns Way and Against Sainte-Beuve). Other
readings include Becketts Waiting for Godot;
Paul Lafargues In Praise of Idleness; and Laziness,
a recent French best seller by Corinne Maier.
144 Languages and Literature
An Appointment with Dr. Chekhov
Literature 3021 / Russian 3021
While studying to become a doctor at Moscow
University, Anton Pavlovich Chekhov began
writing in order to earn much-needed money.
As Chekhov later admitted, There is no doubt
that my study of medicine strongly affected my
work in literature. Moreover, he claimed that
the writer must be as objective as the chemist.
Students analyze how Dr. Chekhovs general
theory of objectivity had an impact on his writ-
ing and how his treatment of human nature
and social issues brought an entirely new dimen-
sion to Russian literature and culture. Readings
include Chekhovs prose, plays, and letters.
Attention is given to contemporary interpreta-
tions of his work, new biographical research,
and productions of his plays on stage and screen.
The course is conducted in English.
Promiscuity, Fidelty, and Love:
In Search of Don Juan
Literature 3022
What could be more natural than love? We
have all lived it, chased its pleasures, been
driven by its mandates, and suffered from its
pain. In this course, students trace the literary
construction of love and fidelity and the elabo-
rations of betrayal. Readings include works by
Tirso de Molina, Mozart/daPonte, Molire,
Casanova, Choderlos de Laclos, Byron, and Shaw.
Poetry and Society
Literature 3023 Human Rights
Poems are enactments of linguistic forms of life,
with identifiable values intimately connected to
specific cultural contexts. In undeniably trou-
bled times, poets tend to explore the political
implications of their forms. Historically, such
preoccupations have resulted in poetic move-
ments of various sorts. Many poets today think
of themselves as responsible to an enlarged
vision of the human community and to the nat-
ural environment, via documentary and collab-
orative forms as well as the idea of ecopoetics.
This course looks at examples of poetry, and
related writing, with sociopolitical implications
(some controversial) from around the world and
from several historical contexts. Writers studied
include Whitman, Garca Lorca, Akhmatova,
Wittgenstein, Pound, Tom Raworth, Juliana
Spahr, Abba Kovner, and others. This is a practice-
based seminar. Students have the opportunity
to experiment with poetic forms, write short
essays, and research areas of contemporary social
concern. The final assignment is a poetic project
accompanied by a detailed statement of the
principles that went into composing it. Pre-
requisite: permission of the instructor.
Hegels Legacies in 20th-Century
French Literature
Literature 3031 French Studies
It is difficult to overestimate the importance of
Hegels Phenomenology of Spirit in 20th-century
French thought, especially as it is understood
and interpreted by Alexandre Kojve in the
anthropological commentary he elaborated
between 1933 and 1939 (subsequently published
as the Introduction to the Reading of Hegel). Kojves
insistence on the master/slave dialectic and
emphasis on excess, risk, violence, and death had
a profound influence on an entire generation of
thinkers. Work in this course travels between
Hegels Phenomenology of Spirit and Kojves take
on it. Students follow the development of this
interminable explication with Hegel (Derrida)
through such Hegelian concepts as negativity,
consciousness, history, nonknowledge, desire,
work, and play. Students read from theoretical
essays, manifestos, and works of fiction by
Bataille, Blanchot, Breton, Caillois, Klossowski,
Leiris, Paulhan, Ponge, Queneau, and Sartre.
All works are read in translation. Students with
knowledge of French have the option of reading
texts in the original.
Empire, Sexuality, and the Making of
Romantic Travel
Literature 3032
This course begins with the study of 1768, the
year that Captain Cook set sail for Tahiti, New
Zealand, and Australia. The course ends with
the study of 1833, the year Britain moved to
ban colonial slavery. Between these two dates, a
major conceptual shift occurred in how Britons
looked at themselves and the world. Students
examine the complex relationship between the
traditions of literary travel, political journalism,
and imperial exploration during the era that saw
the rise of Britain as the worlds preeminent
imperial power. Texts include radical poet Helen

Maria Williamss eyewitness account of the
French Revolution, Lord Byrons Don Juan,
Wordsworths Prelude, Alexander von Humboldts
Personal Narrative of a Journey to the Equinoctial
Regions of the New Continent, Thomas De
Quinceys Confessions of an English Opium Eater,
Laurence Sternes A Sentimental Journey, and
Robert Southeys Curse of Kehama. Enrollment
is ordinarily limited to students with Upper
College standing; exceptions can be authorized
by the instructor.
Toward (a) Moral Fiction
Literature 3033 Human Rights
Each text in this course grapples with ethical
issues through fictive means. In navigating the
texts, students assess the way in which litera-
ture can create, complicate, or resolve ethical
dilemmasor eschew morality altogether. The
course also attends to craft, investigating how
authors concerns may be furthered by formal
considerations. Works studied include Mary
Shelleys Frankenstein, Heinrich von Kleists
Michael Kohlhaas, Graham Greenes The Heart
of the Matter, J. M. Coetzees Disgrace, Edie
Meidavs Crawl Space, Martin Amiss Times
Arrow, J. G. Ballards Crash, Elfriede Jelineks
Wonderful, Wonderful Times, Russell Bankss
Continental Drift, Norman Rushs Mating,
Cormac McCarthys Blood Meridian, Doris
Lessings The Fifth Child, Michael Tourniers The
Ogre, A. M. Homess The End of Alice, Michel
Houellebecqs The Elementary Particles, Don
DeLillos Ratners Star, Will Heinrichs The
Kings Evil, W. G. Sebalds The Emigrants, and
Nicholson Bakers Checkpoint. Prerequisite: per-
mission of the instructor.
Medieval Human Rights
Literature 3070 Human Rights,
Medieval Studies
Anyone who has encountered references to
Afghanistans Taliban as medieval knows that
the Middle Ages represent a time of religious
fanaticism, intellectual obscurantism, and ram-
pant violence. Is it fair to assume that medieval
society had no notion of human rights? To what
extent did medieval concepts such as the just
war, feudalism, or chivalry provide protections
similar to those enjoyed today? Can understand-
ing the medieval past help modern societies to
Literature 145
understand foreign cultures? In pursuing answers
to these questions, students read literary, histori-
cal, and theological medieval texts, in conjunc-
tion with modern theoretical texts. Topics
considered include crusades, anti-Semitism, tri-
als by ordeal, heresy, and witchcraft. The works
of Augustine and Aquinas, troubadour poets and
Christine de Pisan, King Arthur and Vlad the
Impaler are juxtaposed.
Other Traditions: Avant-Garde
Poetry and Poetics from the Romantic
to the Postmodern Era
Literature 3080
According to the Encyclopedia Britannica,
Romantic poetry emphasizes the individual, the
subjective, the irrational, the imaginative, the
spontaneous, and the transcendental. Or does
it? Since John Ashberys study Other Traditions,
scholars have come to recognize that Romantic
poetry is not only about what Wordsworth called
the spontaneous overflow of powerful feeling.
During the Romantic era, noncanonical authors
such as Thomas Beddoes, John Clare, Mary
Robinson, and many others were writing poetry
that challenged normative assumptions about
what a poem should be, topically, formally, and
expressively. In this course, students study the
other tradition of Romantic poetry, by reading
it in the context of current experimental
poetry and poetics, including such works as
Charles Bernsteins A Poetics, Lyn Hejinians
Happily, Barrett Wattens 1-10, and Jack Spicers
Vancouver lectures. Central questions organizing
the course are: What makes a poem avant-
garde or experimental? What are the connec-
tions between politics and poetics? What role do
readership and market forces play in canon for-
mation? What is the legacy of Romantic poetry
in contemporary postmodern literature?
Modern American Poets I
Literature 309
The first American modernists (Pound, Eliot,
and H. D.) were driven by cultural anxietythe
longing for a tradition they didnt haveto
invent a new kind of poetry. Others went in dif-
ferent directions: Gertrude Stein, by radically
severing her language from syntactical and nar-
rative meaning; Wallace Stevens, by writing
poems of linguistic event and philosophical
146 Languages and Literature
meditation; Marianne Moore, by depersonaliz-
ing the lyric subject in syllabic prose poems. Last
but not least, Robert Frost and William Carlos
Williamsone a traditionalist, the other a mod-
ernistfound new ways of speaking in a home-
made American voice. In this course, students
identify what is distinctive about each of these
poets, taking into account some of the traditions
from which their work derives (English roman-
ticism, French symbolism, Japanese haiku, etc.),
while also acknowledging the lasting influence
of Emersons call for intellectual independence
in American letters. Some attention is also
given to lesser voices, such as Robinson Jeffers,
John Crowe Ransom, and e. e. cummings.
Modern Tragedy
Literature 3104
All tragedies see the human condition as
doomed. In classical Greek tragedy, the protago-
nists fate is externalized as something beyond
human control; in more recent tragedy, fate is
more or less internalized as a flaw in the pro-
tagonists character. Todays protagonist is
increasingly seen as a victim of circumstance, a
scapegoat. Fate is sometimes externalized as his-
tory, war, or society and sometimes internalized;
in either case, the protagonist is so reduced in
stature that 20th-century tragedy is merely
ironic. The complex history of tragedy is viewed
in the light of major theories of Aristotle, Hegel,
Nietzsche, Kierkegaard, and others. Study includes
the disappearance and revival of the chorus, as
well as works by Marlowe, Shakespeare, Goethe,
Kleist, Buchner, Dostoevsky, Ibsen, Strindberg,
ONeill, Brecht, Sartre, and Miller.
Anglo-American Modernist Fiction:
Form, History, and Gender
Literature 311 GSS
As Virginia Woolf observed, The proper stuff
of fiction does not exist; everything is the
proper stuff of fiction, every feeling, every
thought; every quality of brain and spirit is
drawn upon; no perception comes amiss. This
course examines Anglo-American modernist
narrative as it was fashioned by writers who frac-
tured realist conventions of narration and
championed formal innovation in the represen-
tation of human consciousness. Students inves-
tigate the ways in which the modernist project
did, and did not, encompass an awareness of his-
tory, paying close attention to gender in partic-
ular and to revisions of what Wallace Stevens
referred to as the sexual myth. Works under
consideration include Jamess The Ambassadors
and The Golden Bowl, Conrads Heart of Darkness
and Nostromo, Forsters Howards End, Joyces A
Portrait of the Artist as a Young Man, Woolfs To
the Lighthouse and The Waves, selected short sto-
ries by Mansfield, Lawrences The Rainbow and
Women in Love, and Faulkners The Sound and the
Fury and Absalom, Absalom! Upper College
standing is assumed.
James Joyces Ulysses
Literature 3110 ICS
Participants in this seminar pool their ideas
about the novels text and context. Recent
Joyce criticism is emphasized. Prerequisite: prior
knowledge of Joyce and his early writings,
notably Dubliners and A Portrait of the Artist as a
Young Man.
Poethical Wagers
Literature 3113
The writing and reading of poetry has always
been an enactment of forms of life with identifi-
able values and consequences. In this seminar,
students look at poetries from the American
Civil War and turn-of-the-(19th)-century Europe,
20th-century world poetries of witness, and
work from the American 1960s and the post-
modern period in America and Europe. What
do these works reveal about poetics of courage
and commitment in the face of the most destruc-
tive habits of the human species? This is a
practice-based seminar. Students have the
opportunity to write numerous essays, research
an area of social concern that is of particular
interest to them, and engage in a poetic project
of their own.
William Blake and His World
Literature 3114
William Blake was one of the most remarkable
artists in the Western tradition: an exquisite
lyricist, composer of fantastically difficult philo-
sophical poems, recoverer of the tradition of illu-
minated manuscript, superb engraver, visionary

painter, technical innovator, political radical, sub-
ject of hallucinatory-mystical experiences, and
utter commercial failure. This course considers his
life and work as a whole, and as played out in rela-
tion to the Enlightenment, French Revolution,
Industrial Revolution, and rise of capitalism.
Nabokov: Puzzle, Pattern, Game
Literature 312 / Russian 312
As poet, master fiction writer, translator, chess
enthusiast, and lepidopterist, Vladimir Nabokov
made it his lifes work to recognize hidden pat-
terns and sleights of hand, and to play along in
his own art. In this course, which is structured as
a seminar, students approach a selection of
Nabokovs works as players and treasure seek-
ers, training their senses to discern what has
been so carefully and lovingly hidden. Students
also consider major interpretive strategies: life as
design, (auto)biography, memory and its role in
art, varieties of translation, aesthetic and ethical
implications of patterns and their manipulation,
and the usefulness of categories such as modern
and postmodern. Significant attention is given
to the Russian cultural and literary context that
underlies Nabokovs sense of design in both his
life and art. Students readin addition to poems,
short stories, and critical articlesThe Defense,
Invitation to a Beheading, The Gift, The Real Life
of Sebastian Knight, Pnin, and Pale Fire, as well as
Nabokovs autobiography, Speak, Memory. The
course is conducted in English.
The Literature of Private Life
Literature 3120 French Studies, GSS,
Human Rights
The representation of private life in the 19th-
century French novel coincided with the advent
of realism and culminated in naturalism. Novelists
started to describe the institutions and dramas
that shaped private life. Those dramas included
the plight of the child (Sands Franois le Champi),
torments of family life (Balzacs Eugnie Grandet),
ambiguities of marriage (Flauberts Madame
Bovary), despair of domesticity (de Maupassants
A Womans Life), nature of obsession (Zolas
Thrse Raquin), and the thematization of deca-
dence (Huysmanss Rebours). Using influential
writings on everyday life, students in this class
examine topics previously considered too private
Literature 147
or too personal to be viewed as literature.
Students uncover the techniques that helped dra-
matize these highly subjective conflicts and
explore issues of gender and sexuality. In order to
situate texts within a tradition that rethinks the
self, the class discusses works by Locke, Descartes,
Kant, Shaftesbury, Marx, Hegel, and Foucault.
Students read excerpts from the recent anthology
History of Private Life, an invaluable research tool
that helps connect literature, philosophy, social
history, and anthropology. The course is taught in
English. Students with knowledge of French read
the texts in the original.
Shelley and His Circle
Literature 3133
Percy Bysshe Shelley (17921822) was a radical
nonconformist in every aspect of his life. At the
age of 18, he was expelled from Oxford for dis-
tributing his pamphlet, The Necessity of
Atheism. Soon after, he published Queen Mab,
a long poem that identified institutionalized
religion as the root of all evil and prophesied the
emergence of a postmoral utopia. The following
year, Shelley (though already married) fell in
love and eloped with Mary Wollstonecraft
Godwin. The rest of Shelleys dramatically brief
life was spent mostly in Italy, almost entirely
without an audience. Under these unlikely cir-
cumstances, Shelley produced some of the most
stunningly crafted and ideologically complex lit-
erature ever written in English. In this seminar,
students read all of Shelleys major poetry and
prose. In order to situate these texts in their his-
torical and intellectual context, students also
read works by Mary Shelley, Lord Byron, and
Leigh Hunt, as well as Miltons Paradise Lost. In
addition, students explore British empirical phi-
losophy, Platonic idealism, the skeptical tradi-
tion of David Hume, and foundational and
cutting-edge works of Shelley scholarship.
Contemporary Masters
Literature 3191
Students receive the opportunity to meet two
masters of contemporary literature of Spanish
language: Mario Vargas Llosa, one of todays
greatest Latin-American writers, and Antonio
Muoz Molina, one of the foremost writers of
Spain. Known as a modern-day Renaissance
148 Languages and Literature
man (politician, playwright, and critic of art,
film, and literature) Peru native Vargas Llosa
produces rich and diverse work that is acute and
subtle, forceful, engaged and engaging. Molinas
prose is preoccupied with uncertain identities,
estrangement and migration in modern times,
and solitude and solidarity under tense social
and political conditions. Both writers debate,
with the class, the relationship between art and
cataclysmic history, literatures capacity to restore
moral value, and the literature of extreme
situations.
Dante
Literature 3205 / Italian 3205
Italian Studies, Medieval Studies
Hegel credited the Divine Comedy with invent-
ing the literary technique on which the novel
would come to rely: suspense. Yet suspense is
only one of myriad poetic innovations in
Dantes masterpiece. This course examines the
span of literary influences underlying those
innovations. Students also explore Dantes early
works (Vita Nuova, Convivio, Letters), reading
the texts against the general backdrop of medieval
Christian culture and exploring themes such as
human vs. divine knowledge; linear history vs.
circular time; revelation and faith; virtue and
sin (contrappasso); allegory and the responsibil-
ities of authorship; and the function and redefi-
nition of literary genres.
Evidence
Literature 3206 Human Rights
What does literature teach about evidence? Of
what can it be evidence? Evidence, etymologi-
cally, is what is seen, exposed, or obvious to the
eye. To that extent, evidence should help in mak-
ing decisions, forming conclusions, or reaching
judgments. Hence, its legal meanings. Students
in this seminar explore the theory and practice
of evidence, with special attention paid to mass
media, documentary material, testimonies, foren-
sic evidence, genocide, atrocity, terror, and
human rights violations. Students also read con-
temporary literary and political theory, in order
to examine basic and complex questions about
decision, bearing witness, and responsibility.
The course includes readings and screenings of
the works of Gilles Peress, Susan Sontag, Toni
Morrison, Jean-Luc Nancy, Cathy Caruth,
Shoshana Felman, Luc Boltanski, and others.
Responsibility and Cultural Memory
Literature 3207 Human Rights,
Integrated Arts
This seminar explores how personal narrative,
monuments, memorials, and photography pro-
duce and document the memory of trauma, at
once vividly present and inevitably dependent
on our ethical response for its existence. War,
torture, suffering, violence: the memory of
trauma is cultural memory, so that struggles over
testimony, memorials, and sites of suffering
articulate the haunting of the present by what is
not visible and not yet expressed about the past.
Students discuss some issues of human rights,
drawing on the discourses of politics, the media,
aesthetics, and psychoanalysis. Readings include
theoretical texts by Benjamin, Agamben,
Blanchot, Caruth, Felman, Alcava, Baer, and
LaCapra. Case studies include narratives by
Holocaust survivors, such as Szpilman and Levi,
and from survivors of the desaparecidos of Latin
America. The complexity of response to a vari-
ety of visually powerful materialphotographs
of Civil War battlegrounds, Holocaust sites, and
public monuments, for exampleis explored.
Upper College standing is assumed.
Faulkner: Race, Text, and Southern
History
Literature 3208 American Studies
Africana Studies, SRE
One of Americas greatest novelists, William
Faulkner was deeply rooted in the American
South. Unlike other writers of his generation,
who viewed America from distant shores,
Faulkner remained at home and explored his
own region. From this intensely intimate van-
tage point, he was able to portray the south and
all of its glory and shame. Within Faulkners nar-
ratives, slavery and its aftermath remain the dis-
aster at the heart of American history. In this
course, students read Faulkners major novels,
poetry, short stories, and film scripts. Students
also read biographical material and examine the
breadth of current Faulkner literary criticism.

Media and Conflict
Literature 3209 Human Rights
This seminar examines the role of representa-
tion and mediation in the experience of war and
conflict. Why does it matter how conflicts are
presented in literature, the arts, and mass media?
What sort of fight is the battle for public opin-
ion, and by what means is it waged? Students
explore the shifting line between violence and
politics, in order to construct (across a wide
range of theoretical texts and frontline accounts
and images) an analysis of the media in conflict.
Topics include: propaganda, censorship, photo
opportunities, compassion fatigue, digital video,
testimony, the mobilization of shame, Internet
jihad, and torture. Special attention is paid to
humanitarian responses to conflict and to ter-
rorism and counterterrorism. Students explore
the works of Michael Ignatieff, Rony Brauman,
David Rieff, Samuel Weber, Stanley Cohen, and
George Lakoff, among others, and examine
readings and footage from recent and contempo-
rary conflicts.
Modern French Plays: The Theater
of Contestation
Literature 3211 / French 3211
French Studies
This course consists of a study of plays, revolu-
tionary in their own right, which are mislead-
ingly referred to as the Theater of the Absurd
(or of Cruelty). Their authors bring to the
stagein unusual forms, images, and symbols
works that are simultaneously realistic in their
depiction of human motives and values, expres-
sionistic or surrealistic in their episodic struc-
ture, and explicit or implicit in their ideology.
The class reads Becketts Waiting for Godot and
Endgame; Ionescos Rhinoceros and The Bald
Soprano; Genets The Maids; Adamovs Professor
Taranne; and Arrabals The Architect and the
Emperor of Assyria. Students with an adequate
command of French are encouraged to read texts
in the original and discuss them (in French) dur-
ing a weekly tutorial, for two extra credits.
Investigative Poetics
Literature 3224
This seminar, designed to elicit a poetic
response to the complexity of life in todays
world, explores a range of forms, media, logics,
Literature 149
constraints, and experiences. Compositional
strategies are taught that entail an acute level of
observation of words and their consequences.
Investigative methods from a variety of fields are
studied, along with the works of an interna-
tional selection of contemporary poets. Projects
may involve visual and electronic media and
performance dimensions. Participants attend
poetry readings and other events. Prerequisites:
Upper College standing and a writing sample.
The 20th-Century Latin American
Novel
Literature 323 / Spanish 323
See Spanish 323 for a full course description.
Genus Italicum: Theory, Crisis, and
Form in Modern Italian Literature
Literature 3230 Italian Studies
What is unique about the Italian literary tradi-
tion? How has it influenced the development of
other languages and literatures? This course
examines modern Italian literature in light of
the aesthetic and historical developments that
shaped what has been called sapientia Italorum
(Italian wisdom). Texts include Foscolos Last
Letters of Jacopo Ortis, Manzonis The Betrothed,
Vergas The House by the Medlar Tree, Gramscis
theoretical writings, Ecos semiotics, and Calvinos
blend of science and fantasy. Students also
examine literary nationalism and the relation-
ship of Italian literature to cinema and opera. The
course is taught in English, but an option exists
for completing course work in Italian.
Odysseys from Homer to Joyce
Literature 324 / Classics 324
See Classics 324 for a full course description.
Ideology and Politics in Modern
Literature
Literature 328 Human Rights
This course examines how political ideas and
beliefs are dramatically realized in literature.
Works by Dostoevsky, Ibsen, Kafka, Mann,
Brecht, Sartre, Malraux, Gordimer, Kundera,
Neruda, and others are analyzed for ideological
content, depth of conception, method of pre-
sentation, and synthesis of politics and litera-
ture. The class also explores the borderline
between art and propaganda. Discussions are
150 Languages and Literature
supplemented with examples drawn from other
art forms.
Dramatic Difference: Russia and Its
Theater
Literature 330 / Russian 330
See Russian 330 for a full course description.
Writing as Reading as Writing
Literature 3303-3304
This course is a variant on a writing workshop.
Instead of writing poems and then reading and cri-
tiquing them in class, participants conflate and
combine reading and writing with the aim of
developing skills in both. The course focuses on
forms and processes, a vocabulary of making and
response, and the potential reciprocity between
them: imitation, instant replay, comments as
poems, poems as comments. The course is limited
to 15 students and is open by permission of the
instructor.
Scholasticism versus Humanism
Literature 3306 Human Rights
Medieval Studies, Theology
Throughout the Middle Ages, intellectual life
was dominated by scholastics, who sought to
integrate reason and faith, logic and revelation,
and classical philosophy and the Christian
Gospels. During the Renaissance, however,
intellectual discourse was taken over by human-
ists, who stressed empiricism over abstraction,
rhetoric over dialectic, and Plato over Aristotle.
Students in this seminar explore the tension
between scholastic and humanist thought, the
rise of the university, the shift from gothic to
Renaissance architecture, the discovery of the
New World, and the Protestant Reformation.
Authors studied include Augustine, Aquinas,
Dante, Petrarch, Boccaccio, Erasmus, Rabelais,
Montaigne, and Descartes.
Reading and Writing the Hudson:
Writing the Essay of Place
Literature 3308
This course examines readings about the Hudson
and explores the writing of essays in which land-
scape is the main character. Whether actively
engaged in the landscape or simply observing,
essays of place can alter how landscapes are read
or seen. In this workshop class, students make the
Hudson River and the Hudson Valley the focus
of creative essays that use factual information and
strong sensory detail to develop a personal story.
Each student is required to undertake research
into some aspect of the river. This research,
combined with personal experience of the valley,
is used to develop extended creative nonfiction
essays. Texts include: Robert Boyle, The Hudson
River: A Natural and Unnatural History; Tom
Lewis, The Hudson; and The Hudson: An Illustrated
Guide to the Living River by Stanne, Panetta, and
Forist. Students read essays from, among others,
Joseph Mitchell and John Burroughs. Fiction
from Cooper, Irving, and Wharton is also studied.
This course is open to all students interested in
creative nonfiction writing from a researched,
interdisciplinary perspective.
Translation Workshop
Literature 331
This workshop is designed to (1) introduce stu-
dents to major theories of translation, (2) provide
students with the tools to compare published
translations and analyze the different strategies
employed by the translators, and (3) create a
forum for students to work on a translation
project of their own design. The course moves
between theoretical, critical, and practical
approaches to the art of translation. Knowledge
of German and/or French and/or Spanish is
helpful but not required. However, all students
are expected to have proficiency in at least one
language besides English and to possess a strong
interest in exploring the nuances of language.
Readings include short theoretical texts by
Dryden, Schleiermacher, Schopenhauer, Goethe,
Nietzsche, Benjamin, Pound, Jakobson, Szondi,
Riffaterre, and Derrida. Theoretical texts not
written in English are read in translationwith
an eye to the original, wherever possible.
Middle Eastern Literature and
Post-Colonial Theory
Literature 3310 Middle Eastern Studies
This course focuses on recent developments in
cultural and literary theory, with particular
attention to the relationships between cultural
power, colonialism, and different forms of repre-
sentation. Surveying a wide range of issues and
literary texts, students explore the impact of
colonialism; examine the relationship between

empire and writing; consider forms of resistance
to the process of domination, and look at the
ways literary and artistic representations from
the Middle East have been crucial in unsettling
or undermining the ideologies at the core of
imperialism, colonialism, and oppression. Stu-
dents also consider works of fiction, autobiogra-
phy, paintings, and film in relation to Marxism,
feminism, poststructuralism, psychoanalysis, and
cultural materialism.
New Directions in Contemporary
Fiction
Literature 333
The diversity of voices, styles, and forms
employed by innovative contemporary prose fic-
tion writers is matched only by the range of cul-
tural and political issues chronicled in their
works. In this course, students closely examine
novels and collections of short fiction from the
last quarter century in order to begin to define
the state of the art for this historical period.
Particular emphasis is placed on analysis of work
by some of the more pioneering practitioners of
the form. Authors whose work is read include
Cormac McCarthy, Angela Carter, Thomas
Bernhard, Jeanette Winterson, Kazuo Ishiguro,
William Gaddis, Michael Ondaatje, Jamaica
Kincaid, and others. Several writers visit class to
discuss their books and read from recent work.
The Poetics of Modernity
Literature 3351
As modernity became conscious of itself, writers
and other artists took up the challenge of
describing and defending new forms. Charles
Baudelaire, one of the first writers to consider
the construction of modern life, began an essay,
A literature of decadence! . . . empty words we
often hear fall with a pompous yawn from the
lips of sphinxes without a riddle that guard the
holy portals of classical aesthetics. This course
looks at some of the writings that characterized
the new position of artists, writers, and poets,
in relation to the concept of the modern.
Readings include: Albert Camus, Surrealism
and Revolution; Jean-Paul Sartre, Baudelaire;
Kasimir Malevich, Suprematist Manifesto; T.
S. Eliot, Tradition and the Individual Talent
and Hamlet; Gertrude Stein, Composition as
Explanation and Portraits and Repetition;
Literature 151
Ezra Pound, ABC of Reading; Wallace Stevens,
Poetry and Painting and Notes toward a
Supreme Fiction; William Carlos Williams, In
the American Grain and Spring and All.
Students consider how these various figures
thought about the significance of art forms in
relation to events and locale, and how such for-
mal ideas as abstraction, fragmentation, and
estrangement contributed to the work of mod-
ernism. Students are required to write weekly
response papers and submit a term project.
Poetics of Modernity: Art & Politics
194575
Literature 3352
It could be argued that World War II set in play
the demise of certain aspects of modernism,
while simultaneously preparing the ground for
postmodernity, and that the social and political
upheavals of the late 1960s instantiated this
historical motion. This course explores the ways
in which a utopian desire to accommodate the
present and invent the future, by finding new
aesthetic forms, began to fray, as writers and
artists responded to challenges brought on by
postwar politics and the new media age. Such
instrumental dyads as private/public, authority/
identity, high/low, elite/experimental, and theory/
practice lead to imperatives, ruptures, and ini-
tiatives that interrogate the possibilities for art
in a turbulent time. Readings include poetry
and poetics; cultural, literary, and art criticism;
and prose fiction and narrative. Authors may
include Celan, Jabs, Auden, Oppen, Hughes,
Ginsberg, Riding, Rich, Burroughs, Mailer,
Baldwin, Beckett, Bowles, Nabokov, Borges,
Adorno, Arendt, Debord, Barthes, Deleuze,
Trilling, Greenberg, and Sontag.
Faulkner and Morrison
Literature 3354
This course consists of an intensive study of two
of the greatest American novelists of the 20th
century. In the first half of the course, students
read four Faulkner novelsThe Sound and the
Fury, As I Lay Dying, Light in August, and Absalom,
Absalom!together with some of his short fiction
and a range of essays, interviews, and critical
studies. In the second half, they read Morrisons
The Bluest Eye, Sula, The Song of Solomon, and
Beloved. Secondary materials include Playing in
152 Languages and Literature
the Dark, Morrisons monograph on American lit-
erature. Topics include race, violence, prophecy,
motherhood, ancestry, ecstasy, privacy, the effort
to speak the unspeakable, and the pleasures of
words. Preference is given to moderated literature
majors.
The Essay
Literature 3362
This course considers the essay form, as well as
its style, with a particular focus on voice, view-
point, and rhetorical technique. Intensive study
is devoted to word choice, cadence, and punctu-
ation, in the belief that even the most minute
aspects of writing affect the impact of the whole.
The goal is to equip students with a strong but
supple command of their instrument, a prerequi-
site for personal expression. Students are
required to complete weekly writing and reading
(from Macauley to Didion) assignments and to
participate in exercises and class discussions.
Biography and Autobiography
Literature 3363
Students read pertinent excerpts from critical
studies such as James Lowry Cliffords Biography
as an Art, Georges Gusdorfs Conditions and
Limits of Autobiography, and Margaretta Jollys
Encyclopedia of Life Writing. Students also read
excerpts from, for example, Ernest Renans The
Life of Jesus, Sigmund Freuds Leonardo da Vinci
and a Memory of His Childhood, Anas Nins
Diaries, Gertrude Steins The Autobiography of
Alice B. Toklas, Jean Cocteaus Opium, and
Diane Wood Middlebrookss Anne Sexton: A
Biography. Each week, students write a chapter
of an autobiography and discuss problems of
memory, choice, spontaneity, and the postmodern
skepticism about self and identity.
The Slave Narrative
Literature 3364 Africana Studies,
American Studies, SRE
Students gain an understanding of the peculiar
institution through the firsthand accounts of
former slaves and explore the role the slave nar-
rative has played in American letters. Students
start with The Interesting Narrative of the Life of
Olaudah Equiano and follow the evolution of the
slave narrative through the works of Harriet
Jacobs, Mary Prince, William Wells Brown,
Frederick Douglass, Josiah Henson, and Booker
T. Washington. In addition to reading these
famous accounts, students also explore lesser-
known voices, such as those recorded by the
Federal Writers Project.
European Literature and the Making
of Italy
Literature 340 / Italian 340
It is no stretch to say that Italy owes its exis-
tenceboth as an actual nation and imagined
community (in Benedict Andersons term)
to the enormous impact of its poets and writers
on the drive for political unification that
occurred in 1861, after centuries of fragmenta-
tion stretching back to the Caesars. This course
addresses such themes as the emergence of Italy
as the worlds university and mother of
European art in Byron, de Stal, Goethe, and
Wordsworth; the influence of Dante on
Romantic autobiography; and the representa-
tion of the Italian body politic as a woman.
Students explore the works of Ugo Foscolo,
Giacomo Leopardi, and Alessandro Manzoni
the leading authors of Romantic Italy. Particular
focus is placed on The Betrothed, Manzonis mon-
umental novel, which many believe is second in
importance only to Dantes Divine Comedy in
Italian literary history and comparable in scope
and impact to Tolstoys War and Peace and Scotts
Ivanhoe. The course is taught in English; students
have an option of doing course work in Italian.
Poetry and Politics in Ireland
Literature 3401 ICS
Nineteenth- and twentieth-century poets such
as James Mangan, Samuel Ferguson, W. B. Yeats,
and Austin Clarke recreated images of a Celtic
past that served the cause of Irish nationalism.
The class studies that poetry, as well as militant
songs and ballads from the late 18th century to
the present (some anonymous, some by promi-
nent patriots like Thomas Davis and Padraic
Pearse). Students examine problem poems (by
Yeats, Patrick Kavanagh, and Seamus Heaney)
that deal with contemporaneous events and
issues. Some attention is paid to diaries and
memoirs that illuminate specific moments in
Irish history from 1798 to the present.

Hawthorne, Melville, and Literary
Friendship
Literature 3410
During a mountain picnic in the summer
of 1850, Nathaniel Hawthorne and Herman
Melville struck up a private conversation. That
champagne-fueled talk issued into an intense,
maddening, and relatively brief friendship that
was mediated by writing, given expression in
writing, and is approachable only by way of writ-
ing. What was it like? After acquainting them-
selves with the shape of the two writers careers
before 1850, students in this course read every-
thing Hawthorne and Melville wrote between
the summer of 1850 and the fall of 1852, the
period of their intimacy. That means reading
The House of the Seven Gables, The Blithedale
Romance, Moby-Dick, Pierre, letters, journals,
marginalia, a childrens book, and a campaign
biography. Early in the semester, students visit
Melvilles house in Pittsfield, Massachusetts.
Preference is given to moderated juniors and
seniors.
Literature of the Double
Literature 342 Victorian Studies
Students in this course examine the concept
and consequences of liberating a second self.
The majority of readings are from the late 19th
century: Dostoevsky, Browning, Le Fanu, Wilde,
Stevenson, Stoker. Also considered are the ori-
gins of doubleness in folklore and romantic
storytelling; psychological commentary by
Robert Burton, Sigmund Freud, and Otto Rank;
and the use of the theme of the double in 20th-
century autobiographical fiction.
The Way We Live Now:
Social Criticism in the Victorian Novel
Literature 343 Victorian Studies
In 1890 Oscar Wilde wrote: The nineteenth-
century dislike of Realism is the rage of Caliban
seeing his own face in a glass. Yet, uncomfort-
able reflection was the desired end for many
midcentury novelists. In this seminar, students
examine four realist novels dedicated to forcing
upon the consciousness of Victorian middle-
class readers certain consequences of their naively
triumphal account of a uniquely British world
order. For each of the four writers studied, ethi-
cal engagement and satiric detachment pre-
Literature 153
sented often mutually exclusive strategies of rep-
resentation. Exemplary trials in uber-realism,
these total novels aspired to embody the social
organism as a whole. How did contemporary dis-
course on empire, the natural sciences, and
speculative finance, for example, inflect these
fictional accounts? From W. M. Thackerays
Vanity Fair and Charles Dickenss Our Mutual
Friend to George Eliots Middlemarch and Anthony
Trollopes The Way We Live Now, students con-
sider how attempts to anatomize and criticize
contemporary manners, morals, society, and
politics led directly to experimentation in the
form of sprawling multiplot narratives. Students
also examine how British cultural formation in
this period borrowed from the literary imagina-
tion of 19th-century novels.
Victorian Bodies
Literature 349 GSS, STS,
Victorian Studies
The term Victorian is synonymous with out-
moded decorum, prudishness, and inhibition.
Yet, as Foucault asserted, we other Victorians
remain profoundly influenced by notions of the
body and sexual difference established in the
19th century. This Upper College course exam-
ines Victorian texts in conjunction with theo-
ries of the construction of sexuality. Students
trace the origins of natural categories such as
male/female, child/adult, heterosexual/homo-
sexual, and normal/perverse. Readings include
Charlotte Bront, Thomas Hughes, Richard
Burton, Robert Baden-Powell, Oscar Wilde,
Robert Louis Stevenson, Bram Stoker, John
Ruskin, Rudyard Kipling, and Lewis Carroll.
19th-Century Continental Novels
Literature 3501 French Studies
This course acquaints students with representa-
tive examples of novels by distinguished French,
Russian, German, and Central European authors.
The authors works are analyzed for style, themes,
ideological commitment, and social and politi-
cal setting. Taken together, the works provide
an accurate account of the major artistic, philo-
sophical, intellectual, and political trends and
developments on the Continent during the
19th century. Readings include Dostoevskys
Crime and Punishment, Stendhals The Red and
the Black, Tolstoys War and Peace, Balzacs
154 Languages and Literature
Cousin Bette, and Fontanes Effi Briest. A tutorial
is offered to those students interested in reading
the French texts in the original language.
Students also view and evaluate some film ver-
sions of the novels.
Exile and Estrangement in
Modern Fiction
Literature 358 RES
Selected short fiction and novels by such writers
as Mann, Kafka, Nabokov, Camus, Singer,
Kundera, and Naipaul are read and discussed, with
an eye toward their literary value and the issue of
exileestrangement as a biographical fact and a
way of life. Topics of foreignness and identity (eth-
nic, political, sexual), rejection and loss, estrange-
ment and challenge, and protean mutability are
discussed in connection with social-historical sit-
uations and as major literary themes. Upper
College standing is assumed; preference is given to
language area and literature majors.
Unflinching Prose
Literature 366 / Classics 366
See Classics 366 for a full course description.
Charles Dickens
Literature 372 Victorian Studies
This course constitutes a study of change, growth,
and continuity in the works of a master novelist.
Recurring patterns of action, setting, character-
ization, and language in six books (Pickwick
Papers, Oliver Twist, David Copperfield, Great
Expectations, Little Dorrit, Our Mutual Friend) are
considered from a variety of perspectives: psy-
chological, biographical, historical, formalist.
Poetics of the Experimental Attitude:
Gertrude Stein and John Cage
Literature 3743 Integrated Arts
This course looks at work by the mom and pop
of modernist and postmodern experimental arts,
with an emphasis on their respective interarts
contexts and their relation to investigative
methods in the sciences. Both Stein and Cage
have remained controversial, continuously con-
temporary, and influential on all the arts. The
class also explores the artists collaborations and
conversations with other artists. Scientific
exemplars with relevance to the work of Stein
and Cage come from relativity theory, quantum
mechanics, chaos theory, and recent develop-
ments in information theory and neuroscience.
This is a practice-based seminar; students exper-
iment with forms and study texts and music
through performance. Prerequisite: permission of
the instructor.
Indian Fiction
Literature 3801 Asian Studies, SRE
Since 1980, when Salman Rushdies Midnights
Children was published, it has become increasingly
clear that Indian anglophone fiction rivals the
most brilliant work of other nations. This explo-
sion of talent has occurred over the past 50
years. Colonial rule had lasted more than 150
years, and to this day, as a consequence, the
most successful Indian novelists write in English.
Even before independence, the collision of East
and West inspired a number of English writers
most notably Rudyard Kipling and E. M. Forster.
Several Indian writers have reimagined that col-
lision from a modern postcolonial perspective.
The contradiction of writing about Indian life in
the language of the departed British Raj has cre-
ated a cultural hybridity that some of these nov-
elists turn to advantage. Students in this course
read works by Rushdie; R. K. Narayan, who writes
about village life; V. S. Naipaul, whose greatest
work has been about the Indian diaspora in
Trinidad and his own arrival in England; and
Anita Desai, who, in a recent novel, contrasts
Indian and American family life. Included
among the works of impressive younger writers
studied are Rohinton Mistrys A Fine Balance and
Arundhati Roys The God of Small Things, both of
which are concerned with the caste problem of
the untouchables. Students also read a selec-
tion of short stories.
Joyce and Beckett
Literature 382 ICS
This is a seminar on the art and ideas of two
of the 20th centurys most significant experi-
menters. The class uses biographical materials to
illuminate the association, and sometimes collab-
oration, of Joyce and Beckett. Readings include
Joyces Dubliners, Portrait of the Artist as a Young
Man, and Ulysses; Becketts More Pricks Than
Kicks, Murphy, and Watt, as well as the plays
Waiting for Godot, All That Fall, and Cascando.

Contemporary Critical Theory
Literature 390 Integrated Arts
During the last century, major changes in the
ways works of art and culture were conceived
took place under the influence of modernism
and poststructuralism. This seminar engages key
texts in this transformation. Through the read-
ing of full-length studies or significant excerpts
of major theorists, students are introduced to the
aesthetics and ethics of modernist and post-
modern debates about representation. Students
also explore the links between ethics, politics,
and language. Perspectives introduced include
semiotics, deconstruction, Lacanian analysis,
Foucauldian history, and postfeminist film the-
ory. Students are expected to work collabora-
tively as theorists, independently as writers, and
collectively as members of the seminar. A num-
ber of theorists are studied, including Walter
Benjamin, Roland Barthes, Michel Foucault,
Jacques Lacan, Jacques Derrida, Julia Kristeva,
Mary Ann Doane, Slavoj Zizek, and Judith
Butler. Admission is by interview prior to regis-
tration; Upper College standing is assumed.
The Mask and Its Metaphors
Literature 3902 Africana Studies
American modernisms push to make it new student writing. Students are expected to write
meant a break with the past and convention.
For many writers this was facilitated by use of an
other. Critic Michael North argues that
Gertrude Stein and Picasso each took on a
figurative change of race: Stein through an
African American voice, and Picasso through
African masks. This course examines how seeing
oneself through a mask affects modernist narra-
tives and how the mask subverts conventional
definitions of race and gender. Texts include
Steins Three Lives; Sinclair Lewiss Kingsblood
Royal; Richard Wrights Savage Holiday; Frantz
Fanons Black Skin, White Masks; Freuds Totem
and Taboo, and other works of literary theory
and criticism.
Exit Metaphysics, Enter Sauerkraut:
19th-Century German Literature
Literature 405 / German 405
See German 405 for a full course description.
Literature 155
Writing Workshop for Nonmajors
Literature 422
Every craft, science, skill, and discipline can be
articulated, and anyone who can do real work in
science or scholarship or art can learn to write
creativelyto make personal concerns inter-
esting to other people by means of language.
This workshop, for juniors and seniors who are
not writing majors but wish to learn about the
world through the act of writing, provides the
chance to experiment with all kinds of writing.
Narrative Strategies
Literature 425
With special emphasis on postgenre fabulism and
the New Gothic, this workshop is intended for
the writer interested in engaging the theory that
reading is a primary function of creating fiction.
Students explore, through selected readings and
responsive writing, the ways a literary narrative
best finds its expression, its voice. Students study
contemporary fiction by David Foster Wallace,
Jamaica Kincaid, Angela Carter, Rick Moody,
Russell Banks, John Crowley, Kelly Link, and
others. Class discussion focuses on the variety of
technical means by which the author develops a
story, and on intensive workshop discussion of
one critical essay about the style and technique
of the writers they are reading, two original
works of fiction patterned on texts in the course,
and a third story of independent work in
progress. Candidates must submit samples of
their work.
156 Languages and Literature
Writing Program in Fiction
and Poetry
At Bard, writing is dealt with as a process that,
at its best, engages the student in an ardent
investigation of the nature and varieties of art,
so that the students own work is understood in
the context of the arts of the present and past.
Reading widely and the careful study of litera-
ture and poetics are essential components of the
program.
The Writing Program is one of the three pro-
grams within the Division of Languages and
Literature. It provides the student an opportu-
nity to begin and continue the practice of cre-
ative writing. It offers a supportive environment
in which the works produced meet with
response in workshop and tutorial situations
from a staff composed of professional writers
who are also teachers. Respecting individual
uniqueness, the program proposes to liberate stu-
dents while insisting on the importance of doing
so in growing awareness of intellectual and
social concerns. Every writing student is
expected to investigate poetics and literary the-
ory, as well as to invest substantially in courses
in history, philosophy, and the arts.
Writing workshops are offered every semester at
several levels. Nonmajors as well as majors are
encouraged to apply. Entry to fiction and poetry
workshops is by submission of writing samples to
the teacher of the workshop in question. Other
workshops explore specialized varieties of writ-
ing, including translation, essay and nonfiction,
and cultural reportage. Entry to these workshops
is by consultation with the instructor. Deadlines
for application are announced each semester.
Study Plans
A student wishing to moderate in the Writing
Program should have taken, or be taking, at least
one workshop. Requirements are comparable to
those of the Division of Languages and Literature
and include at least two courses in British,
American, or comparative literature. Students
must also demonstrate (by completing the equiv-
alent of a one-year college-level course or by
translating a test passage on sight) reading
knowledge of a foreign language. The student
must submit an analytical paper to be written on
an assigned text. The student has the opportu-
nity to submit a portfolio of original writing in
one or several genres. All of these documents,
evidences of the students concerns, are discussed
during Moderation.
Students who propose to do a Senior Project in
writing are required to have demonstrated
strong academic performance. They must sub-
mit a substantial portfolio of recent work to a
board made up of two members of the writing
faculty, who determine whether the project
seems appropriate and help the student find the
appropriate adviser.
While workshops in fiction and poetry are avail-
able to students from their very first semesters,
students are urged to choose widely among
courses in fact and theory, science, and history,
rather than growing dependent on workshops.
The program maintains no list of required
courses, other than those required of all students
concentrating in Languages and Literature.
Instead, it makes available, to majors and non-
majors alike, workshops at the 100, 200, and 300
levels in prose fiction and in poetry and poetics
and at the 200 and 300 levels in translation, per-
sonal essay, creative nonfiction, and cultural
reportage. Not every workshop is given every
term; with a large and energetic writing faculty,
however, it is clear that every term offers a broad
array of options. Students are urged to seek out
members of the program for individual advice,
informal guidance, and general information about
procedures. First-year and transfer students should
be in touch with program faculty at the earliest
possible opportunity.
Core faculty: Mary Caponegro and Robert Kelly
(directors), John Ashbery, Celia Bland, Michael
Ives, Verlyn Klinkenborg, Ann Lauterbach, Chiori
Miyagawa, Bradford Morrow, Joan Retallack,
Susan Fox Rogers, Luc Sante, Peter Sourian
 Foreign Languages, Cultures, and Literatures 157
Additional Courses
Literature 223, Workshop in Cultural Reportage
Literature 331, Translation Workshop
Film 211-212, Screenwriting I
Theater 207, Playwriting I
Theater 208, Playwriting II
Foreign Languages,
Cultures, and Literatures
Foreign Languages, Cultures, and Literatures
comprises a number of programs based on the for-
eign languages currently taught at Bard: Arabic,
Chinese, French, German, Hebrew, Italian,
Japanese, Russian, Spanish, Ancient Greek, and
Latin. These programs offer students the opportu-
nity to acquire a critical appreciation of foreign
cultures and literatures. Integral to this process is
the mastery of a foreign language and the use of
this mastery in the study of written textsnot
only literature, but also texts from such fields as
philosophy, history, and theologyand of non-
verbal expressions of culture such as art history,
music, or cinema.
While each program has its own intellectual and
academic plan, all are connected by the study of
literature and other cultural expressions through
the medium of language. Students are free to
work with the languages and texts of more than
one culture; thus they can combine the plans of
more than one of the Foreign Languages,
Cultures, and Literatures programs in their
Moderation and Senior Project.
Also common to all Foreign Languages, Cultures,
and Literatures programs is a set of requirements
for Moderation that are formulated to allow
flexibility for the student while guaranteeing the
focus necessary for both Moderation and the
successful completion of the Senior Project.
Typically, Moderation requirements include:
(1) demonstrated linguistic competence in the
language of concentration, usually consisting of
three or more semesters of study; (2) compe-
tence in the literature (in the narrower sense of
this word) of the culture of concentration,
demonstrated by at least one course in this area,
preferably a survey course; and (3) competence
in the culture of concentration through success-
ful completion of at least one course in a related
area outside of literature, such as history, philoso-
phy, or music.
The nature of the enterprise provides the basis
for a Foreign Languages, Cultures, and Literatures
common course, offered once a year, in which
faculty from several language programs team-
teach a syllabus exploring common themes
through which linguistic and cultural differ-
ences can be introduced.
Within the interdisciplinary framework of Foreign
Languages, Cultures, and Literatures, a Senior
Project can be a purely literary project or any com-
bination of literary and nonliterary expressions
of a given culture. Thus students not only learn
at least one foreign language and engage in a
cross-cultural dialogue, but also expand their cog-
nitive and analytical abilities and apply them to
various discourses and disciplines. They acquire
a body of knowledge about the different ways
people think, view the world, express themselves,
and communicate with one another.
Accelerated Learning. Most foreign languages
offer, in addition to or in alternation with a reg-
ularly paced course, an intensive format that
allows students to complete the equivalent of
two years of language study within just a few
months. All intensive courses in the modern
languages include a one- or two-month summer
or winter program in a country of the target lan-
guage (current sites are Heidelberg, Florence,
Tours, Oaxaca, St. Petersburg, Kyoto, Fez, Haifa,
and Qingdao). Immersion coursesoffered in
German and Italianare an even more concen-
trated form of intensive study.
Intensive study of a foreign language creates a
highly effective and exciting environment for
those who wish to achieve a high degree of
proficiency in the shortest possible time. By pro-
gressing at a rapid pace, students gain a sense of
accomplishment and maintain their enthusiasm
and motivation to develop further fluency. Study
in a foreign country as part of the acquisition
158 Languages and Literature
process is not only an invaluable incentive; it
provides the learner with an enriching cross-
cultural experience.
After studying abroad, students demonstrate
an impressive increase in linguistic capacity,
including an awareness of nuances in intonation
and rhythm and of differences in usage. They
have also gained cultural knowledge through
face-to-face encounters with architecture, music,
literature, theater, politics, history, customs, and
traditions. Exposure to different schools of thought
enhances students ability to think systematically
and to delineate their own point of view.
Furthermore, exposure to different manifesta-
tions of cultural activity alerts them to the inter-
relatedness of diverse disciplines and so helps
fulfill the purpose of liberal arts education.
Diversified Use. The skill-based curriculum is
designed to provide sophisticated advanced for-
eign language education to students from all fields
so that they become literate in a language other
than English. While a broad range of literature
courses emphasizes the central role of literature in
foreign language study, cross-disciplinary tutorials
taught side by side with virtually any course out-
side the field of literature pay heed to students
nonliterary interests and ambitions. For exam-
ple, a philosophy major with third-year compe-
tence in German who is taking a course on
19th-century continental philosophy can read
and discuss Nietzsches The Birth of Tragedy in
both English (in the philosophy course) and
German (in a concurrent tutorial).
Interaction between translated and original
texts and interplay between different kinds of
cognition and imagination engender in-depth
understanding and enhance interdisciplinary
awareness and critical thinking, sensitivity to
the uses and abuses of language, and alertness to
the intricate interrelation of language, thought,
emotion, and imagination.
Capstone Course
In this advanced seminar for seniors in Foreign
Languages, Cultures, and Literatures, a foreign
guest author addresses recent trends in the liter-
ature of his or her language(s), with emphasis on
issues of particular importance to young authors
writing today. The purpose is to expose students
to a living literature in the process of evolving,
presented to them by a writer whose own work
is part of this evolution. At the conclusion of
the course, each student has the choice of
presenting a polished work of translation, a
piece of original writing (in English or another
language), or an essay on one or more works
read during the semester. These texts are col-
lected in the annual Capstone Journal. This semi-
nar is conducted in English.
Bard maintains a state-of-the art Center for
Foreign Languages and Cultures. For further
details, see the Campus Facilities section of this
catalogue.
Core faculty: Michiko Baribeau, Florian Becker,
Hezi Brosh (director, Arabic and Hebrew), Nina
Cannizzaro (director, Italian), Gabriela Carrin,
Nicole Caso, Odile S. Chilton, Jennifer Day,
Carolyn Dewald, Emmanuel Dongala, Franz R.
Kempf (director, German), Marina Kostalevsky
(director, Russian), Stephanie Kufner, Joseph
Luzzi, William Mullen, Melanie Nicholson
(director, Spanish), James Romm (director, Greek
and Latin), Benjamin Stevens, Eric Trudel,
Marina van Zuylen (director, French), Youssef
Yacoubi (director, Arabic), Li-Hua Ying (direc-
tor, Chinese)
Word and Nationality: Tolerance in
Post-Soviet Literature
FLCL 405 RES
After the USSR was dissolved, it became clear
that Russians still had many features of the
homo sovieticus that had been formed from
the 1930s through the 1970s. Among other
things, despite the official ideology of interna-
tionalism and propaganda of friendship among
peoples, the Soviet and post-Soviet Russian
still exhibited xenophobia and anti-Semitism.
On the other hand, after the fall of communist
ideology, Russians became better acquainted
with religion, the philosophy of humanism, and
the history of their own country. In this seminar,
students analyze several approaches to the topic
of self and other in contemporary Russian
literature. Writers studied include Fasil Iskander,
Svetlana Alexievich, Vladimir Sorokin, Vladimir
Makanin, Asar Eppel, Viacheslav Pietsukh, Yuri
 Foreign Languages, Cultures, and Literatures 159
Buida, Anastasia Gosteva, Marina Paley, Liudmila
Petrushevskaya, Nina Gorlanova, Anatoly
Gavrilov, and Maria Rybakova. Students have
the opportunity to present and discuss examples
of their own creative writing. The course is con-
ducted in English. (A section in Russian is
offered to fluent speakers.)
Arabic
The following courses are cross-listed with the
Middle Eastern Studies Program.
Beginning Arabic
Arabic 101-102
This introduction to Modern Standard Arabic
(MSA) as it is used in Arab countries today pre-
sents Arabic script and pronunciation and essen-
tials of basic Arabic structures, syntax, and
vocabulary, reinforced by reading graded texts.
Differences between MSA and educated spoken
Arabic are highlighted, as are significant aspects
of Arab culture. This course is open to students
with no previous knowledge of Arabic and to
others on consultation with the instructor.
Intensive Arabic
Arabic 106
In addition to serving as an introduction to
Modern Standard Arabic (MSA), this course
reinforces language skills by using graded texts
to expand students active and passive lexicon
and grammatical abilities. Significant aspects of
Arab culture are highlighted, as are differences
between MSA and the spoken Arabic of the
more educated. Students work in the language
laboratory and watch movies and TV programs.
Additional two-hour sessions with the Arabic
tutor provide conversational practice.
Intermediate Arabic
Arabic 201-202
This course focuses on developing a significant
level of linguistic and communicative compe-
tence. The four basic language skillsreading,
speaking, listening, and writingare dealt with
simultaneously. Selected texts from Arabic media
are read to expand active and passive lexicon
and grammatical structures. Prerequisites: Arabic
101 or at least one year of Modern Standard
Arabic and approval of the instructor.
20th-Century Egypt: From
Colonialism to Socialism
Arabic 205
This course focuses on the Egyptian novelist and
short story writer Naguib Mahfouz, who received
the Nobel Prize in literature in 1988. Hailed as
both clear-sightedly realistic and evocatively
ambiguous, his works introduce students not
only to the richness and complexity of modern
Egyptian society and culture but to the Arab
world in general and the conflicts that mark the
intersection between East and West. Readings
include Mahfouzs Miramar and his epic master-
work, the so-called Cairo Trilogy (Palace Walk,
Palace of Desire, and Sugar Street). Course mate-
rial includes cinematic adaptations of selected
works. The course is taught in English.
Advanced Arabic
Arabic 301-302
This course continues to focus on the students
development of the four skills of speaking, lis-
tening, reading, and writing Modern Standard
Arabic. To increase the range and accuracy of
oral and written expression and aural compre-
hension, the course includes more complex
grammatical structures and expansion of vocab-
ulary through extended readings using audio and
video materials. Classes are conducted entirely
in Arabic (except for grammatical explanations,
when needed).
Advanced Arabic III
Arabic 410
This course is designed for students who have
studied at least two years of basic Arabic and
who want to expand their reading and speaking
and enrich their understanding of Arab culture.
Materials include Al Kitaab Fii Talum Al Arabiah
(Part 3) and texts selected from newspapers,
journals, and fictional works.
Arabic Literature
Arabic 420
Students in this course achieve an advanced
level in listening, speaking, writing, and reading
skills. Readings explore short stories, film,
poetry, and critical essays in Arabic. Important
160 Languages and Literature
writers and intellectuals are read in the original,
including Yusuf Idris, Jabra Ibrahim Jabra, Fuad
al-Takarli, Nawal El Saadawi, and Nasr Abu
Zaid. Students write short compositions and pr-
cis, give oral presentations on a chosen topic,
and participate in and lead class discussions.
Chinese
The following courses are cross-listed with the
Asian Studies Program.
Beginning Chinese
Chinese 101-102
Modern (Mandarin) Chinese is introduced
through intensive drilling in oral and written
forms. Emphasis is placed on speaking, basic
grammar, and the formation of characters. Audio
and video materials are part of the curriculum.
This course is followed by an intensive course (8
hours per week) in the spring semester and a
summer intensive program (6 weeks) in Qingdao,
China. Active daily participation and a weekly
tutorial are required. This course is for students
with little or no previous knowledge of Chinese.
Intensive Beginning Chinese
Chinese 106-107
This course is for students who have completed
Chinese 101 and those who have had the equiv-
alent of one semesters beginning Chinese at
Bard or another institution. The focus on the
languages oral and written aspects continues.
Regular work in the language lab and private
drill sessions with the Chinese tutor are required.
This course is followed by a summer immersion
program in China. (Financial aid is available for
qualified students.)
Exile in Chinese Literature
Chinese 200
The subject of exile features prominently in
both ancient and modern Chinese literature.
This course examines poems, memoirs, and fic-
tion written about or by people forced into exile
under conditions of political persecution or per-
sonal disgrace, or who chose self-imposed exile
to gain greater freedom or spiritual enlighten-
ment. Though emphasis is on contemporary
China, premodern texts are studied to facilitate
discussions on how the theme continues or
changes throughout Chinese history. Issues con-
sidered are the influences of Confucianism,
Taoism, and Buddhism; the iconoclastic move-
ments of modern China; and Chinese identity
in a transnational era. Authors include poet-
statesmen Qu Yuan and Su Shi and contempo-
rary writers such as Yang Jiang, Bei Dao, Zhang
Chengzhi, Zheng Yi, and Gao Xingjian. Readings
are in English.
Taoist Thought and Religion
Chinese 200B Religion
This course provides an introductory overview
of major trends and traditions in the history of
Taoist thought and culture. The course exam-
ines Taoist philosophical discourse, religious
movements, and techniques of meditation,
longevity, and immortality through the major
texts of the classical tradition (Lao Tzu, Chuang
Tzu, Lieh Tzu, and others). Topics of study
include the traditions founding, rituals, festi-
vals, immortals and deities, sects, and scriptures,
as well as some of the ways in which elements of
the Taoist worldview have been carried over into
government, literature, the arts, and medicine.
Although students learn the meanings, pronun-
ciations, and calligraphy of approximately 25
Chinese characters, the course is conducted in
English.
Intermediate Chinese I, II
Chinese 201-202
This course is for students who have taken one
and a half years of basic Chinese and want to
expand their reading and speaking capacity and
enrich their cultural experiences. The course
uses audio and video materials, emphasizes com-
municative activities and language games, and
stresses both receptive and productive skills. In
addition to the central language textbook, texts
are selected from newspapers, journals, and fic-
tional works. The course is conducted in Chinese.
Classical Chinese Fiction
Chinese 204
As an introduction to the outlines of Chinese
literature from its beginnings to the 19th cen-
tury, this course provides insights into the
humanistic Chinese tradition. Students explore
masterpieces of prose and poetry, in roughly
 Foreign Languages, Cultures, and Literatures 161
chronological order. Readings include lyrical
works, Taoist-inspired supernatural tales, adven-
turous and sensual Ming and Qing novels, vivid
historical writings, essays, and philosophical
pieces. Students leave the course with a sense of
the richness of traditional Chinese literature.
The course is conducted in English.
Writing across the Strait:
20th-Century Literature from
China and Taiwan
Chinese 220
The year 1949 marked the beginning of two
Chinasthe Republic of China, headed by the
Nationalists in Taiwan, and the Peoples Republic
of China, governed by the Communists.
Politically and territorially divided from one
another, each claimed to be the legitimate gov-
ernment of China and developed its own cul-
tural and literary trends. On the mainland,
creative activities were restricted to a narrowly
defined mode of socialist realism. Across the
strait, an environment of relative political sta-
bility, economic modernization, close ties with
the West, and a resilient traditional culture fos-
tered shifting intellectual trends and contending
ideological views, which resulted in a much-
admired literary output. The mainlands eco-
nomic reform, in the late 1970s, resulted in rapid
socioeconomic advancement that brought about
a more tolerant atmosphere conducive to artis-
tic and literary creativity. The two sides of the
Taiwan Strait are culturally intertwined, but
politics increasingly divides them. What are the
affinities and differences, as reflected in the lit-
erature? Students look at modern Chinese liter-
ature, focusing on textual analysis as well as
historical and cultural contexts. Writers studied
include Bai Xianyong, Can Xue, Gao Xingjian,
Han Shaogong, Li Ang, Zhu Tianwen, and others.
This course is conducted in English.
Advanced Chinese I, II
Chinese 301-302
These courses are for students who have taken at
least two years of basic Chinese at Bard or else-
where and who want to expand their reading and
speaking capacity and enrich their cultural
experiences. Texts are selected from newspapers,
journals, and fiction.
Chinese Calligraphy: Gate to East
Asian Art
Chinese 315
This course introduces the East Asian art of
calligraphyshufa in Chinese and shodo in
Japanese. Long regarded as the highest form of
art in East Asia, calligraphy lends itself to paint-
ing and poetry. Together they form the three
perfections in the literati tradition. Students
examine the aesthetic principles that connect
the three aesthetic forms. Considerable time is
devoted to discussing the philosophical traditions
of Taoism, Zen Buddhism, and Confucianism.
The course emphasizes learning the techniques
of writing with the brush and developing indi-
vidual styles. Students write one term paper and
complete daily calligraphy projects.
Archaeology and Ancient Chinese Art
Chinese 316 Anthropology, Art History,
Classical Studies
This course focuses on how archaeological finds
of the past century in Chinaincluding mau-
soleums; wall paintings; mortuary objects in
bronze, pottery, and jade; and architecture
have transformed our understanding of ancient
Chinese art. Students explore court and literati
art forms, as well as evidence for daily life and
cultural practices, including signs of contact
with other civilizations. Particular attention is
paid to the period from the Neolithic to the
Han. Through the study of archaeological sites,
such as Anyang, the First Emperors Tomb, the
Mawangdui Tombs, and Sanxingdui, this course
investigates how ritual art objects were made
and used. Also considered is the development of
systematic ideas about afterlife, ancestor wor-
ship, state rites, shamanist rituals, and immortal-
ity cults. The art and material culture examined
help form an understanding of the circum-
stances under which systems of thought, such as
Confucianism and Taoism, were established.
Writings develop a critical approach to the
interpretation of archaeological remains and to
contemporary uses (and misuses) of the past.
Prerequisite: previous course work in Chinese
studies, archaeology, art history, anthropology,
or classical studies. The course is conducted in
English.
162 Languages and Literature
Chinese Translation
Chinese 340
This workshop is intended for students who have
had at least three years of Chinese and who read
and write Chinese at the advanced level. Through
practice, students are encouraged to think about
the nature and limits of translation as a way to
facilitate cross-cultural communication. While
focusing on the techniques and crafts of transla-
tion, students also look at translation theories,
both Western and Chinese, and examine well-
known translation works by comparing the tar-
get texts and source texts. Students adopt various
translation approaches. Texts are selected pri-
marily from, but are not limited to, literary gen-
res and can be translated from Chinese to
English, or vice versa.
Reflections of China in Literature
and Film
Chinese 403
With the primary goal of enhancing the speaking,
listening, reading, and writing skills of the third-
and fourth-year Chinese language student, this
course closely examines films from China, Taiwan,
and Hong Kong, exploring through lectures and
discussion such topics as the origins of traditional
Chinese cinema, nationalism and revolution,
social realism, the visual representation of con-
temporary and recreated historical themes vis--
vis portrayals in literary and historical sources, the
search for roots in the post-Mao era, nativist film
and literature, the Fifth Generation and experi-
mental fiction, Hong Kong popular culture in the
commercial age, feminism and sexuality, and rep-
resentations of exile, diaspora, and the new immi-
grants. The course is conducted in Chinese.
Classics
The Rise and Fall of Ancient Rome
Classics 103
This course is a survey of ancient Rome, from its
eighth-century B.C.E. rise out of prehistoric
Italic precursors to its fall in the fifth century
A.D. at the hands of barbarians, bureaucrats, and
others. The goals of the class are to: (1) become
familiar with the traditional narrative of Roman
history, including political and military events;
(2) consider social, cultural, and intellectual
aspects of life in ancient Rome (e.g., gender and
sexuality, food and drink, and literature); and
thus (3) explore what it means to do Roman
history. Readings include a modern narrative of
Roman history, several ancient narratives and
monographs, and modern scholarly works.
The Athenian Century
Classics 157 / History 157
In the fifth century B.C.E., Athens dramatically
developed from a small, relatively unimportant
city-state into a dominant power in the Aegean
basin. Athenian political, artistic, literary, and
intellectual traditions continue to reverberate
through the world today. Democracy, tragedy
and comedy, rhetoric, philosophy, and history
itself, as well as the classical style of sculpture
and architecture, stem from this remarkable cul-
ture. The course confronts some of the ambigu-
ities and tensions (slavery, exclusion of women
and noncitizens from political power) as well as
the glories of Athenian art, literature, and his-
tory during this period. Students read selections
from the histories of Herodotus and Thucydides;
many of the tragedies of Aeschylus, Sophocles
and Euripides; the comedies of Aristophanes;
and one or two dialogues of Plato.
Survey of Linguistics
Classics 201 / Literature 201
This course is a survey of linguistics, the formal
study of language. Students learn how linguistics
analyzes language into various parts; acquire
methods and techniques appropriate to the
study of those parts, their patterns, and their
interconnections; and explore the disciplines
conceptual bases, its history, and some compet-
ing or alternative approaches to language study:
What is language? and Has linguistics got it
right? Topics include: phonetics and phonology
(the study of sound patterns in language), mor-
phology (word formation and grammaticaliza-
tion), syntax (the arrangement of elements into
meaningful utterance), sociolinguistics (the
covariation of language with social and cultural
factors), and comparative and historical linguis-
tics (linguistic patterns across space and time).
Students also survey key trends, moments, and
 Foreign Languages, Cultures, and Literatures 163
thinkers in the history of linguistic thought,
both Western and non-Western. Prerequisite:
completed or concurrent course work in a for-
eign language, or consent of instructor.
The Classical Tradition in Western
Architecture
Classics 213 / Art History 213 Classical
Studies
See Art History 213 for a course description.
Ancient Law and Human Rights
Classics 216 / Literature 216 Classical
Studies, Human Rights
The course focuses on nascent concepts of
human rights in several ancient cultures:
Greece, Rome, Israel, and China. Though none
of these cultures had a formal law or doctrine of
human rights, it is nevertheless worthwhile ask-
ing to what extent fundamental modern notions
(such as the right of the individual to speak
freely and not be subjected to torture, rape,
or collective punishment) exist in the juris-
prudence, customs, philosophy, and literature
(including historiography) of these cultures.
Such an inquiry illuminates the roots of some
modern ideas about human rights, as well as the
nature of many of the barriers that remain to
implementing them.
Ancient Lyric: Translations and
Imitations
Classics 219 / Literature 219
Students in this course study the great lyric
poetry of Sappho, Pindar, Catullus, and Horace
through centuries of translations and imitations
by British and American writers. Students look
at metrical and linguistic maps of the original
works, compare translations of a few key poems,
and study the many kinds of imitation they gen-
erated. Students with foreign language skills, in
Greek and Latin, or in Italian, French, Spanish,
German, Russian, or any other languages into
which these poets have been translated, are
encouraged to bring their knowledge to bear on
the texts.
Gender and Sexuality in the
Ancient World
Classics 2191 / History 2191 Classical
Studies, GSS
See History 2191 for a course description.
Comedy and Its Problems
Classics 223
In the ancient Greek and Roman world, comedy
was one vehicle for exploring the fantasies, ten-
sions, and dangers of communal life. Students
read the comedies of Aristophanes, Menander,
Plautus, and Terence and explore the evolution
of ancient comedy as a genre. Students also
examine issues of class, gender, and politics (as
focused through the lens of comedy) and con-
sider some of the theoretical aspects of humor
itselfwhat makes these comedies funny today?
Like Strangers in Our Own City:
Life and Literature in the Late Roman
Republic
Classics 230 / Literature 230
The last generations of the Roman Republic
experienced widespread social change resulting
from dispossessions and the loss of traditional
lifeways in Italy, sanctioned exploitation abroad,
and increasingly intense and varied cultural
contacts throughout an expanding empire.
Roman authors of the period responded to these
consequences of conquest by fashioning Latin
literary languages in diverse genres. This combi-
nation of ongoing change and linguistic experi-
mentation brought problems of its own. What is
the relationship between language and lived
experience? What uses of language, and who
among its users, are able to bring about change
in politics, the economy, society, or culture? If
linguistic acts are classified as official, informal,
threatening, dangerous, or obscene, may speech
be free? Who may speak and who must listen?
Topics covered include Latin literary history;
late Roman Republican politics, society, and
culture; and linguistic and cultural pluralism,
purity, and policy. Readings, all in English, are
drawn from Caesar, Cicero, Catullus, Lucretius,
and Sallust, as well as from modern historiogra-
phy and literary criticism.
164 Languages and Literature
Rhetoric and Public Speaking
Classics 250
This is a course in the theory and practice of
public speaking, with equal emphasis on both
aspects. Students are required to give speeches
in various genres, from presentation of informa-
tion before small groups, to formal addresses rec-
ommending courses of action to deliberative
assemblies. Videos of the speeches given will be
used in the critiquing process. Students also
study the texts of actual orations and of theoret-
ical treatises on the nature of rhetoric, by Greek,
Roman, English, and American authors and ora-
tors such as Demosthenes, Aristotle, Cicero,
Churchill, and Martin Luther King. The
emphasis is on the spoken word. Time is spent
examining tapes and videos of important
speeches of the last century. One section of the
class constitutes a virtual campus course that
meets, through videoconferencing, with students
at Smolny College in St. Petersburg, Russia. In
the course of giving speeches for each other,
Smolny and Bard students reflect on differences
in the public speaking traditions of Russia and
the Anglophone world.
Confucius and Socrates
Classics 260 Asian Studies, Philosophy
Confucius (551469 B.C.E.) and Socrates
(470399 B.C.E.) stand at the head of the
Chinese and Greek philosophical traditions,
particularly in the realm of ethical and political
inquiry. The accounts left of their activity, and
the schools of thought that rose around them
during their lives and in the first centuries after
their deaths, give evidence of two passionately
striving historical figures. However, there
remains a problemthe words attributed to great lyric poet of the West; (2) case studies of
either figure cannot be verified with certainty,
and differences grew among the subsequent
thinkers and schools that pursued their work.
Readings include the complete Analects of
Confucius, selections from Mencius and Xunzi,
dialogues by Plato and Xenophon, and key pas-
sages in Aristotle and the Cynics. Students read
sets of texts concurrently and ask comparative
questions. What differences can be seen in the
accounts given of the virtues each thinker put
forward as most essential to fulfilling ones
humanity? Why is neither philosopher an advo-
cate of democracy?
India and Greece
Classics 272 / Religion 272
In this course, team-taught by specialists in
ancient Greek and ancient Indic culture, stu-
dents explore the comparative method as applied
to the histories and mythologies of two complex
civilizations. Students begin with the perennial
question of shared Indo-European origins and
what, if anything, can be posited as history.
Turning to rich and foundational cosmogonic
and catastrophic myths operative in texts such
as Hesiods Theogony, Ovids Metamorphoses,
and the Indic Vedas and Puranas, students con-
sider cosmological structures of time and space,
and varying possible relations between males
and females (mortal and immortal). Students
continue to pursue these themes as they exist in
the Odyssey and the Ramayana. In a more inten-
sive mode that reflects the special scholarship of
each professor, students explore the interaction
of ritual and sacred places in selected texts, prin-
cipally the odes of Pindar and the edicts of
Asoka. The course ends by revisiting historical
questions, examining evidence of direct contact
between the two civilizations, and investigating
how the two civilizations represented each other
as barbarian.
Poetry and Athletics
Classics 275 / Literature 275
Meanings found in athletics have stirred medi-
tations by poets in many cultures and genres.
This course addresses the strange intersections
of the physical, the social, and the sacred recog-
nized in sports. It allots equal time to three sets
of readings: (1) victory odes for the ancient
Greek games, principally those of Pindar, the
the wedding of poetry to athletics in other cul-
tures around the world, as in songs for Hawaiian
royal surfing festivals and tales of the foun-
dational ball game in the Mayan Popol Vuh;
(3) an anthology of sports poetry in 19th- and
20th-century Europe and America. Readings
also include scholarship by sports historians. All
readings are in English.
Major Conference: Creating History
Classics 300 / History 300
The word history comes from the first sentence of
Herodotus, the Greek historian of the fifth cen-
 Foreign Languages, Cultures, and Literatures 165
tury B.C.E. To Herodotus, however, history meant
not the intellectual discipline recognized today,
but investigation, or eyewitness examina-
tion. This course looks at how history as a field
of inquiry came about and the way that the first
two great Greek historians, Herodotus and
Thucydides, shaped its identity. Students read
Herodotuss History of the Persian Wars and
Thucydides History of the Peloponnesian War, less
for their informational content about what hap-
pened and more for evidence regarding how the
two historians thought about such things as data
(when is it trustworthy?), narrative structure
(does it inevitably distort data?), depiction of
character (what role does the individual have in
shaping events?), and the usefulness of the disci-
pline that they invented (does it tell a true
story?). Students use postmodern controversies
about what history is, and the degree to which it
can be trusted or is useful, as the frame through
which to examine the accomplishments of
Herodotus and Thucydides. Is history merely
another form of narrative fiction or does it have
a data-driven integrity that separates it from
other kinds of creative narrative? This is an
Upper College seminar for moderated students.
Odysseys from Homer to Joyce
Classics 324 / Literature 324
This course explores the nature and cultural uses
of the figure of the wandering hero, from its first
major treatment in Homers Odyssey to its adap-
tation in the 20th century by both Nikos
Kazantzakis and James Joyce. Particular atten-
tion is paid to the moral ambiguities that seem to
inhere in the Wests representation of this proto-
typical wanderer and to the aesthetic and generic
usefulness of representing such a figure. Readings
include: Homer, The Odyssey; Virgil, Aeneid;
Sophocles, Ajax and Philoctetes; Euripides,
Hecuba; Dante, Inferno; Shakespeare, Troilus and
Cressida; Fnelon, Tlmaque; selections from the
poetry of Tennyson, Cavafy, Louise Gluck, and
others; Joyce, Ulysses; Kazantzakis, The Odyssey:
A Modern Sequel; and Walcott, Omeros. There
are also readings in secondary literature.
Tacitus and Gibbon: History as
Literature
Classics 333
On hearing that his granddaughter was reading
Tacitus, Thomas Jefferson wrote to her: Tacitus I
consider as the first writer in the world without a
single exception. His book is a compound of his-
tory and morality of which we have no other
example. The translation of Tacitus into English
by Trenchard and Gordon, with prefatory essays
enlisting him for the Whig cause, contributed sig-
nificantly to the ideology of the American
Revolution. The same year that Jefferson penned
the Declaration of Independence, Gibbon pub-
lished the first volume of his Decline and Fall of the
Roman Empire, often praised for being the great-
est historical work of modern times and for con-
taining the finest English prose of the 18th
century. Students consider extensive selections
from Tacitus and Gibbon (in the case of Tacitus,
comparing translations on some key passages)
from both a historical and stylistic point of view.
As an Upper College seminar, this course requires
moderated status in classics, history, or literature,
or permission of the instructor.
Cosmology and Ethics in the
Axial Age
Classics 350
In 1949 the German philosopher Karl Jaspers
fashioned the phrase the Axial Age to describe
the spiritual process that occurred between 800
and 200 B.C. across Eurasia, with a common axis
in the period around 500 B.C. Since at least the
mid-1800s, scholars have wondered whether it is
more than coincidence that in those centuries
Confucius and the hundred schools appeared
in China, the Upanishads and the Buddha in
India, Zoroaster in Persia, the principal prophets
in Israel, and the philosophers in Greece. Jaspers
claims that in this age were born the fundamen-
tal categories within which we still think today,
and the beginning of the world religions by
which human beings still live. This course crit-
ically explores the interrelation of cosmology
and ethics in the Axial Age. Readings from the
five cultures at issue (Greek, Hebrew, Persian,
Indian, Chinese) include major texts of the prin-
cipal thinkers, as well as samples of earlier texts
that were being reinterpreted or challenged.
Students also examine what parts of the ethical
166 Languages and Literature
legacy of these thinkers are still influential today,
after 2,500 years of constantly changing cos-
mological thinking. A Smolny virtual course,
taught, via videoconference, with a similar sem-
inar at Bards affiliated Smolny College in St.
Petersburg, Russia.
Unflinching Prose
Classics 366 / Literature 366
This course explores qualities common to some
of the greatest nonfiction writers in a range of
Western cultures: Thucydides in Greece, Tacitus
in Rome, Machiavelli in Italy, Voltaire in France,
Gibbon in England, the authors of the Federalist
Papers in America (Hamilton, Madison, Jay),
Nietzsche in Germany. All of these authors have
high ideals and find humanity for the most part
notably wanting in its abilities to attain them.
They evince admirable candor and courage in
the way they lay bare the crimes and follies of
the human species, without lapsing into cyni-
cism. Students read, often in more than one
translation, principal passages of each author,
with an eye both to historical context and the
workings of the prose itself. Though the entire
course is taught in English, preference is given
to students capable of reading one or more of
these authors in the original Greek, Latin,
Italian, French, or German. Students write pas-
tiches of each author, as well as analytical essays
about them. Toward the end of the course,
students are asked to write some unflinching
prose of their own.
Greek
The following courses are cross-listed with the
Classical Studies Program. Tutorials in advanced
Greek can be arranged.
Basic Greek I, II
Greek 101-102
Ancient Greek is the language of the epics of
Homer; the tragedies of Aeschylus, Sophocles,
and Euripides; the comedies of Aristophanes;
the philosophy of Plato and Aristotle; and the
histories of Herodotus and Thucydides. In this
two-part course, Greek grammar and fundamen-
tal vocabulary are introduced, with attention
given to pronunciation and recitation of poetry
and prose. Reading includes significant passages
from Homer and the Christian New Testament
in Greek. Students with high school Greek are
welcome and should see the instructor about
placement.
Intermediate Greek: Early Classical
Literature
Greek 201
This course is a survey of the literature of the
late archaic and early classical periods, focusing
on the prose of Herodotus and the poetry of
Aeschylus. It also functions as a review of gram-
mar and syntax learned in the first year.
Intermediate Greek II
Greek 202
Students in this course continue to gain mastery
in reading Greek prose and poetry. The semester
begins with the reading of Herodotus, paying
careful attention to the periodic style. In the
second half of the semester, the focus is on the
Odyssey and the prosody of Homeric poetry.
Students consolidate their knowledge of issues
of vocabulary and syntax throughout, with regu-
lar review of grammatical forms and close exam-
ination of the formal aspects of translation.
Advanced Greek
Greek 301
The goals of this course are to: (1) solidify
knowledge of vocabulary, morphology, and syn-
tax; (2) gain greater fluency in reading prose;
and (3) acquire advanced approaches to the lan-
guage and its literatures. Students explore
dialects other than Attic, sample poetic meters
and genres, and read literary criticism. Third-
semester students begin working with Liddells
and Scotts lexicon; fifth-semester students are
required to use the lexicon and are responsible
for additional work. Prerequisite: successful com-
pletion of either Greek 102 or Greek 202, or
permission of the instructor.
Homer and Plato
Greek 302
Students in this course begin by reading Platos
Ion, learning from it the technical terms by
which educated Greeks of Platos time under-
 Foreign Languages, Cultures, and Literatures 167
stood the processes and occasions of the recita-
tion of traditional Homeric epics. Students then
read selected passages from the two Homeric epics.
Latin
The following courses are cross-listed with the
Classical Studies Program.
Beginning Latin
Latin 101-102
These courses form a yearlong introduction to
Latin. Students gain familiarity with morphology,
syntax, and essential vocabulary; achieve suffi-
cient fluency for selected readings in ancient
and medieval texts; and explore the literary, cul-
tural, and historical contexts in which the lan-
guage is embedded.
Intermediate Latin I
Latin 201
Students in this course concentrate on the
Roman historian Livy. Paricular attention is
paid to consolidating grammatical understand-
ing, expanding vocabulary, and learning to
appreciate the metrical and syntactical elegance
of Latin. Students also consider the historical
and literary contexts of the late republic and
early empire, including the issue of Livys famous
Patavinitas and clarissimus candor. The class is
open to all students who have completed Latin
102 or its equivalent.
Intermediate Latin II: Seneca and Nero
Latin 202
This course examines, through readings in Latin
and English, the complex and tortured relation-
ship between emperor Nero and his chief
adviser, the philosopher Seneca. How did a
morally enlightened man like Seneca reconcile
himself to the cruelties and abuses of Neros
regime? Senecas own works are the main focus,
but short readings from Tacitus, Petronius, and
Suetonius are also examined. Students conclude
by reading large portions of Octavia, a Roman
historical drama in which Seneca and Nero are
central characters. Translation from these texts
gives students opportunities to sharpen reading
skills and to review all aspects of Latin grammar
and syntax.
Advanced LatinLucretiuss
De rerum natura
Latin 301
Lucretiuss De rerum natura is one of the fullest
surviving accounts of Epicurean philosophy and,
equally, a work of astonishing artistic achieve-
ment. In approaching this difficult and reward-
ing poem, students gain greater fluency in
reading Latin (especially Latin poetry) and con-
sider, from a variety of critical perspectives,
issues raised by the poems form and content.
Topics considered include Lucretiuss language
and style; the poems structure, imagery, and
themes; Epicurean and other ancient philoso-
phies (including the Lucretian question of
how and why write a poem about a philosophy
opposed to poetry?); prehistory, anthropology,
and evolution; and Lucretiuss impact on Roman
and other poetries and the role played by his
manuscript tradition in the development of tex-
tual criticism. Students read substantial sections
of the poem in Latin, the entire poem in
English, and modern scholarly works.
Advanced LatinThe Classical
Tradition: Satire
Latin 302
Students trace the evolution of Latin prose and
prosimetric satire from Neronian Rome (Seneca
and Petronius) through the Renaissance. Readings
are drawn from authors such as the emperor
Julian, Alberti, Sir Thomas More, and Erasmus.
French
The following courses are cross-listed with the
French Studies Program.
Basic Intensive French
French 106
This course is for students with little or no expe-
rience of French who wish to acquire a strong
grasp of the language and culture in the shortest
time possible. Students complete the equivalent
of three semesters of college-level French in a
semester course that meets 10 hours a week and
168 Languages and Literature
is followed by a four-week stay at the Institut de
Touraine (in Tours, France), where students
continue intensive study of French while living
with local families.
Intermediate French I, II, III
French 201-202-203
This course, designed as an introduction to con-
temporary French civilization and culture, is for
students who have completed three to five years
of high school French or who have already
acquired a solid knowledge of elementary gram-
mar. Students reinforce their skills in grammar,
composition, and spoken proficiency, through
the use of short texts, newspaper and magazine
articles, and video.
French through Translation
French 215
This course helps students fine-tune their com-
mand of French and develop a good sense of the
most appropriate ways of communicating ideas
and facts in French. The course emphasizes
translation as an exercise, as well as a craft in its
own right, and addresses grammatical, lexical,
and stylistic issues. Translation is practiced from
English into French (and vice versa) with a vari-
ety of texts from different genres (literary and
journalistic). Toward the end of the semester,
students may embark on independent projects.
French through Film
French 220
Students in this intermediate course explore
major themes of French culture and civilization
through the study of individual films ranging
from the silent era to the present and covering a
wide variety of genres. Students also examine
the interaction between the French and their
cinema, in terms of historical circumstances,
aesthetic ambitions, and self-representation.
Genealogy of French Morals
French 223 Human Rights
If we act morally, French moralists believed, it is
because we know we are being watched. If we
believe in fidelity, it is because we are afraid of
being betrayed. If we weep at our friends funeral,
it is because we are afraid nobody will weep at
our own. Like the onion, we are all skin and no
core. The cynicism of 17th-century moralistes
would permeate much of French literature and
philosophy. Course readings include excerpts
from Pascal (Penses), Molire (Misanthrope), La
Fontaine (Fables), Laclos (Liaisons dangereuses),
Rousseau (Vicaire savoyard), Proust (Un Amour
de Swann), Gide (LImmoraliste), Balzac (Pre
Goriot), Cline (Mort crdit), de Beauvoir
(Mmoires dune jeune fille bien range), and
Sarraute (LUsage de la parole). This course,
intended for students who wish to improve their
writing and oral skills while being introduced to
French literary studies, is conducted in French.
Survey of French Literature
(17501990): The Quest for
Authenticity
French 240
Serving as an overview of modern French litera-
ture, this class focuses on short texts (poems,
plays, essays, letters, short stories) that reflect
the fragile relationship between selfhood and
authenticity. From Rousseaus ambitious program
of autobiography to Sartres belief that we are
inveterate embellishers when it comes to telling
our own story, French literature has staged the
classic tension between art, artifice, and authen-
ticity. This has not only inaugurated an intensely
individual and unstable relationship to the
notion of truth, but has implicated the reader in
this destabilizing process. Students in this class
explore how the quest for authenticity has led to
radical reevaluations of literary style. The course
includes readings from Rousseau, Stendhal,
Flaubert, Baudelaire, Rimbaud, Proust, Gide,
Sartre, Duras, Sarraute, and Ernaux. The course
is taught in French. Prerequisites: two years of col-
lege French (successful completion of intermedi-
ate courses) or permission of instructor.
Autrement dit: Paroles de Femme
French 252 GSS
An introduction to the diversity of French
womens voices in literature and cinema in the
20th century. Readings include works by Colette,
Simone de Beauvoir, Maryse Cond, Marguerite
Duras, Annie Ernaux, Anne Hbert, Catherine
Millet, Amlie Nothomb, and Nathalie Sarraute.
Movies by Chantal Ackerman, Catherine Breillat,
Claire Denis, Marguerite Duras, and Agns Varda
are shown and discussed. The course is conducted
in French. Four years of French are required.
 Foreign Languages, Cultures, and Literatures 169
Advanced Composition and
Conversation
French 270
This course focuses on a wide and diverse selec-
tion of writings (short works of fiction, poems,
philosophical essays, political analysis, newspaper
editorials, magazine articles, etc.) loosely orga-
nized around a single theme. The readings pro-
vide a rich ground for cultural investigation,
intellectual exchange, in-class debates, in-depth
examination of stylistics, and, of course, vocabu-
lary acquisition. Students are encouraged to write
on a regular basis and are expected to participate
fully in class discussion and debates. A general
review of grammar is also conducted throughout
the course.
Readings: Contemporary French
Thought
French 305
This course introduces the major schools of 20th-
century French thought through a selection of
texts that have had particular significance for phi-
losophy, psychoanalysis, linguistics, literary the-
ory, and sociology. Close reading focuses on
Saussure, Barthes, Breton, Lacan, Merleau-Ponty,
Derrida, Deleuze, Lyotard, and Bourdieu. Students
less proficient in French may work on excerpts of
larger works such as Derridas Grammatologie,
Deleuzes Anti-Oedipe, or Lacans crits. Advanced See Literature 3211 for a full course description.
students may concentrate on authors of their
choice. The course is conducted in French. Pre-
requisite: French 202 or the equivalent.
The 20th-Century French Novel as a
Vehicle for Ideas and Experimentation
French 314
Because of the flexibility of its form, the novel is
a privileged mirror of social and literary changes.
Sartre wrote that any literary technique reflects
metaphysical concerns. The course examines
novels by Proust, Mauriac, Gide, Sartre, Camus,
Duras, and Robbe-Grillet and explains how
these writers articulate pressing ideologies and
develop innovative forms. Active student par-
ticipation (through class discussion and oral pre-
sentations) is expected. Conducted in French.
Marcel Prousts la recherche du
temps perdu
French 316
Marcel Prousts la recherche du temps perdu is
about an elaborate internal journey, at the end of
which the narrator discovers the unifying pattern
of his life both as a writer and human being.
Famed for its style and distinctive view of love,
sex and cruelty, reading, language, and memory,
Prousts epic broke new ground in the invention of
a genre that lies between fiction and autobiogra-
phy. Through a semester devoted to the close
reading of Du ct de chez Swann and Le temps
retrouv, in their entirety, and several key excerpts
taken from all the other volumes, students explore
the complex nature of Prousts masterpiece and
examine the ways by which it accounts for the
temporality and new rhythms of modernity.
Students also delve into the narrative and stylistic
function of homosexuality; discuss the social dis-
ruption brought about by the Great War; and see
how the arts are represented in, and are seminal
to, the narration. Additional readings include phi-
losophy, art criticism, and literary theory. The
course is taught in French.
Modern French Plays: The Theater
of Contestation
French 3211 / Literature 3211
Autobiography and Its Discontents
French 329
What is it to write a life? Students examine the
status of autobiography in French literary criti-
cism and literary history. They also address issues
of memory and confession. Readings include St.
Augustine, Montaigne, Rousseau, Saint-Simon,
Leiris, Duras, Cardinale, Lejeune, and de Man.
Poetic Objects: Poetry and Painting in
the 20th Century
French 332
Throughout the 20th century, painting and
poetry enjoyed an intimate and complex con-
nection. Painters and poets evolved and worked
side-by-side in the same avant-garde move-
ments. Students in this course read critical and
theoretical texts that reflect an ongoing dia-
logue between painting and poetry. If literature
can be a tool for examining painting, can visual
170 Languages and Literature
aesthetics help with the reading of poetry? Texts
studied include work by Apollinaire, Aragon,
Artaud, Bonnefoy, Breton, Jaccottet, Leiris,
Michaux, Paulhan, Ponge, Reverdy, and Valry.
French Cinema
French 334
This introductory course paints a global portrait
of more than a century of French cinema, from
the pioneers of the 1890s through 1920s avant-
garde, the poetic and social realism of the 1930s
and 1940s, the 1950s qualit franaise, the ground-
breaking New Wave movement, and todays
new auteurs. Topics of discussion include the
mediums influences; links between cinema and
other art forms; the importance of theoretical
studies and film criticism in defining and shap-
ing it; and the way French history, events, soci-
ety, culture, and language have been represented
in film. Filmmakers studied include the Lumire
brothers, Mlis, Gance, Cocteau, Dulac, Vigo,
Clair, Carn, Renoir, Tati, Varda, Bresson, Malle,
Truffaut, Godard, Resnais, Duras, Demy, Blier,
Tchin, Assayas, and Kassovitz. Each films
textnarrative structure, stylistic choices, screen-
writing, montage, themes, textureis examined
in detail.
Baudelaire, Rimbaud, Mallarm
French 335
A revolution was brought to the theory and prac-
tices of 19th-century French poetry by three of
its most illustrious figures: Baudelaire, Rimbaud,
and Mallarm. As Victor Hugos age of lyric
romanticism came to an end, these three poets
took full measure of a modern subjectivity in
crisis by making it a crisis of form, with increas-
ing disenchantment, irony, self-reflexivity, and
obscurity. Their challenge to figurative language
brought poetry dangerously close to silence, mad-
ness, or death. Through a succession of close
readings, students assess the range of this poetic
revolution that constantly questioned the limits
of literature and the possibility of meaning. The
course is taught in French. Primary texts are
in French, secondary sources are in English.
Readings include Les Fleurs du mal and Le Spleen
de Paris (Baudelaire), Illuminations and Une Saison
en enfer (Rimbaud), and Posies (Mallarm).
The Novel in Crisis: French
20th-Century Fiction
French 337
This course offers an introduction to major nov-
els of 20th-century France. The evolution of the
French novel reflects the fate of a disintegrating
genre, where mimesis is rejected. Through close
readings and scrutiny of sociohistorical context,
students explore the ambiguity of political com-
mitment, the figure of the solitary antihero, and
relevant aesthetic theories. Texts include works
of Proust, Gide, Cline, Sartre, Camus, Duras,
des Forts, Robbe-Grillet, and Perec. The course
is conducted in French.
Reading for the Plot: Hugo, Balzac,
Stendhal, Flaubert, Zola
French 338
This course addresses the complicated relation-
ship between between 19th-century French nov-
elists and the notion of literary entertainment.
While they welcomed the feuilleton format
(publishing novels in cliff-hanging installments),
novelists often resisted the hostile takeover of a
public that begged them to surrender stylistic
experimentation for plot, aestheticism for enter-
tainment. This conflict figures in the novels
studied: Stendhals Le Rouge et le noir, Balzacs
Illusions perdues, Flauberts Education sentimentale,
Zolas Luvre, Huysmanss Rebours. Students
also examine secondary material about plot
resistance to pleasure in art, and mimesis. The
course is taught in French.
German
The following courses are cross-listed with the
German Studies Program. Tutorials on a specific
author, genre, theme, or period of German liter-
ature are offered when needed.
Beginning German
German 101-102
Instruction includes grammar drills, review of
reading, communication practice, guided com-
position, and language lab exercises. The course
develops listening comprehension and speaking
proficiency as well as reading and writing skills.
Reading furnishes insights into many aspects of
German civilization and culture, conveying
 Foreign Languages, Cultures, and Literatures 171
what life is like in German-speaking countries
today. This course is for students with little or
no previous instruction in German.
Transitional German
German 110
This course is for students with some back-
ground in German, but whose proficiency is not
yet on the level of German 201. While empha-
sis is placed on a complete and accelerated
review of elementary grammar and vocabulary,
students hone their cultural proficiency and all
four language skills (speaking, reading, writing,
listening). Extensive work with the German
tutor and in the Language Center is combined
with conversational practice, writing simple
compositions, and reading and analysis of mod-
ern German texts. Those who complete the
course successfully are eligible to continue with
German 202.
The Ring of the Nibelung
German 187 / Literature 187
Students engage in a study of Richard Wagners
cycle of four immense music dramas about gods,
dwarves (Nibelungs), giants, and humans. The
story has been read as a manifesto for socialism
and as a parable about the new industrial society
of Wagners time, among other interpretations.
Students are guided by the works of Heinrich
Heine, the Brothers Grimm, Schopenhauer,
Nietzsche, and the anonymous author of the
Nibelungenlied, a medieval epic. Musical exper-
tise is neither expected nor provided. The
course is taught in English. Students with an
advanced proficiency in German are expected
to read the libretti in the original.
Kafka: Prague, Politics, and the
Fin de Sicle
German 199 / Literature 199
Kafka can be read as the chronicler of modern
despair, of human suffering in an unidentifiable,
timeless landscape. He can also be read as a rep-
resentative of his era, his existential anguish
springing from the cultural and historical con-
flicts (e.g., anti-Semitism and theories of sexu-
ality) that agitated Prague at the turn of the
century. The course covers Kafkas shorter fic-
tion (fragments, parables, and sketches) and
longer tales (The Metamorphosis and The
Judgement). Students also examine Kafkas
novels, such as The Trial and The Man Who
Disappeared (Amerika), and excerpts from his
diaries and letters. These works reveal the
breadth of Kafkas literary vision and the extraor-
dinary imaginative depth of his thought. The
course is taught in English. Students with an
advanced proficiency in German can read selec-
tions in the original for extra credit.
Intermediate German
German 201-202
This course is for students who have completed
German 101-102 or have had some previous
instruction. It is designed to increase command of
all four language skills (speaking, comprehension,
reading, writing) and includes complete grammar
review, conversational practice, and language lab
work. Reading from modern authors introduces
students to various styles of literary German.
German Immersion
German 206
Intensive study of a foreign language creates an
effective learning environment for those who
wish to achieve a high degree of proficiency in
the shortest possible time. This course enables
students with little or no previous experience in
German to complete two years of college German
within five months. Students take 15 class hours
per week during the semester at Bard and 20
hours per week during June at Collegium
Palatinum, the German language institute of
Schiller International University in Heidelberg.
Students plunge into daily intensive use of
German, with practice in all four language skills
(speaking, listening comprehension, reading,
writing). The communicative approach involves
the student in a variety of activities, including
structured practice, role playing, linguistic games,
response to listening-comprehension exercises,
and creative oral and/or written exchanges.
Emphasis is placed on linguistic accuracy and cul-
tural authenticity. As the course progresses, the
transition is made from learning the language for
everyday communication to the consideration of
literary and cultural values through the reading of
classical and modern texts (e.g., works by
Goethe, Eichendorff, Kafka, Brecht). Financial
aid is available to cover the costs of the program.
172 Languages and Literature
German Theater: Scripting and
Production
German T300
This is for students with an interest in the con-
ception, practice, and production of a bilingual
play based on works by Brecht, Kafka, or other
authors of interest to participants. The class
involves scripting, acting, stage management,
and music. German language skills are preferred
but are not a prerequisite.
Grimms Mrchen
German 303
Close readings are made of selected tales, with
emphasis on language, plot, motif, image, and
relation to folklore. This study includes critical
examination and application of major theoreti-
cal approaches: Freudian, Jungian, Marxist, and
feminist.
Goethes Faust: Sympathy for
the Devil?
German 309 / Literature 209
See Literature 209 for a full course description.
The German Stage
German 316
War, revolution, street riots, terrorismit is no
coincidence that many of the most radically
experimental works of German-language theater
followed moments of national and international
crisis. What does aesthetic revolution have to do
with revolution on the streets? How can die
Bretter, die die Welt bedeuten (Schiller) influence
the course of world events? When is comedy an
appropriate response to tragedy? What is the role
of censorship? These and other questions are
addressed in this survey of major German, Swiss,
and Austrian dramas of the last two centuries.
Works studied include comedies, tragedies, and
tragicomedies by Schiller, Kleist, Bchner, Brecht,
Max Frisch, Friedrich Drrenmatt, Peter Handke,
Thomas Bernhard, Heiner Mller, Elfriede Jelinek,
Yoko Tawada, Jenny Erpenbeck, and Christoph
Schlingensief, written in the aftermath of events
ranging from the French Revolution to Sep-
tember 11. The course is offered simultaneously
on the 300 and 400 levels (with 400-level credit
requiring supplemental readings and an addi-
tional fortnightly class meeting). The course is
conducted in German.
Modern German Short Prose
German 320
A survey of Novellen, Erzhlungen, parables, and
other short forms of mainly 20th-century prose.
Students combine detailed literary analysis with
an examination of social/political/historical
contexts. Readings include Franz Kafka, Robert
Musil, Thomas Mann, Robert Walser, Heinrich
von Kleist, Jeremias Gotthelf, Walter Benjamin,
Hans Erich Nossack, Ingeborg Bachmann, Max
Frisch, Friedrich Drrenmatt, Ilse Aichinger,
Jenny Erpenbeck, Thomas Bernhard, Peter
Handke, and Yoko Tawada. The course is con-
ducted in German.
Exit Metaphysics, Enter Sauerkraut:
19th-Century German Literature
German 405 / Literature 405
Exit metaphysics, enter sauerkraut is the
phrase frequently used to describe the develop-
ment of 19th-century German literature from
romanticism to naturalism. The phrase also
alludes to the overwhelming experience of most
intellectuals and writers at that time: awareness
of the loss of security that idealistic philosophy
had provided and an attempt to find new abso-
lutes. The focus is the evolution of this experi-
ence as it manifests itself in literature. Close
readings are made of works by Grillparzer,
Nestroy, Grabbe, Hebbel, Heine, Mrike, Droste-
Hlshoff, Keller, Stifter, Fontane, C. F. Meyer,
Schnitzler, Hauptmann, and Wedekind. The
course is conducted in German.
Kreatives Schreiben
German 415
What is writing? How many different things can
be made with words? In this class, students are
introduced to German writing in different gen-
res and forms (including poetry, essayistic and
narrative prose, experimental fiction, literary
and art criticism, and philosophy) and are asked
to experiment with many writing styles them-
selves. This course is intended to build vocab-
ulary, reinforce grammar skills, and deepen
students understanding and mastery of the
expressive potential of the German language.
The course is conducted in German and involves
workshop-style discussion of student work.
Students are required to complete frequent short
writing assignments.
 Foreign Languages, Cultures, and Literatures 173
German Poetry: Goethe to Celan
German 417
This course introduces students to the pleasures
and challenges of reading German poetry.
Participants read exemplary works by the most
important German poets of the last three cen-
turies, including Goethe, Schiller, Hlderlin,
Brentano, Heine, Rilke, Hofmannsthal, George,
and Celan. While focusing closely to the formal
features of each poem (metrical structure,
tropes, generic conventions), students explore
how the poem engages with the major philo-
sophical shifts and historical catastrophes of the
times. Particular attention is paid to the ways in
which poets like Hlderlin and Rilke appropri-
ate and transform historical genres (such as the
hymn, ode, sonnet, or elegy) by infusing them
with their own conceptions of history, subjectiv-
ity, and poetic writing. The course is conducted
in German.
Growing Pains
German 420
More than a century after Goethes suffering
Werther, and long after the establishment of the
bildungsroman as a crucial genre in German liter-
ature, the young man struggling to find his place
in society reappeared as a dominant motif in the
work of a number of important modernist writers.
Students investigate what this renewed interest
had to do with the turn of the 20th century, the
excitement of technological advances, and the
explosive arrival of World War I. Students also
examine a selection of short novels and long sto-
ries as examples of the modernism that would
come to define early 20th-century writing and art
in Europe. Authors include Rainer Maria Rilke,
Thomas Mann, Robert Walser, Robert Musil,
Hermann Hesse, Christa Wolf, Elfriede Jelinek,
and Jenny Erpenbeck. The course is conducted in
German.
Culture and Society in Weimar
Germany
German 425
This course consists of a critical exploration of
German literature, theater, visual arts, architec-
ture, and film in the period from 1918 to 1933.
The Weimar Republic witnessed the emergence
of a distinctive brand of modernism, character-
ized by an unprecedented openness to mass cul-
ture and to the use of new technologies of cultural
reproduction. Much of the cultural production
examined in the course does not seek simply to
refashion aesthetic practice; it aims to reconfigure
the human sensory and cognitive apparatus, in an
attempt to transform the basic structures of social
life. Students analyze works of literature and art
in their relation to the rapid technological and
social modernization that shaped the period, and
to the profound sociopolitical conflicts to which
this process gave rise. Topics include the end of
empire and the end of Expressionism; Brechts
learning plays and the cultural politics of
Marxism; the new objectivity and the Expres-
sionism debate (Lukcs, Bloch, Benjamin,
Brecht, Adorno); Dblins prose; social theory
and the feuilleton (Simmel, Krakauer, Tucholsky);
the metropolis in cinema (Ruttmann, Lang) and
photography (Moholy-Nagy, Sander); the art and
architecture of the Bauhaus; and the literature of
the radical right (Jnger). All primary texts are in
German; some secondary texts are in English.
The Student Movement and the
Neo-Avant-Garde in 1960s Germany
German 456
This course consists of an interdisciplinary exam-
ination of the aesthetic and intellectual shifts
that transformed West German cultural and
political life in the years leading up to the student
rebellion of 1968. The aesthetic production that
the course focuses on reappropriated many of the
strategies of the historical avant-garde (especially
those of Dadaism), often in the hope of subvert-
ing the spectacle of consumer capitalism and
transforming everyday life. Topics include experi-
mental poetry (Wiener Gruppe, Enzensberger);
theater, and antitheater (Handke, Weiss); New
German Cinema (Fassbinder, Kluge); visual art
(Beuys, Fluxus, Pop, and Capitalist Realism); and
pronouncements and manifestos of the student
movement (Dutschke, Baumann, Gruppe SPUR).
All readings (which also include theoretical essays
by Adorno, Brger, Schneider, Enzensberger,
Mayer, and Habermas) and classroom discussions
are in German.
174 Languages and Literature
Hebrew
Beginning Hebrew
Hebrew 101-102 Jewish Studies,
Middle Eastern Studies
This two-semester course introduces students to
modern Hebrew as spoken and written in Israel
today. Beginning with script and pronunciation,
the course works rapidly into a wide range of
texts and topics that build active and passive
lexicon as well as grammatical structures.
Differences between standard and colloquial
Hebrew and significant aspects of Israeli culture
are highlighted. The course is open to those
with no previous knowledge of Hebrew and to
others on consultation with the instructor.
Italian
The following courses are cross-listed with the
Italian Studies Program.
Intensive Italian
Italian 106
This course covers the basics of Italian language
and culture in a single semester and is followed
by a month of study in Italy. No previous knowl-
edge of Italian is assumed, but the rapidly paced
course favors students who have successfully
studied another foreign language. Student sched-
ules must accommodate two weekly afternoon
tutorials.
Accelerated Italian
Italian 110
This beginning course is designed for the stu-
dent with some prior exposure to Italian or
excellent command of another Romance lan-
guage. The course covers the major aspects of
grammar and provides intensive practice in the
four skills (speaking, comprehension, reading,
and writing). The grammar textbook is supple-
mented by traditional homework exercises and
multimedia work in Bards Center for Foreign
Languages and Cultures. Students must enroll in
a weekly tutorial. The course concludes with
one month of study in Italy.
Accelerated Italian II
Italian 111
This course, open to students who have com-
pleted Italian 110 and the interterm program in
Italy, continues to cover the major topics of
grammar through intensive practice in the four
skills (speaking, comprehension, reading, and
writing). The textbook is supplemented by reg-
ular multimedia work in Bards Center for Foreign
Languages and Cultures. Students are required
to attend a weekly session with the foreign lan-
guage tutor, in order to practice oral skills.
Intermediate Italian I, II
Italian 201-202
This course, which is for students who have com-
pleted Italian 106 or the equivalent of one year
of college Italian, constitutes a comprehensive
review through practice in writing and conversa-
tion. Students engage in discussion and must
complete compositions and oral reports based on
Italian literary texts and cultural material.
Myth and Fascism in Italian Literature
Italian 209 Human Rights
This course explores the rise, appeal, structure,
goals, and representation of the fascist ideology
and regime in Italy at the turn of the 20th cen-
tury, as well as the artistic and intellectual
response elicited by fascisms oppressive context.
Authors studied include Carducci, DAnnunzio,
Croce, Marinetti, Palazzeschi, Corradini,
Ungaretti, Saba, Levi, Pirandello, Vittorini,
Moravia, Gramsci, Gentile, Montale, and
Calvino. Filmmakers studied include Olmi,
Wertmller, Pontecorvo, Rossellini, Taviani,
Scola, Rosi, and Pasolini. The course is con-
ducted in English.
Humanism, Hermeticism, Hieroglyphs,
Heretics: Introduction to Italian
Renaissance Literature and Thought
Italian 215
Many of the most appealing concepts born of
the Italian Renaissancereappropriation of Latin
and Greek learning; belief in divine madness;
essential cosmic harmony underlying literary
and figurative expression, architecture, and
mathematical formulaswere considered increas-
ingly heretical after the office of the Inquisition
 Foreign Languages, Cultures, and Literatures 175
was created in 1542. Nevertheless, these con-
cepts built the foundation of European-wide
intellectual exchange. This course introduces
students to the repertoire of basic cultural refer-
ents with which the early-modern individual
viewed knowledge and perceived history (as
well as the present). Among the authors studied
are Alberti, Dante, Ficino, Petrarch, Machiavelli,
Pico della Mirandola, Landino, Ortensio Lando,
Tasso, Sansovino, Manuzio, Doni, and Garzoni.
Prior knowledge of the period is welcomed but
not assumed.
Dantes Divine Comedy
Italian 225
Students engage in a close reading of the Divine
Comedy in its historical, philosophical, and lit-
erary contexts. The course incorporates a variety
of critical perspectives (from the Middle Ages to
the present), relevant passages from other texts
by Dante (Vita Nova, Rime, Convivio, De Vulgari
Eloquentia), other Provenal or early-Italian
poets, and a brief exploration of the figurative
tradition born of this poetic masterpiece. Dis-
cussion focuses on the medieval underpinnings
and connotations of concepts such as intelli-
gence (human and divine), time and history,
faith, virtue versus sin, revelation, providence,
allegory, and the responsibilities of authorship.
The course is conducted in English.
Lost in Language: The Search for
Identity in the Italian Avant-Garde
Italian 229
What are the connections between the Babelic
quality of experimental language and the feeling
of instability in the postmodern world? How do
poetic techniques, like collage or pastiche, and
the introduction of multilingual expressions sug-
gest the effects of globalization? This course pre-
sents the works of experimental Italian authors,
including Elio Pagliarani and Andrea Zanzotto,
focusing on their capacity to express the mean-
ing of contemporary society through the use of
nonlinear communication. Textual analyses and
a comparative approach are used to explore top-
ics such as the connection between psyche,
body, and language; the search for identity
within tortured linguistic expression; and the
metamorphoses of the self and the world. The
course is conducted in Italian.
Italian Cinema / World Cinema
Italian 233 Film and Electronic Arts
Students in this course consider the impact of
what is arguably Italys greatest contribution to
international art in the 20th century: the Italian
film tradition, especially neorealism. Attention
is paid to the French discovery of neorealism
and its subsequent influence on the nouvelle
vague and cinema verit, the presence of neore-
alism in the work of Iranian director Abbas
Kiarostami, and the role of the Italian cinema
(especially the spaghetti western) in Holly-
wood. Students discuss the work of directors
Roberto Rossellini, Vittorio De Sica, Luchino
Visconti, Federico Fellini, Antonioni, Pier
Paolo Pasolini, Nanni Moretti, and others. The
course is conducted in Italian and includes a
weekly review session with a tutor and a weekly
film screening.
Intermediate Italian: Florence
Italian 255
What has Florence represented since its found-
ing, by Caesar, as a military camp in the first cen-
tury B.C.E.? How has the city figured (as a theme,
idea, and actual political and cultural entity) for
writers? How has the burden of Florences pro-
found medieval and Renaissance past affected
later artists and writers? This interdisciplinary
course addresses the art, architecture, and history
of Florence, with an emphasis on the citys role
in literary history. Students consider the citys
persistence as a political and cultural center after
its Renaissance heyday, its role as Italys linguis-
tic center, its designation as capital of the newly
unified Italy (in 1865), and its role at the fore-
front of leftist resistance in the age of Berlusconi.
The course is conducted in Italian and includes a
weekly review with a tutor.
Contemporary Italian Literature and
Its Diasporas
Italian 267
Students in this course study the major literary
trends in Italy todayincluding the resurgence
of dialect poetry, highly rarefied lyric, the detec-
tive novel, and politically engaged poetry. They
also examine the spread of the Italian language
176 Languages and Literature
as a significant international literary medium.
Students read works by writers living in con-
temporary Italy and in those diasporas where
Italian functions as a prinicipal or parallel means
of communication. The focus on writers outside
of Italy includes Italian-speaking areas in
Switzerland, as well as Italian literary move-
ments in Africa, the Americas, Australia, and
Asia. The course is conducted in Italian and
includes a weekly review session with a tutor.
Advanced Italian:
Italys Cultural Revolution
Italian 270
This course, intended to improve students spo-
ken, aural, and written Italian, makes use of a
wealth of literary, musical, cinematic, and visual
sources to explore the culture and conflicts of
modern Italys struggle for unification. Readings
include works by Foscolo, Leopardi, and Manzoni;
students also analyze the operas of Verdi and the
nationalist films 1860, 1900, Senso, and The
Leopard. Students apply their knowledge of
19th-century Italy to major issues confronting
Italians today. The course is conducted in
Italian, with a weekly review session designed to
strengthen Italian language skills.
The History of Italian Cinema
Italian 275 Film and Electronic Arts
This survey course, taught in Italian, examines
the evolution of Italian cinema from its incep-
tion to the present day. Major films from the
silent and Fascist eras up to the birth of neo-
realism and New Comedy are investigated.
Featured directors include Rossellini, De Sica,
Visconti, Fellini, Bertolucci, Antonioni, Scola,
Wertmuller, Pasolini, and Salvatores. Special
attention is given to the political and cultural
influences underlying film aesthetics and pro-
duction. Readings are selected from film theory/
criticism, screenplays, interviews, and Italian
historical and literary texts. While the course
does not provide a formal review of grammar,
advanced grammar points and questions of style
are addressed. Prerequisite: one 200-level course
in Italian or permission of the instructor.
Advanced Conversation and
Composition
Italian 280
The aim of this course is to help students obtain
a sense of fluency in their oral and written expres-
sion of Italian, through focused writing (exposi-
tory and creative); strategic vocabulary building;
and scheduled discussion, debate, and short
presentations. The course incorporates a compre-
hensive review of grammar, offers a basic intro-
duction to Italian prose stylistics (through
examination of excerpts from fiction, current
political commentary, humor, literary essays,
philosophical texts, newspaper and magazine arti-
cles, childrens literature, etc.), and introduces
students to Italian cinema and its cultural impact.
Students are required to enroll in a weekly labo-
ratory session for multimedia work. Prerequisite:
Intensive Italian or permission of department.
Dante
Italian 3205 / Literature 3205
See Literature 3205 for a full course descrip-
tion.
European Literature and the Making
of Italy
Italian 340 / Literature 340
See Literature 340 for a full course description.
Japanese
The following courses are cross-listed with the
Asian Studies Program.
Introductory Japanese I, II
Japanese 101-102
This two-semester sequence introduces the fun-
damentals of modern Japanese. Students sys-
tematically develop listening, speaking, writing,
and reading abilities. Because fluency in Japanese
requires sensitivity to the social setting in which
one is speaking, the course also provides an
introduction to fundamental aspects of daily life
and culture in contemporary Japan.
Intensive Japanese
Japanese 106
This course is intended for students who have
completed Japanese 101 or have an equivalent
 Foreign Languages, Cultures, and Literatures 177
background. Students continue to focus on the
oral and written aspects of the language and,
upon completion of the course, are qualified to
enroll in a five-week summer immersion pro-
gram in Kyoto, Japan. Financial aid is available
for qualified students.
Japan: A Short Cultural History
to 1800
Japanese 150 Historical Studies
A comprehensive introduction to Japans his-
tory and culture from prehistoric times to the
19th century. Attention is given to social
change, the history of political and economic
institutions, and the relationships between these
developments and parallel ones in religion, phi-
losophy, and the arts. Supplementary films and
trips to Japan Society and the Metropolitan
Museum of Art, New York Public Library, and
Asia Society familiarize students with the cul-
tural resources available for furthering their
study.
Intermediate Japanese I, II
Japanese 201-202
This course accelerates the learning of charac-
ters begun in Japanese 101-102 and introduces
more complex grammatical patterns and expres-
sions, with the goal of refining students mastery
of reading, speaking, writing, and listening.
Study includes intensive grammar review and
practice of idiomatic expressions. The course is
conducted in Japanese. Prerequisite: Japanese 102
or the equivalent.
Advanced Japanese I
Japanese 301
This course introduces grammatical constructions
and idiomatic expressions peculiar to written
Japanese, the fundamentals of dictionary use,
and practical strategies for developing speed-
reading skills when confronted with an unfamil-
iar text. Students learn to conduct research
using Japanese sources and/or participate in
individually tailored tutorials. Materials (folk
tales, short stories, critical and philosophical
essays, newspaper articles) are selected on the
basis of student interests. Prerequisite: Japanese
202 or equivalent background.
Advanced Japanese II
Japanese 302
Students deepen their reading skills and engage
in essay-writing exercises and formal oral pre-
sentations. Materials employed in this course are
selected on the basis of student interest and
include newspaper articles, handwritten letters,
popular songs, haiku, and selections from films.
Readings in Japanese Culture
Japanese 303
This is an advanced course for students who
already have some familiarity with written
Japanese. Students are exposed to materials on
modern Japanese culture and society. The course
deepens students reading and speaking skills
and expands their understanding of contempo-
rary Japan. Materials are selected in consulta-
tion with the instructor. Conducted in Japanese.
Literary Japanese
Japanese 306
This course introduces students to the language
and literature of Japan from earliest times
through the middle of the 20th century. While
reading, in the original language, some of
Japans most revered works of poetry, fiction,
myth, and history, students deepen their linguis-
tic and cultural understanding. Prerequisite:
Japanese 301 or equivalent background.
Russian
The following courses are cross-listed with the
Russian and Eurasian Studies Program.
Beginning Russian
Russian 101
This course, for students with little or no previ-
ous knowledge of Russian, introduces the funda-
mentals of the spoken and written language, as
well as Russian culture. The emphasis is on con-
versation, reading, and writing proficiency.
Creative expression is encouraged through auto-
biographical and fictional compositions. Audio-
visual materials are an integral part of the
learning process. In addition to regular class
meetings, students are required to attend a one-
hour-per-week tutorial.
178 Languages and Literature
Russian Intensive
Russian 106-107
This course is for students who have completed
Russian 101 and those who have had the equiv-
alent of one semesters beginning Russian at
Bard or at another institution. It culminates in a
June program in St. Petersburg that includes 24
hours a week of Russian-language classes and an
extensive cultural program of museum visits,
theater performances, concerts, and tours of the
St. Petersburg environs. Students live with
Russian families. Successful completion of this
program qualifies the student to pursue a semester
or yearlong study in St. Petersburg at Smolny
College of the Liberal Arts, a joint educational
venture of Bard and Saint Petersburg State
University.
Continuing Russian I
Russian 206
Increasing students oral proficiency is a primary
aim of this course, as is the development of read-
ing and viewing strategies appropriate to a vari-
ety of written texts (including literature, poetry,
and newspapers) and Russian television and
film. Students expand their vocabulary and study
the syntax of complex Russian sentences and
grammatical nuances. Students keep a weekly
diary, write short essays on numerous topics, and
do audiovisual work in the language laboratory.
The class is conducted entirely in Russian.
Continuing Russian II
Russian 207
This course is designed to continue refining and
engaging students practice of speaking, reading,
and writing Russian. Advanced grammar topics
are addressed through a wide variety of texts and
contexts, with emphasis on literary analysis and
the modern press. Students expand their vocab-
ulary and range of stylistic nuance by writing reg-
ular response papers and presenting oral reports.
The course is structured around a semester-long
group project that provides an opportunity to
research aspects of modern Russian culture; be in
video contact with students at Smolny College
at Saint Petersburg State University, Russia; and
analyze/present findings in a collaborative cre-
ative effort, such as a play, news broadcast, or
newspaper.
Human Love, Divine Love in
19th-Century Russian Literature
Russian 211
One of the literary preoccupations throughout
Russias golden age was the individuals rela-
tionship to community and God. Through tex-
tual analysis supplemented by film, students
explore themes of isolation, transcendence, loss,
and the social or metaphysical yearning to
bridge the gap between self and other. This
course also examines the unique historical role
of the Russian Orthodox Church. Readings
include works by Pushkin, Gogol, Turgenev,
Goncharov, Dostoevsky, Tolstoy, Chekhov, and
Arseniev. Readings and discussions are in English.
Myth and Variation in Russian
Modernism
Russian 2153 / Literature 2153
See Literature 2153 for a full course description.
Dostoevsky and Tolstoy
Russian 240
This course examines contrasts and parallels
between two great authors of Russia: Dostoevsky
and Tolstoy. The works include Dostoevskys
Notes from Underground, The Idiot, and The
Brothers Karamazov and Tolstoys War and Peace,
Anna Karenina, and The Kreutzer Sonata.
Close readings and discussion of literary texts
are accompanied by explorations of historical,
religious, political, and cultural context. The
course is conducted in English.
Advanced Russian
Russian 301-302
This course increases oral proficiency and devel-
ops reading strategies appropriate to the widest
variety of written texts, including artistic litera-
ture, poetry, and newspapers. Study includes
vocabulary, syntax of the complex Russian sen-
tence, and grammatical nuances. Students write
essays on a variety of topics and study audiovisual
work in the language laboratory. The course is
conducted in Russian.
An Appointment with Dr. Chekhov
Russian 3021 / Literature 3021
See Literature 3021 for a full course description.
 Foreign Languages, Cultures, and Literatures 179
Nabokov: Puzzle, Pattern, Game
Russian 312 / Literature 312
See Literature 312 for a full course description.
Detskii mir / A Childs World
Russian 320
This course consists of reading, discussion, and
lexical analysis of Russian literature for and
about children. Texts include fairy tales, as well
as works by Pushkin, Odoevskii, Tolstoy,
Zakhoder Chekhov, Sologub, Chukovskii,
Kharms, Marshak, and Maiakovskii. Videotapes
and films are used for developing skills in lan-
guage comprehension. The course is conducted
in Russian.
Dramatic Difference: Russia and
Its Theater
Russian 330 / Literature 330
This course examines the evolution of Russian
dramaturgy in connection with parallel develop-
ments in both literature and theater. It offers
students an opportunity to explore various
aspects of Russian culture by discussing the
specifics of Russian drama. Special attention is
given to issues of genre and style, tradition and
innovation, dramatic criticism, and theory.
Readings include Fonvizin, Griboedov, Gogol,
Petrushevskaya, Pushkin, Ostrovsky, Chekhov,
Bulgakov, Erdman, and other playwrights.
Students read theoretical texts by Stanislavsky,
Meyerhold, and Mikhail Chekhov and attend a
performance of a Russian play in New York. No
knowledge of Russian is required. The course is
conducted in English.
Russia on the Opera Stage
Russian 340 Music
Modern Russian culture, although it represents
an inseparable part of European culture, has a
distinct character, initially shaped by the
Orthodox Christian tradition passed on from
Byzantium. This tradition eventually came into
contact and conflict with the flow of ideas from
Western Europe. The achievements of European
civilization were absorbed and confronted,
transformed and blended with the Russian expe-
rience. The history of Russian music echoes that
path. The early development of Russian music
benefited from appropriation of the Byzantine
unaccompanied choral singing and, at the same
time, suffered from the absence of instrumental
music. By comparison, Western European music
combined the use of vocal and instrumental fac-
ulties and resulted in the creation of numerous
forms of musical art, including opera. The flour-
ishing of this genre in Europe had direct impact
on the progress of musical life in Russia.
Material studied includes literary texts, musical
recordings, and opera performances on video.
This course is offered under the auspices of the
Bard-Smolny Virtual Campus Project. The course
is conducted in Russian.
Translation: Russian to English
Russian 390
This practical and theoretical course consists of
regular weekly reading and translation of a vari-
ety of literary texts. Students also work on an
independent project throughout the semester.
Texts include short stories and poems by Bunin,
Chekhov, Babel, Tolstaya, Dovlatov, Akhmatova,
Pasternak, and others.
Love Stories in Prose and Poetry
Russian 408
This examination of Russian writers from the
18th through the 20th centuries focuses on
artistic meditations on paradoxes of love, erotic
behavior, and psychological and cultural con-
flicts of the period. Close readings are done of
short stories and poems. Special emphasis is
placed on the role of language, literary forms,
and erotic themes as developed in texts by
Karamzin, Pushkin, Lermontov, Tyutchev,
Turgenev, Dostoevsky, Gippius, Kuzmin, Blok,
Nabokov, Tolstaya, and Petrushevskaya. The
course is conducted in Russian.
Russian Poetry
Russian 409
This course offers a historical study of Russian
versification, study of the technical aspects of
poetry, structural analysis of poetic texts, and trans-
lation of selected poems. Poets studied include
Pushkin, Lermontov, Baratynsky, Tyutchev, Fet,
Blok, Akhmatova, Mandelstam, Tsvetaeva,
Tarkovsky, Pasternak, Mayakovsky, Brodsky, and
Rein. The course is conducted in Russian.
For a description of the BardSaint Petersburg State
University exchange program, see the chapter
International Programs and Study Abroad.
180 Languages and Literature
Spanish
The following courses are cross-listed with the
Latin American and Iberian Studies Program.
Basic Intensive Spanish
Spanish 106
This course enables students with little or no
previous knowledge of Spanish to complete
three semesters of college Spanish in five
months (8 credits at Bard and 4 credits in
Mexico in January). Students attend eight hours
of class per week, plus two hours with a Spanish
tutor. Oral communication and reading and
writing skills are developed through a variety of
approaches. The text, Espaol en espaol, is sup-
plemented by the innovative video program
Destinos, frequent drills in the language labora-
tory, and cultural activities outside of class.
During the month in Mexico, students complete
daily intensive study of Spanish at a language
institute, live with a Mexican family, and make
excursions to surrounding areas of interest.
Admission is by permission of the instructor.
Accelerated Spanish
Spanish 110
This course, designed for the student with some
prior exposure to Spanish or excellent command
of another Romance language, covers major
topics in grammar with intensive practice in the
four skills (speaking, comprehension, reading,
writing). The specially designed textbook pro-
vides a streamlined review of basic topics and
detailed exercises for advanced topics. Authentic
video material from Spain and Latin America
supplements the textbook. One additional hour
per week of practice with a Spanish tutor and
substantial work in the language lab are required.
This course prepares students for summer lan-
guage programs abroad or Spanish 201.
Intermediate Spanish I
Spanish 201
This course is designed to perfect the command
of all four language skills (speaking, compre-
hension, reading, writing) through intensive
grammar review, conversation practice, reading
of modern Spanish texts, writing simple com-
positions, and language lab work. It also expands
understanding of the richness and variety of
Hispanic cultures in Latin America, Spain, and
the United States. Prerequisite: Spanish 106
or 110.
Intermediate Spanish II: Introduction
to Hispanic Civilization and Culture
Spanish 202
This course continues to refine the students
mastery of speaking, reading, comprehension,
and writing. Advanced study of grammar is sup-
plemented with a video series and reading on a
wide variety of topics related to Spanish and
Latin American history, literature, music, and
art. Topics include Latin American military dic-
tatorships and issues surrounding the Hispanic
presence in the United States. Reading includes
excerpts from Don Quixote and indigenous
Mexican poetry and one or more full-length
modern novels. Prerequisite: Spanish 201 or per-
mission of the instructor.
Spanish for Bilinguals
Spanish 211
This course is for students who have been
exposed to Spanish at home and wish to achieve
confidence in speaking, writing, and reading the
language. Grammar study capitalizes on prior
contact with the language and allows more rapid
progress than in a standard setting. Emphasis is
placed on written composition, accelerated
grammar review, and the discussion of issues per-
tinent to Hispanic cultures. The course incorpo-
rates a video series that provides the opportunity
for engagement with a wide variety of topics
related to Spanish and Latin American history,
literature, music, and art.
The Hispanic Presence in the
United States
Spanish 220 Human Rights, SRE
This multidisciplinary course provides an in-
depth study of historical, social, political, legal,
and linguistic issues surrounding the Hispanic
presence in the United States. It also gives
advanced Spanish students an opportunity to
utilize and improve their communication skills
and broaden their cultural perspectives. The first
four weeks are devoted to instruction in ESL
(English as a Second Language) pedagogy. Stu-
dents are then matched with Spanish speakers
 Foreign Languages, Cultures, and Literatures 181
in the community and begin providing instruc-
tion in conversational English. For the remain-
der of the semester, students meet in seminar
format to discuss course readings. Guest lec-
turers address such topics as the history of
Hispanic immigration to this country (with a
focus on New York State), economic issues
regarding immigrants and migrants, political
conflicts arising out of illegal immigration, legis-
lation and the role of the INS, attitudes toward
Hispanics, and issues surrounding bilingualism.
The course is conducted in Spanish and English.
Prerequisites: at least one year of college-level
Spanish and approval of the instructor.
Spanish through Film
Spanish 231
Intended for advanced-intermediate students.
Through analysis of Spanish films, the course
refines and perfects the students mastery of
speaking, writing, reading, and listening skills.
Course work stresses knowledge of Spanish and
Latin American high culture, as well as an
understanding of daily life in Spanish-speaking
countries. Students view selected films from
Spain, the Americas, and the Caribbean and
discuss the work of Almodvar, Lombardi, de la
Iglesia, Gonzlez Irritu, Justiniano, Cuarn,
and others. The course is conducted in Spanish.
Creative Writing in Spanish
Spanish 233
This course is intended for students already at
the advanced-intermediate level. Students pre-
sent their own work (in Spanish) for group anal-
ysis and evaluation. Workshop exercises include
writing poetry and short prose pieces, as well as
writing in response to various Spanish and Latin
American writers whose poetics are examined in
class. Discussions are held entirely in Spanish.
Prerequisites: Spanish 202, or higher, and per-
mission of the instructor.
The Moral of the Story
Spanish 235
Stories in medieval Spanish literature often
claim to teach rather than entertain the reader.
Even in these early examples, however, it is not
always clear whether the moral of the story is
lost to the sheer pleasure of the text. Often, the
most compelling stories do not possess clear-cut
lessons, but seduce the reader through their fic-
tions. Part of this seduction may consist of the
rather ambiguous morality these stories con-
vey. As early as the 14th century, don Juan
Manuel suggested that by adding more sugar or
honey (a car o miel) to a story, its lesson
becomes more palatable. The tension between
didactic and aesthetic imperatives thus provides
a framework with which to examine a wide
range of short stories and to think about the
function of art in general. Some of the subjects
explored in this course include the relationship
between the storyteller and the audience; the
difference between reading aloud and silent
reading; and variations of the short story (includ-
ing fables, enxiemplos, novellas, and microre-
latos). The list of writers studied includes don
Juan Manuel, Miguel de Cervantes, Mariano
Jos de Larra, Gustavo Adolfo Bcquer, Emilia
Pardo Bazn, Vicente Blasco Ibez, Po Baroja,
Ignacio Aldecoa, and Ana Mara Matute.
Testimonies of Latin America:
Perspectives from the Margins
Spanish 240 GSS, Human Rights
This course provides the opportunity for stu-
dents to engage critically with texts that serve as
a public forum for voices often silenced in the
past. Students also learn about the broader con-
text of the hemispheres history, through the
particular experiences of women from Bolivia,
Guatemala, Argentina, Brazil, Mexico, and the
U.S.Latino community, including Rigoberta
Mench, Domitila Barrios de Chungara, and
Cherre Moraga. Students read testimonial
accounts that document the priorities and con-
cerns of women who have been marginalized for
reasons of poverty, ethnic difference, political
ideologies, or sexual preference. The semester is
devoted to analyzing the form in which these
womens memories are represented textually and
to the discussion of the historical circumstances
that have led to their marginalization. Some of
the central questions that organize discussions
are: How best to represent memories of violence
and pain? What are the ultimate effects of
mediations of the written word, translations to
hegemonic languages, and the interventions of
well-intentioned intellectuals? Course material
integrates films that portray the issues and time
periods documented in the diaries and testimonial
182 Languages and Literature
narratives. Those films include Men With Guns,
El Norte, Historia oficial, Cidade de Deus, and Rojo
amanecer. The course is conducted in English.
Interpretation of Hispanic Texts
Spanish 301
This course provides an introduction to Spanish
literature through a variety of genres, including
poetry, short stories, novels, dramas and essays.
Course material begins with the 11th century,
when the first literary texts in Spanish were
written, and continues through to the Baroque
period. Special attention is focused on golden
age literature, an especially rich period of liter-
ary production in Spain. In order to provide stu-
dents with a greater understanding of Spanish
culture, discussions take into account the histor-
ical and cultural contexts in which these texts
were produced. Students also explore artistic
contributions to this culture from the fields of
music, painting, and sculpture. Students are
required to read texts closely, in the original.
The course is conducted in Spanish.
Introduction to Latin American
Literature
Spanish 302
This course serves as an introduction to the
interpretation of literary texts from Latin
America. It covers a broad historical range and
presents all literary genres, including poetry,
short stories, novels, essays, and plays. The
course is intended to prepare students for more
advanced and specialized courses in Hispanic
literature. A great deal of attention is paid to the
development of critical skills, both verbally and
in writing. Prerequisites: Spanish 301 and per-
mission of the instructor.
Five Latin American Poets
Spanish 306
This course examines the work of 20th-century
Latin American poets Pablo Neruda (Chile),
Csar Vallejo (Peru), Octavio Paz (Mexico),
Nicols Guilln (Cuba), and Alejandra Pizarnik
(Argentina). Although students are asked to
read extensively, class time is spent mainly in
close analysis of selected texts. Outside readings
help orient students to the historical, social,
and political contexts in which these writers
produced their work. In this regard, the class
addresses a number of questions: What occa-
sioned the shift, in Neruda and Vallejo, from a
vanguardist hermetic poetry to a more accessible
and socially oriented poetry? How are Eastern
religious and philosophical orientations, partic-
ularly those of Buddhism, manifested in the
work of Paz? In what ways does the poetry of
Guilln respond to racial and sociopolitical
issues crucial to an understanding of Cubas his-
tory? How can contemporary discourses con-
cerning gender and the representation of the
body be applied to the poetry of Pizarnik? In
addition to writing critical essays, students
memorize and recite short poems. Optional
assignments include original poems written in
Spanish and translations of poems into English.
The 20th-Century Latin American
Novel
Spanish 323 / Literature 323
With the publication of works such as Julio
Cortzars Rayuela and Gabriel Garca Mrquezs
Cien aos de soledad, the Latin American novel
achieved an international reputation and read-
ership. This course begins by analyzing several
novels of the boom period, to determine the
reasons behind their critical acclaim and popu-
lar appeal. In particular, the phenomenon of
magical realism is examined as a key element in
the globalization of Latin American prose.
Students also read novels from the post-boom
and examine the relationship of these works to
theoretical articulations of postmodernism and
feminism. Authors include Allende, Arenas,
Asturias, Carpentier, Cortzar, Ferr, Fuentes,
Garca Mrquez, Peri Rossi, Puig, Skrmeta, and
Valenzuela. The course is conducted in English,
with a concurrent reading tutorial in Spanish.
The Sweet Waist of the Americas:
Introduction to Central American
Literature
Spanish 334
Referred to as the little thumb of the hemi-
sphere, the sweet waist of America, or the
dubious strait, the Central American isthmus
and its literature is the central focus of this
course. Students read a selection of 20th-century
authors from the regionone that is often
marginalized in the Latin American canonand
explore aesthetic and ideological concerns within
 Foreign Languages, Cultures, and Literatures 183
the violent political and historical context that
often becomes a recurring theme in Central
American fiction. Authors studied include Miguel
ngel Asturias, Gioconda Belli, Roque Dalton,
Tatiana Lobo, and Sergio Ramrez. The course is
conducted in Spanish. Prerequisites: Spanish 301
or 302 and permission of the instructor.
Saints, Sinners, and Lunatics
Spanish 335
What constitutes conformity and transgression
in Early Modern Spain? Transvestites, nuns,
visionaries, cross-dressers, clerics, wild men,
neurotics, and poets are figures that receive a
great deal of attention in a wide range of histor-
ical and literary discourses. This course consid-
ers the ways in which these figures were thought
of as both ordinary and extraordinary. (Consider
the case of a Spanish nun who escapes her con-
vent, dresses as a man, travels to Peru, is later
received by Philip IV, receives a pension from
the Pope, and is made honorary citizen of
Rome.) Students explore questions as to who
and what constitutes a freak or monster, the val-
ues attached to these figures, and the way in
which these texts call into question assumptions
regarding conformity and transgression. Readings
include texts from Spain and the New World.
Students examine works by Fernando de Rojas,
Cervantes, Lope de Vega, Caldern, St. Teresa,
Catalina de Erauso, El Inca Garcilaso de la Vega,
and Sor Juana Ins de la Cruz, among others.
The course is conducted in Spanish.
Staging Marriage in the Spanish Drama
Spanish 339
Stanley Cavell describes marriage as a certain
willingness for bickering that strikes him as a
little parable of philosophy or of philosophical
criticism. How do Spanish playwrights reenact
this parable of philosophy in their works? In
what ways does the Spanish drama confirm or
subvert the social conventions governing the
institution of marriage? Why do wooing and
wedding tend to be funny, while being married
inevitably leads to tragedy? Cuckolds, permanent
bachelors (galn suelto), Don Juans, educated
women (culta latiniparla), wife murderers, and
defiant wives are some of the stock characters
defined by their relationship to the conjugal
bond. This course examines these characters and
the questions raised by the institution of mar-
riage in the works of Lope de Rueda, Lope de
Vega, Tirso, Cervantes, Caldern, and Sor Juana,
among others. The final project includes a stu-
dent performance of a dramatic work by one of
these authors.
Cervantes Don Quijote
Spanish 340
This course examines the role of difference in
Miguel de Cervantes masterpiece, El ingenioso
hidalgo Don Quijote de la Mancha. In this first
modern novel, conflict erupts when an old man,
moved by his readings of chivalric literature, pro-
nounces himself a knight in shining armor.
Believing in evil enchanters, Don Quijote and
his rotund alter ego, Sancho Panza, set out to
rectify the wrongs of the world. However, Don
Quijote takes up this mission in 16th-century
Spain, when knighthood has long ceased to be a
social reality. Difference and conformity thus
become critical issues at every turn of this novel.
What are the ideological forces that compel con-
formity in Don Quijote? How are language and
violence posited as instruments of change? How
does literature change its readers and, alterna-
tively, how do readers change literature? Apart
from Don Quijote, readings include Lazarillo de
Tormes, Amadis of Gaul, and El abencerraje,
among others. Students may read the texts in
English or in the original Spanish. The course is
conducted in English.
Transatlantic Travel Writing: Two
Centuries of Writing the Americas
and Spain
Spanish 346
This course looks at a variety of travel writers,
beginning with French and North American
revolutionary hero Francisco de Miranda and
continuing through El Pas (Madrid) columnist
Maruja Torress sentimental journey through
Latin America. Special attention is paid to the
transatlantic dialogue between Europe and
AmericaSpanish visions of the New World
(North and South) and Latin American visions
of North America and Europe. Focus is also
placed on the political and aesthetic debates
behind the writing and political uses of the
exotic. Texts range from travel diaries and fully
conceived travel books to Juan Ramn Jimnezs
184 Languages and Literature
innovative poetic notebook of his visit to the
United States. Readings, class discussions, and
assignments are in Spanish. Prerequisites: Spanish
301 or 302 and permission of the instructor.
Through Spanish Eyes: Recent and
Past Cinema from Spain
Spanish 351
A number of works testify to the ways in which
Spanish cinema has long stood in the vanguard.
These works include Luis Buuels surrealist
experiments, Pedro Almodvars provocative
melodramas, and the recent explosion of short
films (cortos) by professional and amateur direc-
tors. This course examines a selection of films
from 1929the year in which Buuel made Un
chien andalou to the present. Special attention
is given to the historical and cultural frameworks
of these films, particularly to the period of the
Spanish Civil War and Francos subsequent dic-
tatorship. These events had a dramatic impact
on films produced both in and outside of Spain
and resulted in censorship, propaganda (the NO-
DO newsreels), and camp films known as espao-
ladas. Despite these obstacles, Spanish film
directors have consistently managed to create
brilliant cinematic works. How have they
achieved this success in the face of censorship,
scant resources, and competition from Holly-
wood? Assignments include weekly essays and a
final project. Attendance at weekly screenings is
mandatory. The course is conducted in Spanish.
Mapping the City in Latin American
Literature
Spanish 352
Latin American cities often have been the site
where received codes from abroad are imitated
and rearticulated based on local particularities.
In this course, students read several 20th-century
texts that address the many tensions that arise in
the process of modernization in the region.
Students pay close attention to considerations of
centers and margins, inclusions and exclusions,
feelings of alienation and, ultimately, a search for
community. Students also explore how the dan-
ger of state violence enters domestic spaces, the
role of mass media in shaping local culture, and
the effects of globalization on identity formation.
Among the authors read are Carlos Fuentes from
Mexico, Roberto Arlt from Argentina, Fernando
Vallejo from Colombia, Mario Vargas Llosa from
Per, and Diamela Eltit from Chile. The course
is conducted in Spanish.
Spanish Literary Translation
Spanish 356
The focus of this course, designed for students
who have completed at least two years of college
Spanish, is theoretical texts on translation. The
first half of the semester is dedicated to transla-
tion of brief texts from genres selected by the
instructor. Subsequently, students choose texts to
translate. The goal is to encourage thoughtful
examination of literary language across linguistic
and cultural boundaries. The course is conducted
primarily in Spanish. Prerequisites: thorough
knowledge of Spanish grammar; broad vocabu-
lary in Spanish; permission of the instructor.
Literature of the Conquest
Spanish 423
This course explores texts by indigenous and
European writers during the first century of the
Spanish Conquest. Issues covered include the
ways in which Native Americans found a place
in their mythologies for these often brutal
strangers, how Europeans found a mode of
expression adequate to the utterly new reality
that confronted them, and the Europeans moti-
vation and ideological justification for their
treatment of indigenous populations. Students
are encouraged to establish links between the
recorded experiences of the conquest and cer-
tain characteristics of present-day writers such
as Garca Mrquez and Octavio Paz.
 Division of the Arts

The Division of the Arts offers concentrations in the areas of studio arts, art history,
dance, film and electronic arts, music, photography, and theater. Moderated juniors
may also pursue a second Moderation into integrated arts. Theory and practice are
taught in all disciplines within the arts. Theoretical understanding and practical skills
alike are developed through production and performance. In the course of concentrat-
ing in a single area, students in the arts develop aesthetic criteria that can be applied
to other areas of learning. Students may undertake the arts for different reasonsas a
path to a vocation or an avocation, or simply as a means of cultural enrichment.
Working with a faculty adviser, the student plans a curriculum with his or her needs
and goals in mind.

As a student progresses to the Upper College, the course work increasingly consists of
smaller studio discussion groups and seminars in which active participation is expected.
Advisory conferences, tutorials, and independent work prepare the student for the
Senior Project. This yearlong independent project may be a critical or theoretical
monograph, a collection of essays, or, for a large proportion of students, an artistic work,
such as an exhibition of original paintings, sculpture, or photography; performances in
dance, theater, or music; dance choreography or musical composition; or the making of
a short film with sound.

Studio Arts
In an era when much contemporary art cannot
be contained within the traditional categories of
painting and sculpture, and when technology is
transforming the production of visual images,
the Studio Arts Program at Bard has expanded
the breadth of its offerings while retaining a
strong core of courses that provide a firm
grounding in basic techniques and principles.
The Studio Arts Program is available to both
the student who wishes to major and moderate
into the program as well as the student who
wishes to experience the visual arts and apply
that experience to other disciplines.
The student who wishes to moderate into the
program and graduate with a degree in studio arts
must complete the following course components:
Sophomore Seminar (when offered)
Junior Seminar
Senior Seminar
Two art history courses (one to be completed by
the time of Moderation)

185
186 The Arts
Three studio courses from among the following
must also be completed:
Drawing I, II, III
Painting I, II, III
Printmaking I, II, III
Sculpture I, II, III
Cybergraphics I, II, III
Moderating in the Studio Arts Program
At the end of their fourth semester and after
having completed at least 40 credits, students
who wish to moderate in studio arts are asked to
present a body of work to a group of three faculty
membersdetermined by the department and
including the students adviserfor approxi-
mately 30 minutes. The objective of this meeting
is to assess the students work to date, to clarify
strengths and weaknesses, and to discuss curricu-
lar and academic goals for the rest of the stu-
dents Bard career.
Before the board takes place, three papers are
written for each board member.
An evaluation of work to date
Plans for future study at Bard
Critical analysis of one work of art of own
selection
Finally, the student must participate in a group
exhibition of the artwork of prospective majors.
Moderated, qualified studio arts majors are eligi-
ble for the final workshop component of the
Studio Arts Program, which consists of Level III
studio classes in a variety of painting, drawing,
sculpture, cybergraphics, and printmaking options.
The content of each studio class and the degree
of structure are up to the individual instructor.
Admission is by portfolio. In order to receive
maximum exposure to the studio arts faculty,
studio arts majors are encouraged to take classes
with a different professor each semester.
The intention of the studios is to reinforce the
skills and perceptions honed in the basic courses;
to offer experience in specific areas, such as
printmaking and installation; and to develop
students abilities to execute their own projects
and thus prepare them for work on their Senior
Projects.
The Junior Seminar is required of all art majors in
their third year and consists of presentations and
projects designed primarily by individual stu-
dents in order for the whole group to focus on
specific issues. The Senior Seminar provides a
weekly forum for Senior Project critiques and
discussions of student work in which the prepa-
ration of exhibitions is strongly stressed.
A large exhibition space in the Fisher Studio
Arts Building permits an ambitious schedule of
exhibitions, which are an integral component of
the program. In addition to open student exhi-
bitions, Senior Project shows, and Moderation
exhibitions, student work on particular themes is
exhibited at student-curated and faculty-curated
shows. Bards Center for Curatorial Studies is
another on-campus site for exhibitions of con-
temporary art. The Bard College Exhibition
Center, a 16,000-square-foot gallery and studio
space in the village of Red Hook, gives graduat-
ing seniors the opportunity to present their
Senior Projects in a professional space dedicated
solely to the exhibition of student work.
Visits to museums and galleries in New York City
are a requirement of many courses and seminars
and are otherwise encouraged.
Core faculty: Arthur Gibbons and Judy Pfaff
(directors), Laura Battle, Ken Buhler, Daniella
Dooling, Nicole Eisenman, Kenji Fujita, Bernard
Greenwald, Paul Ramrez Jonas, Medrie MacPhee,
Lothar Osterburg, Sigrid Sandstrm, Joseph
Santore, Hap Tivey, William Tucker
Cybergraphics I
Art 100 Integrated Arts
An introduction to graphic creation using the
computer as a compositional tool. The imaging
potentials of a variety of graphic applications are
discussed and demonstrated during the first half
of the course; the second half focuses on individ-

ual projects. Basic computer skills are required;
minimal ability in Adobe Photoshop or a com-
parable application is recommended.
Painting I
Art 101-102
An introduction to the fundamentals of paint-
ing, with an emphasis on working from still life,
landscape, and the figure. Students explore
composition, color, gesture, surface, shape, space,
and volume, as well as new approaches to creat-
ing images. Work is done in oil paints, on small
to very large canvases. A background in drawing
is helpful.
Sculpture I
Art 105-106
Through an exploration of materials, process,
and site, this course addresses several ideas rele-
vant to contemporary art. What is the relation-
ship between form and content? When does the
process of making become more important than
the object produced? What is the relationship
of craft to art production? How and when does
installation become just another material? How
can ones own body become both subject and site
for a work of art? These ideas are explored through
a series of projects and through readings, slides
of historical and contemporary art, and class dis-
cussion. Technical demonstrations include
woodshop, mold making, casting, and welding.
Drawing I
Art 107-108
Drawing is the basis of visual intelligence. It
enables us to envision and manipulate masses in
space as light reveals them. This course examines
perception, drawing from objects, the human fig-
ure, masterworks, and interior and exterior spaces.
Students learn to critique each others work orally
and in written form. Some drawings are made col-
laboratively and some explore scale, as assign-
ments include drawings that are both very small
and mural-sized.
Printmaking I
Art 109-110
An in-depth introduction to all the basicand
some advancedprocesses of intaglio, from dry-
point and etching to aquatint, wiping, and print-
Studio Arts 187
ing. The class looks at classic and contemporary
uses of intaglio by artists, and students apply the
learned skills to projects of their own choosing.
Basic knowledge of visual language and drawing
skills are required.
Level II Studios
Thematic and technique-based studio classes in
painting, drawing, printmaking, cybergraphics,
and sculpture. Examples of 200-level courses
follow.
Cybergraphics II
Art 200 Integrated Arts
This class addresses advanced strategies for
image creation and enhancement in graphics
applications, using Photoshop, Illustrator, Flash,
Maya, and Final Cut. Emphasis is placed on how
the programs work together and support one
another. Students create prints, text, and anima-
tion in the context of contemporary art issues,
ranging from digital prints and process presenta-
tions to documentation. Prerequisite: Art 100,
an equivalent introductory digital-imaging class,
or permission of the instructor.
Painting II: Abstr-ACT-ion
Art 201 Integrated Arts
The Latin word abstrahere, from which the word
abstract is taken, means, to draw from, to remove,
to separate. In this course, students explore
extracting from things in the real world as well
as from the imagined one. Additionally, they
work to understand color theory and the proper
use of materials and techniques. Prerequisites:
Painting I and, preferably, a drawing class. Students
are expected to be able to build and stretch large
canvases.
Painting II
Art 202
While this course extends the perceptual articu-
lation and essential painting skills learned in
Painting I, class projects also develop approaches
to painting based in abstraction and in the
imagination. Particular attention is given to
understanding the various roles that color can
play in creating structure and meaning in a
painting. Self-motivation, extensive work outside
188 The Arts
of class, and a commitment to acquiring the
necessary physical materials are required.
Sculpture II: Compulsive Process
Art 205
Chewing, welding, washing, licking, sewing, cast-
ing, baking, eating. This course focuses on how
an artists process and the qualities inherent in
specific materials can combine to create works of
art. Through a series of projects, students inves-
tigate the notion of process, as it was defined
in the late 1960s and as it has evolved into its
current manifestation in the practice of contem-
porary art making.
Sculpture II
Art 206
Students work on four projects over the semester
in which they take an idea, develop it, and extend
it by working with shifts in scale, process, and
materials. Emphasis is also placed on the physical
experience of sculpture; for example, students
consider the differences between an object that
can be held in ones hand and a freestanding
structure that one can walk around. Students use
a range of materials from sources that include art
supply stores, hardware/gardening centers, and
99-cent shops. Studio work and group critique are
supplemented by presentations of contemporary
art, readings, and a field trip to New York City
galleries. Prerequisite: Sculpture 1 or permission of
the instructor.
Drawing II: Drawing from Nature
Art 207
The term drawing from nature is used both lit-
erally and figuratively. Part of this course is ana-
lytical in nature and utilizes perceptual work
(including observation through microscopes) to
acquire visual information about basic structures
in nature, growth patterns, and other phenomena
less than immediately apparent to the eye. This
visual data is adopted for continued exploration
on drawing projects. Prerequisite: Art 107-108.
Drawing II: Mixed Media
Art 208
An exploration of drawing materials, ranging
from traditional media to collage and transfers.
The class works from memory, dreams, and texts,
rather than from perception. Color theory is
examined and emphasized.
Printmaking II: Intaglio for the
Draughtsman
Art 209
This course covers the basics of intaglio print-
making, etching, drypoint, engraving, aquatint,
and mezzotint and emphasizes subject matter
drawn from observation of the natural world.
Students should have had a formal basic drawing
course or be able to demonstrate competence in
drawing. The class examines master prints in a
museum setting and learns the principles of
archival conservation of works on paper.
Printmaking II: Book Projects,
Text, and Prints
Art 210
Offered in conjunction with Cybergraphics II, this
examination of the book as an art object includes
traditional handmade plate-making processes for
illustration and imagery. Building on the layout
and image software programs introduced in
Cybergraphics II, students explore the translation
of relevant output methods of digital media into
photographic printing processes, including letter-
press, silkscreen, photo etching, lithography or
cyanotype for text and photographic imagery, and
intaglio or relief printing for handmade imagery.
Prior printmaking experience is strongly advised.
Permission of the instructor is required.
Additional examples of Level II studios:
Cybergraphics II: Strategies for Digital Painting
Drawing II: The Figure
Drawing II: Drawing as Quest
Painting II: The Painterly Print
Painting II: Painting as Place
Printmaking II: Multiple-Plate Color
Printmaking II: Screen Printing
Sculpture II: In Between Painting and Sculpture
Creating the Comic-Strip Novel
Art 228 Integrated Arts
What was once dismissed as comic book art
has emerged as a genre capable of expressing a
full range of profound human emotion. Art
Spiegelman (Maus) and Ben Katchor (Cheap
Novelties) have given new credibility to the
notion of serious fiction in which serial drawings

are as essential as text. In this course students
use the strip format to produce two short pieces
and one longer piece of original picture fiction
or reportagedeveloping a story line and dia-
logue, executing the drawings and text, and
making the finished art. Prerequisite: some
demonstrated competence in drawing.
The Practice of Sculpture
Art 235 Art History
This course investigates the practical aspects of
making sculpture together with a detailed study
of the history of modern sculpture in Europe and
North America. Weekly lectures focus on the
work of an individual sculptor or group of sculp-
tors, and a workshop illustrates some aspect of
studio practice. Students learn firsthand how
technical processes and the character of materi-
als affect the development of modern sculp-
turein clay, wax, and plaster modeling, and in
different methods of casting, carving, welded
construction, and fabrication. In bridging the
concerns of the academic discipline of art his-
tory and studio practice, students undertake sig-
nificant critical reading and writing for the
course while also being invited to develop inde-
pendent studio projects based on course work.
Level III Studios
Upper-level studio classes in painting, drawing,
printmaking, cybergraphics, and sculpture. Studios
in painting and drawing may have two levels,
corresponding to intermediate and advanced.
Admission is by portfolio, though students seek-
ing to enroll are expected to have completed at
least one basic course in the chosen discipline.
In order to achieve full circulation through this
structure, students are strongly encouraged not
to repeat courses taught by the same faculty.
Cybergraphics III: Digital Graphics/
Text
Art 300 Integrated Arts
This class addresses the theories, tools, and tech-
niques employed in the digital creation of graphic/
text artwork. Using computer software and digital
printers, students examine various approaches to
creating image/text combinations in the tradi-
tions of graphic novels, manga, and contemporary
painting. A basic understanding of Photoshop is
Studio Arts 189
required. Software instruction includes more com-
plex strategies in Photoshop as well as introduc-
tions to Illustrator, Manga Studio, Poser, and
Zaxwerks ProAnimator. Although animations are
a potential area of expression, the primary focus is
on printed images, alone and in sequence.
Painting III
Art 301
Intended for juniors and seniors who are concen-
trating in the studio arts, as well as anyone who
has completed Painting II, this course simultane-
ously expands students vocabulary for painting
and helps them find their voice. Students explore
alternative formatse.g., shaped and multipan-
eled paintingsas well as alternative strategies to
the static image and the juxtaposition of different
styles and techniques. Students work indepen-
dently to develop a personal train of thought in
their work and ultimately produce a series of
related works.
Art Talk
Art 303
The class consists of two alternating parts. The
first part takes place in New York City, where stu-
dents visit galleries, museums, and studios. The
second part is a seminar on campus in which stu-
dents learn how to present and document their
work and develop portfolios. They also become
familiarized with the ins and outs of computer pre-
sentations, grant research, etc. Open to 10 stu-
dents by permission of the instructor.
Sculpture III
Art 305
An advanced-level sculpture course that deals
with all aspects of construction in a wide variety
of materials, especially metals and plastics. Stu-
dents address actual and illusionary movement,
the dynamics of scale in relation to the body, light
as transparency and reflection, and the communi-
cation of energy through the articulation of space.
Open to eight qualified students.
Drawing III
Art 307
This advanced studio course explores the range of
drawing in its traditional and experimental forms,
from the observed to the imagined. Particular
attention is given to expanding the sources of
190 The Arts
visual information upon which a student may
draw for personal imagery. The goal is to help stu-
dents locate ideas essential to their art and to
develop those ideas in the process of drawing. In
addition to classroom assignments, students are
expected to develop independent drawing pro-
jects in consultation with the professor. Pre-
requisites: Art 107108 and Art 207.
Printmaking III: Photogravure
Art 310
Photogravure, popularized in the 19th century, is
a continuous-tone photographic intaglio process.
A copper plate is etched gradually from the deep-
est shadows to the brightest highlights, producing
a much wider range of tones than any other pho-
tographic process. As beautiful as photogravure
can be, it is a difficult process to understand and
master; this course, therefore, requires a great
commitment in time and independent planning.
Prerequisite: prior photo experience or a solid
printmaking background.
Additional examples of Level III studios:
Painting III: The Big Kahuna
Painting III: Large Scale
Sculpture III: After the Monument
Sculpture III: Drawing and Sculpture
Drawing III: Drawing Sources
Drawing III: Extreme Process
Cybergraphics III: Virtual Sculpture
Fine Art Photography /
Photographic Fine Art
Art 323 Photography
This course provides conceptual and technical
solutions for the continuously increasing role
that photography plays in the fine arts. Directed
primarily at studio arts majors, it involves no
darkroom work. Students use slides, Polaroid
prints, found images, or digital output to make
artworks employing photography. For the first
several weeks, assignments are given; after that,
students pursue individual projects.
Seminars
Sophomore Seminar
Art 230
Designed for sophomore studio arts majors, this
course serves to familiarize students with the
basic social, historical, critical, and conceptual
themes of 20th-century art. Close readings of art
works and primary and interpretive texts form
the basis of class work. The course includes trips
to area museums and galleries.
Junior Seminar
Art 330
Students examine the history of modern and
contemporary art and explore the place of their
own art making within that history. They read
and discuss essays by artists and critics, view
slides of the work of historically significant
artists, and participate in lectures by visiting
artists. Students also show and critique their
own artwork, present a personal art chronology,
write an artists manifesto, and participate in an
end-of-semester group project. Required of all
studio arts majors; open to other Arts Division
majors as space allows.
Senior Seminar
Art 405-406
All studio arts majors (and interested photo-
graphy majors) engaged in Senior Projects meet
for a weekly seminar/critique/discussion. The aim
is to create a forum for a continual exchange of
views and ideas among senior students and to
encourage and develop skills in articulating ideas
in speech and writing. The seminars form and
subject change from week to week but include
writing assignments, group critiques of student
work, discussions of exhibitions on campus, and
conversations with guest speakers.

Art History
The Program in Art History offers the opportu-
nity to explore visual art and culture through
courses across a broad range of periods and soci-
eties, and through close student-teacher contact.
The program emphasizes learning how to look
at and write about works of art, particularly in
introductory courses. Bards proximity to New
York City allows for frequent visits to museums
and galleries. The program arranges bus trips
each semester, open to all majors and to nonma-
jors if space permits. Courses are frequently
designed in conjunction with museum exhibi-
tions, and class visits to current shows in New
York galleries are an important aspect of semi-
nars in contemporary art.
In addition, the art and architecture of the
Hudson Valley provides a fruitful resource for
original research. The program maintains close
contact with local institutions so that students
can study original documents and work as vol-
unteer interns during the summer or the January
intersession. Advanced students may also work
with faculty at the Center for Curatorial Studies
and Art in Contemporary Culture and at The
Bard Graduate Center for Studies in the
Decorative Arts, Design, and Culture in New
York City.
Students intending to major in art history should
work closely with their adviser to develop indi-
vidual study plans that reflect their interests and
ultimately meet the programs distribution require-
ments. The distribution requirements of the pro-
gram are intended to give the student the chance
to encounter a wide range of artistic practices
across cultures and time. Students are encour-
aged to sample fully from the range of courses
offered and take complete advantage of the
diverse faculty. Students need a total of four art
history courses to moderate, including either
Perspectives in World Art I or II (Art History 101,
102). Moderated students are required to take at
least one program course per semester thereafter.
Course requirements for graduation in art history
include (in addition to either Art History 101 or
102): one studio art course; Art Criticism and
Methodology (Art History 385, typically taken in
Art History 191
the junior year); one non-Western civilization
art history course; one course covering the
ancient to 1400 C.E. period; one course covering
the 1400 to 1800 C.E. period; one course covering
the period from 1800 to the present; and at least
two 300-level art history seminars (in addition to
Art History 385). A single course may satisfy the
historical period requirement, non-Western
requirement, and seminar requirement.
Students are also strongly encouraged to take
additional courses in studio arts, film and elec-
tronic arts, integrated arts, literature, history,
religion, philosophy, and other areas (with par-
ticular emphasis on courses that develop writing
skills). Before undertaking the Senior Projecta
major thesis that examines an original art histor-
ical issuethe student is encouraged to demon-
strate reading knowledge of a language other
than English. Each May, seniors give a short pre-
sentation of their project topics in an informal
colloquium.
Core faculty: Laurie Dahlberg (director), Susan
Aberth, Noah Chasin, Jean M. French, Patricia
Karetzky, Susan Merriam, Diana Minsky, Luc
Sante, Tom Wolf
Recent Senior Projects in Art History
Scallop, Staff, and Scrip: Accoutrements of the
Camino de Santiago Pilgrim in Romanesque
Sculpture and the Formation of a Pilgrim
Identity
The Mythic Pennsylvania Station: Civic
Space in a Material World
Collection and Perception: A Mule-back Ride
through Northern Spain and the Hispanic
Society of America
Re-visioning Enchantment: Cultural
Hybridity and Appropriation in the Arts of
Luis Tapia, Ray Martin Abeyta, and Diego
Romero
The Peoples Square: Sociopolitical Agendas
and the Transformations of Architecture and
Public Space in Shanghai, 1860s1990s
192 The Arts
Perspectives in World Art I, II
Art History 101, 102 Africana Studies,
LAIS
This two-semester course introduces the breadth
and diversity of the visual arts worldwide. In the
first semester the class examines painting, sculp-
ture, architecture, and other cultural artifacts
from the Paleolithic period through the 14th
century. The second semester of the survey
begins in the 14th century and ends in the pre-
sent. The class surveys painting, sculpture, and
architecture as well as works in newer media,
such as photography, video, and performance. In
both semesters, works from Europe, Asia, Africa,
and the Americas are studied chronologically in
order to provide a more integrated historical
context for their production. In addition to the
course textbook, readings are chosen to broaden
critical perspectives and present different method-
ological approaches. The course is designed for
students with no background in art history and
those who may be contemplating a major in
either art history or studio arts. First-year stu-
dents and sophomores are welcome.
Art and Nation Building
Art History 110 American Studies
This course explores the contribution of the visual
arts to the conceptualization of an American
national identity, from the founding of colonies
through the Civil War and Reconstruction. The
class examines artistic efforts to portray the
political experiment of democracy. How should
leadership be portrayed? National character?
Among the topics considered are the role of
visual culture in constructing meanings of race,
class, and gender; the importance of various
genres of painting to national politics and cul-
ture; the emergence of American artistic institu-
tions; and the relationship of American art
making to European traditions. The course serves
as an introduction to the painting, sculpture,
photography, and graphic arts of North America.
History of Photography
Art History 113 / Photography 113
Victorian Studies
The discovery of photography was announced in
1839, almost simultaneously by several inven-
tors. Born of experiments in art and science, the
medium combines vision and technology. It pos-
sesses a uniquely intimate relation to reality and
for this reason has many applications outside the
realm of fine art; nevertheless, from its incep-
tion photography has been a vehicle for artistic
aspirations. This survey of the history of photog-
raphy from its earliest manifestations to the
1970s considers the mediums applications as
art, science, historical record, and document.
This course is open to all students and is the pre-
requisite for most other courses in the history of
photography.
History of the Decorative Arts
Art History 114
A survey of the decorative arts from the rococo
period to postmodernism. Students explore the
evolution of historical styles as they appear in
furniture, interiors, fashion, ceramics, metal-
work, and graphic and industrial design. Objects
are evaluated in their historical contexts, and
formal, technical, and aesthetic questions are
also considered. Two or more trips to museums
to see decorative arts collections are included.
Survey of African Art
Art History 122 Africana Studies, LAIS
This introductory course surveys the vast array
of art forms created on the African continent
from the prehistoric era to the present, as well as
arts of the diaspora in Brazil, the Americas,
Haiti, and elsewhere. In addition to sculpture,
masks, architecture, and metalwork, students
examine beadwork, textiles, jewelry, house
painting, pottery, and other decorative arts.
Topics explored include implements of divina-
tion, royal regalia, music and dance, funerary
practices, and the incorporation of Western
motifs and materials.
Japanese Arts of the Edo Period
Art History 124
After 500 years of civil war, Japan entered the
Edo period, when a stable government estab-
lished peace that lasted until the modern era.
From 1615 to 1868, Japan and its capital at Edo,
the modern Tokyo, underwent a number of dra-
matic changes that are readily apparent in the
art and architecture. This course examines the
painting styles that characterize the period,
including the native, Western-influenced, Zen,

genre, and aristocratic, as well the development
of printmaking as represented by Utamaro,
Hokusai, and Hiroshige. Contemporary devel-
opments in architecture, textiles, and ceramics
are also viewed, and contemporary literature is
studied for the cultural and historical context it
provides for understanding the art.
Modern Architecture: 1850 to 1950
Art History 125
This course examines the history of modern
architecture from its emergence in Western
Europe during the 19th century to its widespread
presence and diversification by the end of World
War II. Particular attention is paid to the way in
which architects have responded to, and partic-
ipated in, formal and aesthetic developments in
other arts, as well as broader technological, eco-
nomic, and sociopolitical transformations. As
architecture encountered the industrialized
condition of modernity and the metropolis, it
gave rise to a fascinating range of aesthetic and
programmatic experimentations. Covering many
aspects of architecturefrom buildings, draw-
ings, models, exhibitions, and schools to histor-
ical and theoretical writings and manifestos
the course investigates a range of modernist
practices, polemics, and institutions.
Architecture since 1945
Art History 126
A survey of the major transformations in archi-
tectural practice and debate since the end of
World War II, with a focus on the challenges
aimed at the modernist discourses of the early
20th century. These challenges and critiques
begin with New Brutalism and encompass region-
alism, neorationalism, corporate modernism,
so-called blob architecture, and various per-
mutations of these models. Attention is also
paid to alternative and experimental practices
that deal with pop art, cybernetic, semiological,
and new media discourses. The course concludes
with the impact on built form of globalization
and advanced information technologies.
Introduction to Visual Culture
Art History 130
An introduction to the discipline of art history
and to visual artifacts more broadly defined.
Participants learn ways to look at, think about,
Art History 193
and describe art through writing assignments
based on observation of works at museums and
galleries. This course is designed for anyone with
an interest, but no formal course work, in art
history. First-year students and prospective majors
are encouraged to enroll.
Survey of Islamic Art
Art History 140 Africana Studies
A survey of Islamic art in Iran, Syria, Egypt,
Turkey, North Africa, Spain, China, India,
Indonesia, and other regions, from the death of
Muhammad in 632 C.E. until the present.
Architectural monuments (their structural fea-
tures and decoration) are studied as well as the
decorative arts in all the various mediapot-
tery, metalwork, textile and carpet weaving,
glass, jewelry, calligraphy, book illumination,
and painting. Students visit the Metropolitan
Museum of Art to view its Islamic collection.
Survey of Latin American Art
Art History 160 LAIS
A broad overview of art and cultural produc-
tion in Latin America, including South and
Central America, Mexico, and the hispanophone
Caribbean. A survey of major pre-Columbian
monuments is followed by an examination of
the contact between Europe and the Americas
during the colonial period, 19th-century Euro-
centrism, and the reaffirmation of national iden-
tity in the modern era.
Arts of Buddhism
Art History 194 Asian Studies, Religion
Buddhism began in India around the sixth cen-
tury B.C.E. with the philosophical meditations
of the historic Buddha. Self-reliance and disci-
pline were the primary means to achieve release
from suffering. Within 500 years the philosophy
evolved into a religion incorporating new ide-
ologies of the Buddha of the Future as well as
paradisaical cults. A new pantheon of deities
appeared with the powers to aid mankind in its
search for immortality. Buddhist pictorial art
begins with auspicious emblems representing
key ideas of the doctrine and anthropomorphic
images of the Buddha; later, the new pantheon
is formulated and employed in the art. This
course analyzes the development of Buddhist
art in India from its earliest depictions and its
194 The Arts
transmission through Southeast Asia, Central
Asia, China, and Japan.
Greek Art and Architecture
Art History 201 Classical Studies
The development of Greek sculpture, vase
painting, and architecture is traced from the
geometric period through the Hellenistic age.
Topics include the development of the free-
standing, life-size nude from Egyptian sources;
the depiction of myths and daily life in painting;
and the political alliances and institutions that
shaped Greek architecture. The stylistic vocabu-
lary and iconography set forth not only expressed
contemporary beliefs, attitudes, and policies, but
also laid the foundation for future Western art
and architecture.
Roman Art and Architecture
Art History 210 Classical Studies
This course follows the development of Roman
art and architecture from the founding of the
city by Romulus in 753 B.C.E. to the transfer of
the capital to the east by Constantine in 330
C.E. Lectures and discussions explore how Rome
incorporated and synthesized the styles and
achievements of conquered peoples (including
Etruscans, Greeks, and Egyptians) to produce
something entirely new that not only communi-
cated the nature of the empire but also estab-
lished a common artistic vocabulary throughout
the Mediterranean basin. The ability of art and
architecture to communicate political policy
and the conversion of the classical into the
Christian are among the themes of the course.
The Classical Tradition in Western
Architecture
Art History 213 Classical Studies
A lecture-based examination of classicism in pub-
lic architecture from its beginnings in ancient
Greece to its presence in contemporary America.
After defining the formal vocabulary, monu-
ments, and symbolic associations of classicism,
the focus shifts to the Italian Renaissance and
its revival of the classical vocabulary through
archaeology, architectural treatises, and the
adaptation of classical types to Christian func-
tions. Also explored are the impact of the
Enlightenment, the discovery of Pompeii, and
the role of classical architecture in America from
Jefferson to postmodernism.
Leonardos Last Supper and the
Reception of Renaissance Iconography
Art History 216 Italian Studies, STS
This seminar situates Leonardos recently
restored Last Supper within the Renaissance tra-
dition of Last Suppers and depictions of the
life of Christ. Various interpretations of the
painting are studied, including Leo Steinbergs
Leonardos Incessant Last Supper and his contro-
versial Sexuality of Christ in Renaissance Art and
in Modern Oblivion. Other readings include
works by Vasari, Leonardo, Goethe, Freud,
Panofsky, Clark, Kemp, and Pedretti. Students
are expected to have read Dan Browns The Da
Vinci Code prior to the beginning of class, in
order to consider the validity of its assertions.
Requirements include critical essays and class
presentations. Some knowledge of Renaissance
art, literature, or culture is helpful. Prerequisite:
permission of the instructor.
Celtic Art from Its Beginnings
through the Viking Invasion
Art History 218 ICS,
Medieval Studies
Through a study of archaeological remains,
myths and sagas, and non-narrative art, this
course explores the origin and identity of the
Celts, the rich variety of their material way of
life, their institutions, and their attitudes toward
the supernatural. The course begins with the
Continental Celts, who left their treasures
throughout Iron Age Europe, from the Balkans
in the east to France and Spain in the west.
Students become familiar with chariot graves
and their princely goods; sanctuaries devoted to
the cult of the head; and swords, helmets,
cauldrons, torques, and braceletsall decorated
with the swirling and intricate patterns of the
Celtic imagination. Also studied are the migra-
tion of the Celts to Ireland and Britain, prehis-
toric passage graves (Newgrange, Dowth, and
Knowth), Irish gold ornaments, dwellings, forti-
fications, sacred sites, and mysterious stones
(ring forts, crannogs, Navan Fort, the Hill of
Tara, etc.). Traditions associated with the com-
ing of Christianity include the beehive huts and
oratories of ascetic monks and the high crosses

and round towers that even today dot the land-
scape. The course concludes with an examina-
tion of Celtic objects found in Viking and
Anglo-Saxon graves (Sutton Hoo), as well as
the cultural impact of Viking raids and settle-
ments in Celtic Ireland.
Art of the Northern Renaissance
Art History 219
A survey of painting in Flanders, the Netherlands,
and Germany during the 15th and 16th cen-
turies. The course opens with an examination of
the remarkable innovations of Flemish and
Dutch artists working abroad, primarily under
the patronage of the French court. It then shifts
to the emergence, in the north, of new forms of
painting in the work of Hieronymus Bosch,
Pieter Bruegel, Albrecht Drer, Hans Holbein,
Jan van Eyck, and Rogier van der Weyden. The
class examines developments in landscape and
portraiture (including engagement and marriage
portraits), the use of oils, and changing patron-
age, as well as the influence of various philo-
sophical and religious movements, including
nominalism, the Devotio moderna, and mysti-
cism. Particular attention is paid to controversial
works (alleged references to alchemy, witch-
craft, and heretical sects in the paintings of
Bosch) and recent interpretations of old favo-
rites (The Arnolfini Wedding of van Eyck).
Early Medieval Art and Architecture
Art History 220 Classical Studies,
Medieval Studies
An examination of art from the age of
Constantine to 1000 C.E., including catacomb
painting, the early Christian basilica and mar-
tyrium, the domed churches of the East, and
Byzantine mosaics and icons. The class explores
the contrasting aesthetic of the migrations, the
animal style in art, the Sutton Hoo and Viking
ship burials, the golden age of Irish art, the
Carolingian renaissance, the treasures of the
Ottonian empire, and the art of the millennium.
Special emphasis is given to works in American
collections.
Art History 195
The Gothic Cathedral and the
Gothic Revival
Art History 224 French Studies,
Medieval Studies
This course investigates the structure and
symbolism of the great cathedrals (Chartres,
Bourges, Amiens, Reims, Beauvais) within the
changing dynamics of contemporary society.
Architecture, stained glass, and sculptural pro-
grams are analyzed in relation to technological
innovations, political and economic change, the
demands of patrons, and increasing urban inter-
est. Concluding sessions, which include field
trips, explore the romantic, symbolic, and aes-
thetic attitudes underlying the Gothic revival of
the late 18th and 19th centuries through a study
of the styles major prophets and diverse archi-
tectural manifestations, including Strawberry
Hill, the American college campus, and the
National Cathedral in Washington, D.C.
Roman Urbanism from Romulus
(753 B.C.E.) to Rutelli (2000 C.E.)
Art History 227 Classical Studies,
Italian Studies
Politicians and popes, from the Emperor Augustus
to the current Italian government, conscious of
the historical significance of urban topography
and architectural type, have crafted Rome into a
capital that suits their ideological aims. This
course focuses on the commissioning of large-
scale representational architecture, the creation
of public space, the orchestration of streets, and
the continuing dialogue between past and pre-
sent in the city of Rome.
Topics in Contemporary
Latin American Art
Art History 229 LAIS
This course presents a comprehensive overview
of the artistic practices and intellectual dis-
courses relevant to contemporary art production
in Latin America. Painting, sculpture, photogra-
phy, video, glass, ceramics, textiles, perfor-
mance, and installation art are examined, along
with the theoretical issues that inform them.
Topics discussed include postcolonial theory, the
history of abstraction in Latin America,
national identities, the legacy of muralism, reli-
gious syncretism, ecologies, and border issues.
Open to all, but it is strongly suggested that
196 The Arts
interested students first take Art 160, Survey of
Latin American Art.
The Early Renaissance
Art History 230 Italian Studies
A survey of Italian painting and sculpture of the
14th and 15th centuries. Major trends from
Giotto and Duccio through Piero della Francesca
and Botticelli are analyzed within a wider cul-
tural context. Consideration is given to the evo-
lution of form, style, technique, and iconography;
contemporary artistic theory; and the changing
role of the artist in society.
The High Renaissance
Art History 231 Italian Studies
A study of major painters and sculptors of the
High Renaissance in Florence and Rome, focus-
ing on the works of Leonardo, Michelangelo,
and Raphael. The class considers the origin and
development of a monumental style in Italian
art and concludes with an examination of the
work of selected mannerist artists.
Italian Renaissance Architecture
Art History 232 Italian Studies
This course traces the development of architec-
ture and urbanism in Italy from the beginning of
the 15th century through the 16th century.
Proceeding more or less chronologically from
Florence to Rome and Venice, the class situates
the architecture and ideas of Brunelleschi, Alberti,
da Vinci, Bramante, Raphael, Michelangelo,
and Palladio (yes, they were all architects)
within their political and theological contexts.
The class also explores how the contradictions
between the Renaissance and ancient Rome
gave birth to both modern archaeology (the
study of the material remains of the past) and
modern architectural theory (the formulation of
suitable styles for the future). The second half of
the course focuses on the modifications in archi-
tectural form and theory during the Counter-
Reformation and the ways the achievements of
the Italian Renaissance were transplanted to
France, Spain, and England.
A Tale of Two Cities
Art History 235
This course addresses basic issues of architecture
and urbanism through a comparative analysis of
the most culturally significant urban centers of
Russia and the United States. Through readings,
visual analyses of buildings, cartographic docu-
ments, and films, students discuss fundamental
questions about what comprises an urban iden-
tity. The class meets twice a week, once via
videoconference with students at Smolny College
in St. Petersburg. The course has no prerequi-
sites, although preference is given to those stu-
dents with either an architectural / art historical,
urban studies, or Russian studies background.
Photography 1950 Present: From
Human Documents to the Image
World
Art History 247 / Photography 247
Human Rights, STS
See Photography 247 for a full course description.
Roma in Situ
Art History 248 Classics
This class consists of two weeks of walking, talk-
ing, looking, and learning in Rome, followed by
class meetings to discuss secondary scholarship
and present student research. In Rome, the first
week focuses on the ancient city, while the
second week focuses on postantique (Early
Christian, Renaissance, Baroque, and contem-
porary) art and architecture. In addition to lec-
tures, class time is spent at archaeological sites,
in museums, or in churches. Prerequisite: success-
ful completion of one of the following courses:
Rise and Fall of Ancient Rome (Classics 103),
Roman Art and Architecture (Art History 210),
Roman Urbanism (Art History 227), Tacitus and
Gibbon (Classics 333), or Latin 101, 201, or 301.
19th-Century British Art: From Blake
to Beardsley
Art History 252
A survey of 18th- and 19th-century art in
England, with a focus on major figures such as
Blake, Constable, Turner, the Pre-Raphaelites,
and Beardsley. Victorian genre painting is also
considered. The semester concludes with a study
of the British Arts and Crafts movement, as
inspired by John Ruskin and William Morris.

Edith Wharton and Architecture
Art History 255 American Studies
Edith Whartons first book, The Decoration of
Houses (1898), dealt with domestic decoration,
not domestic drama, and she continued her
interest in the meaning and appropriateness of
architectural styles throughout her career. In her
short stories and novels, architecture not only
sets the stage and mood, but also emerges as a
character or chorus contributing to, commenting
on, or controlling the action (or inaction). This
course analyzes Whartons narratives in the con-
text of the architectural principles she expounds
and the building boom of the Gilded Age.
Art in the Age of Revolution:
European Painting, 17601860
Art History 257
A social history beginning with the art of the
prerevolutionary period and ending with real-
ism. Major topics include changing definitions
of neoclassicism and romanticism; the impact of
the revolutions of 1789, 1830, and 1848; the
Napoleonic presence abroad; the shift from
history painting to scenes of everyday life;
landscape painting as an autonomous art form;
and attitudes toward race and sexuality. Emphasis
is placed on French artists such as Corot,
Courbet, David, Delacroix, Gricault, Greuze,
Ingres, and Vige-Lebrun; Constable, Friedrich,
Goya, and Turner are also considered.
Manet to Matisse
Art History 258 French Studies
A social history of French painting from 1860 to
1900, beginning with the origins of modernism
in the work of Manet. Topics include the
rebuilding of Paris under Napoleon III, changing
attitudes toward city and country in impression-
ist and symbolist art, the gendering of public
spaces, and the prominent place of women in
representations of modern life. The course
addresses vanguard movements such as impres-
sionism and postimpressionism and the styles of
individual artists associated with them, as well
as the work of academic painters.
Realism and Impressionism
Art History 261
French painting in the mid-19th century is often
considered one of the high points in the history
Art History 197
of European art, and many trace the origins of
modern art to that place and time. This course
surveys two of the movements central to that
period. The realists, painters of everyday life,
were led by Gustave Courbet and Jean-Franois
Millet. They were followed in the 1860s by the
impressionists, among them Mary Cassatt, Edgar
Degas, Edouard Manet, and Claude Monet. The
careers of these artists are examined as they
reacted to the art of the major painters who pre-
ceded them and responded to the political and
cultural conditions of 19th-century Paris. Open
to all students, with priority given to those who
have taken a 100-level course.
German and Austrian Expressionism
Art History 262
A survey of 20th-century German and Austrian
art, with brief forays into Scandinavian art. The
emphasis is on Germany, from Jugendstil through
expressionism, dadaism, Neue Sachlichkeit, Nazi
and concentration camp art, and the postWorld
War II era. Artists studied include Wassily
Kandinsky, Ernst Ludwig Kirchner, Paul Klee,
and Egon Schiele. The course concludes with a
look at more recent artists, including Bernd and
Hilla Becher, Joseph Beuys, Sigmar Polke, and
Gerhard Richter, and their connections to previ-
ous German artistic tendencies.
Dada and Surrealism
Art History 265
A survey of the two major artistic movements
following World War I in Europe. Introductory
lectures on the earlier modernist movements in
Paris, particularly cubism, are followed by a
study of the iconoclastic art of dadaists such as
Hans Arp, Marcel Duchamp, and Man Ray. The
course concludes with an examination of the
surrealist group, including Max Ernst, Ren
Magritte, Andr Masson, and Joan Mir.
Shantytowns, Bidonvilles, Favelas
Art History 268 Human Rights,
SRE, Studio Arts
The shantytown, the slum, the favela, and the
bidonvilleby some estimates, these communi-
ties are home to one-third of the worlds urban
dwellers. They arise in in-between spaces: the
border between two countries, the ring between
urban and rural, the area between downtown
198 The Arts
and suburb, the sidewalk between shop and
street. The results are self-organizing communi-
ties that rely on political collaboration, recy-
cling of materials, and an informal architecture
based on contingency and necessity. Through
readings, slide lectures, discussion, and field trips,
students in this seminar/studio class look into
how the communities informal architecture,
improvised city planning, and use of recycled
materials are influencing projects by urban plan-
ners, architects, and artists. From the studio
perspective, the class attempts to negotiate the
inherent problem of looking at some of the worlds
poorest communities for aesthetic value and
content. Instead of borrowing shanty aesthetics,
or making art about the problem (or for the
problem), class production is based on the pro-
cesses that arise in the shantytown: collabora-
tion, recycling, need, self-organization, and the
use of unregulated space. Students participate in
several charettes (intensive, design-specific work-
ing sessions) throughout the semester. Prerequisites:
at least one Level II studio course in any media
and permission of the instructor. Nonmajors are
also encouraged to enroll.
Revolution, Social Change, and Art
in Latin America
Art History 269 Human Rights,
LAIS, SRE
This course examines the role that Christian
iconography played in the conquests of the 16th
century and the radical new meanings that same
iconography took as time went on; it also
reviews the visual strategies employed in the
presentation of the heroes of independence
movements (Simn Bolivar, Miguel Hidalgo)
and how art contributed to the formation of
national identities. It considers the 20th-century
Mexican mural movement and how the artists
involved promoted and reaffirmed the nations
new leftist political policies in public spaces.
Other topics include printmaking as a political
tool; the use of Che Guevaras image as a cata-
lyst for social change; murals in Nicaragua; art
by Chicano activists in the United States; and
the role of folk art traditions. The course con-
cludes with a look at the use of performance,
installation, and video as a means of promoting
dialogue on such complex issues as the border,
racism, feminism, and AIDS.
The European Baroque
Art History 272 French Studies,
Italian Studies
A survey of 17th-century European art, with
an emphasis on major figures such as Bernini,
Caravaggio, Rembrandt, Rubens, Velzquez, and
Vermeer. Topics include the baroque as a pan-
European sensibility; artistic negotiation of per-
sonal style, princely prerogative, papal authority,
and the demands of the market; collecting and
connoisseurship; the rise of academies; studio prac-
tice; and illusionistic painting and architecture.
Art after Pop: 19591975
Art History 274
This course presents a historical view of postwar
art. The class considers examples from pop art,
minimalism, and conceptualism as well as exper-
iments in process art, video, photography, instal-
lation, and film. Students also reevaluate the
periods avant-garde oppositions (e.g., mod-
ernism and mass culture) and consider the rise
of the art gallery, art magazine, curator, and
museum. The focus is on American art, although
comparisons are drawn to practices in Europe
and South America. Readings include writings
by artists and critics such as Walter Benjamin,
Michael Fried, and Annette Michelson.
Chinese Religious Art
Art History 276
A study of the evolution of religious art and
architecture in China through its various dynas-
ties. Subjects include the mystical arts of ancient
Sichuan, the cosmological symbolism of the
Ming Tang hall, the imagery associated with the
Taoist arts of the prolongation of life, the impor-
tation of Buddhism from India and its adapta-
tion in China, ancient Buddhist cave temples,
the development of the pagoda, the evolution of
Confucianism into an institutional religion, and
contemporary popular religion. Literary, reli-
gious, and historical sources are considered.
The Dutch Golden Age
Art History 277
This course examines the extraordinarily rich
visual culture that emerged in 17th-century
Holland, the first bourgeois capitalist state. The
class studies the art of Rembrandt and Vermeer,
among others, as it expressed the daily life, desires,

and identity of this new society. The course is
taught thematically, addressing artistic practice
(materials and production, patronage, the art
market), aesthetics (realism, style), and social
concerns (public and private life, city and rural
cultures, national identity, colonialism, domes-
ticity, gender, religion, and the new science).
Winslow Homer to Jackson Pollock:
The Rise of Modernism in America
Art History 278 American Studies
This course concentrates on early 20th-century
artists and art movements in the United States,
from the emergence of photography to the rise
of abstract expressionism. What do artists and
critics mean when they talk about realism and
abstraction? How have artists understood their
work as modern? What responses have they had
to social injustice and war? Covering a range of
media and genres, the class explores these and
other questions about art making in the context
of social and political events. Topics include
modernity and nationalism; the roles and repre-
sentation of technology in art; exhibitions and
cultural propaganda; artistic identity and gender
roles; public art, murals, and social activism.
Abstract Expressionism and Pop Art
Art History 283
An in-depth study of two major American art
movements, abstract expressionism and pop art.
The course begins with a survey of the socially
concerned painters and sculptors of the
Depression years and concludes with a study of
minimal art and other later developments.
Artists emphasized include Jackson Pollock,
Mark Rothko, Jasper Johns, Roy Lichtenstein,
and Andy Warhol. Open to all students,
although priority is given to those with some
background in modern art.
Gender and the Visual Arts,
14001700
Art History 284 GSS
This course explores the intersection of gender
and visual culture in early modern Europe, a
period during which ideas about gender under-
went rapid change. Using a variety of references
(painting, works on paper, decorative arts, archi-
tecture), the class discusses the ways that visual
culture both reflected and shaped change, the
Art History 199
differing conditions of artistic practice for men
and women, the pictorial reinforcement of cul-
tural ideals (courtship, marriage, the family), the
visual critique of perceived threats to societal
order (witchcraft, prostitution, homosexuality),
images and sexual desire, and the body (anatom-
ical illustration, the nude), among other topics.
El Greco to Goya: Spanish Art
and Architecture
Art History 286 LAIS
This course surveys the complex visual culture
of early modern Spain, with particular attention
given to El Greco, Goya, Murillo, Velzquez,
and Zurbarn. Spain exercised enormous politi-
cal and military influence during this period,
and undertook a number of expansionist enter-
prises. At the same time, the nation witnessed
the emergence of the Spanish Golden Age in art
and literature. The class examines the formation
of a distinct Spanish style within the context of
European art and considers how Spanish artistic
identity was a kind of hybrid, complicated both
by Spains importation of foreign artists (Rubens,
Titian) and by its relationship to the art and archi-
tecture of the colonies. Subjects studied include
palace art, architecture, and interior decoration
as visual manifestations of Spanish power; devo-
tional art; Spanish artistic theory and the train-
ing of artists; the art market and collecting; and
artistic critiques of monarchical power.
Rights and the Image
Art History 289 Human Rights
This course examines the relationship between
visual culture and human rights. It considers a
wide range of visual media as well as aspects of
visuality (surveillance, profiling). The course
uses case studies that range in time from the
early modern period (marking the body to regis-
ter criminality, for example) to the present day
(images from Abu Ghraib). Within this frame-
work, students explore how aspects of visual cul-
ture have been used both to advocate for human
rights and to suppress them. Subjects addressed
include evidence, documentation and witness,
disaster photography, censorship, advocacy
images, signs on the body, and visibility and
invisibility.
200 The Arts
Arts in China
Art History 290 Asian Studies
This survey course begins with a study of
Neolithic painted pottery, the earliest expres-
sion of the Chinese aesthetic. Next, the early
culture of the Bronze Age is reviewed, followed
by the unification of China under the first
emperor, the owner of 60,000 life-sized clay figu-
rines. In the fifth century, Buddhist art achieved
expression in colossal sculptures carved from liv-
ing rock and in paintings of paradise. Confucian
and Taoist philosophy, literature, and popular cul-
ture are examined through the paintings of the
later dynasties, with an emphasis on landscape
painting. The course ends with a consideration
of 20th-century art.
Chinese Landscape Painting
Art History 291
The Chinese love of landscape can be traced to
ancient times, when the mountains were consid-
ered to be the home of the immortals. This course
analyzes the evolution of Chinese landscape
along with historical events, the societys rich
poetic tradition, and other cultural contexts.
From Ming to Post-Mao:
Modern Chinese Art
Art History 292
This course examines the origins of modern
Chinese art in the Ming Dynasty (16th to 20th
century) in order to appreciate the challenge
faced by modern Chinese artists in addressing
their traditional artistic heritage, and to under-
stand contemporary artistic currents.
East Meets West
Art History 293 Asian Studies, SRE
A consideration, through art, of the impacts
Eastern and Western cultures have had on one
another. Broad topics for discussion include the
art of Buddhism and the Silk Road; medieval
European borrowings from the East; travelers
East and West; Arabs as transmitters of Asian
technologies; concepts of heaven and hell;
Western missionaries and the introduction of
Western culture in India, China, and Japan; chi-
noiserie in European architecture, gardening,
and decor; and japonismethe influence of the
Asian aesthetic on modern art movements.
Arts of India
Art History 295 Asian Studies
Beginning with the most ancient urban civiliza-
tion, dating to the prehistoric period, the flow-
ering and development of Indian philosophical
and religious thought is traced through its expres-
sion in the arts, including the cultures unique
exploitation of the sensuous as a metaphor for
divinity. The evolution of Indias iconic tradi-
tion is studied, as is the development of religious
architectural forms, narrative painting, and
sculpture.
The History of the Museum
Art History 298
An examination of the history of the museum
from the Renaissance to the present. This course
traces the transformation of early collecting and
display practices into the first modern survey
museum and considers the emergence of alter-
natives to this model. Particular attention is
given to critiques of the museum (including cri-
tiques of exclusivity and cultural insensitivity),
as well as to problems in contemporary museum
practice (such as contested provenance and the
issue of restitution). Other topics to be addressed
include the museum as memory and memorial;
the role played by the museum in the wake of
New World discovery and European coloniza-
tion; collections as sites for producing knowledge;
artists intervention in the museum; the virtual
collection; the gallery and the museum; and the
logic and politics of display. The class is con-
ducted as both lecture and discussion. Papers
involve researching and analyzing aspects of a
museum or exhibition in New York or New
England.
The Body and Its Image
Art History 314 Photography
This seminar examines the Wests historical
ambivalence toward the body and its representa-
tion, as expressed in art of the modern period
(17802000). Beginning with the neoclassical
heroic nude, the course examines depictions of
the body that reflect the preoccupations and
obsessions of their cultural moments. Topics
may include Manets Olympia, pornography and
early photography, physical abjection in symbol-
ism and German expressionism, the oriental
body in 19th-century art, body art of the 1960s

and 1970s, and obsessive treatments of the body
by contemporary photographers.
The Animal Style in Art
Art History 321 ICS, Medieval Studies
This seminar explores the character and
widespread diffusion of the animal stylea
nonfigural, essentially abstract, and highly deco-
rative art displaying a genius for pattern and
fantasy. It reviews the art of the Scythians and
Sarmatians, who roamed the steppes of Central
Eurasia; manifestations of this style in the La Tne
civilization and among Germanic tribes; and the
treasures of Celtic Ireland and Anglo-Saxon
England (among them, the magnificent Sutton
Hoo ship burial). Attention is given to the art
of the Vikings, other aspects of their culture,
and Viking influence in areas as widespread as
Ireland and Russia. The course concludes with
an investigation of the influence of the animal
style on the art of Romanesque Europe.
Romanesque Sculpture
of the Pilgrimage Routes
Art History 322 French Studies,
Medieval Studies
This examination of the renaissance of the
12th century follows the major pilgrimage
routes through France to the famous shrine of
Santiago de Compostela in Spain. An analysis
of the great sculptured portals of Burgundy,
Provence, Limousin, Prigord, Languedoc, and
western France concludes with the royal portals
at Saint-Denis and Chartres. Innovations in
sculpture and architecture are studied within
the contexts of religious and social change, the
cult of relics, heresy, troubadour poetry, early
drama, and the Crusades.
Crossroads of Civilization: The Art of
Medieval Spain
Art History 323 LAIS, Medieval Studies
A study of the art and architecture of the Iberian
peninsula, beginning with a brief look at the
Celtiberian culture and the colonial activities of
the Phoenicians, Greeks, and Romans. The major
focus, however, is on the following areas: Visi-
gothic art; Al-Andalus, the Islamic art of Spain;
Asturian and Mozarabic art; and Romanesque
art of the pilgrimage route to Santiago de
Compostela. Students investigate the complex
Art History 201
patterns of exchange, appropriation, assimila-
tion, and tension among the Islamic, Judaic, and
Christian traditions, and they attempt to assess
the effects of this cross-fertilization of cultures
on the visual arts.
Architecture and War
Art History 328 Human Rights
The unique relationship between war and archi-
tecture is based on a shared preoccupation with
the idea of community. Whereas architecture
(and/or urbanism) is the generator of commu-
nity, war constitutes the systematic destruction
of societies and their populations. This seminar
focuses on the second half of the 20th century
and the ways in which architecture and urban-
ism have been affected, transformed, destroyed,
and rebuilt throughout periods of conflict.
Readings include texts by Manuel De Landa and
Paul Virilio, among others. Case studies exam-
ined include the totalitarian regimes of the late
1930s and 1940s, the Palestinian-Israeli con-
flict, various Balkan crises, and 9/11 and the
rebuilding of the World Trade Center site.
Preference is given to students with a back-
ground in modern architectural history.
Artists, Patrons, and Ideas: Seminar in
Italian Renaissance Sculpture
Art History 330 Italian Studies
An examination of the ideas that inspired sculp-
tors and the patrons who footed the bills; the
relationship among artists, poets, and philoso-
phers of the Renaissance; and the degree of
influence exerted by patrons and their associates
on the selection of content and the establish-
ment of stylistic trends. Topics include the mate-
rials and forms of sculpture, the changing social
position of the artist, the Neoplatonic move-
ment in Florence, and Renaissance theories of
love. The major sculptors of the Renaissance are
studied, with an emphasis on Donatello, Ghiberti,
Michelangelo, and Jacopo della Quercia. Also
investigated are the political ambitions and
socioeconomic milieu of such remarkable
patrons as Cosimo de Medici, Julius II, and
Lorenzo the Magnificent.
202 The Arts
Venetian Painting of the Renaissance
Art History 331
An introduction to the major painters of the
Venetian School: Gentile and Giovanni Bellini,
Carpaccio, Giorgione, Tintoretto, Titian, and
Veronese. Students investigate the development
of independent easel painting, the poetic land-
scapes of Giorgione, the enigmatic Venuses of
Titian and Veronese, the pageantry of Venetian
narrative cycles, and the special character of
Venetian patronage and of the city itself. The
class attempts to define those qualities that
made for a distinctively Venetian style.
Villas of the Hudson Valley
Art History 332
The villa or country house, as opposed to a
working farm, embodies a city dwellers idyllic
interpretation of country life. Built more to
embody an idea than fulfill a function, it encour-
ages innovation in expressing the patrons or
architects views on the relationship between
man and nature. The architecture of the Hudson
Valley played a critical role in the development
of the country house and landscape garden in
the United States. This seminar, through site
visits and primary source research, studies local
developments within the larger context of the
history of villa architecture.
Postmodernism and Deconstruction
Art History 334
What is postmodernism? When did it begin?
Did it ever end? The purpose of this course is to
examine these questions and many others through
the reading of theoretical, architectural, and
artistic texts of the 1970s and 1980s. Students
debate the different iterations of these move-
ments as they arose and unfolded in both practi-
cal and theory-based systems. Of utmost
importance are the critical discourses that
developed at the time, particularly those that
addressed issues from a sociopolitical point of
view, such as the election of Ronald Reagan, the
AIDS crisis, and debates about identity politics.
Emphasis is placed on writings, but the course
includes a strong visual component (buildings,
art, film, television). Prerequisite: permission of
the instructor.
David Smith: Life and Work in
Sculpture
Art History 336
David Smith is widely regarded as Americas
greatest sculptor. In 1932, after an early career in
painting, Smith encountered the sculpture of
Picasso and Julio Gonzlez and decided that
steel would be his material and sculpture his
calling. Over the next 30 years, until his death
in 1965, he produced a mythic body of sculpture
informed by modernism and magic and what he
called identity. More than anyone else, Smith
brought American sculpture into the 20th cen-
tury. This seminar, which coincides with and
makes full use of the centennial Smith retro-
spective at the Guggenheim Museum of Art,
examines the many facets of Smiths art and life.
Students consider his work not just in terms of
influence and development, but also in terms of
the complexity of a sculptural language whose
syntactical originality has never been ade-
quately understood. Smiths critical reception
and his own writings (and their relationship to
the writings of other abstract expressionists such
as Barnett Newman, Robert Motherwell, and
Mark Rothko) are also studied.
Seminar in Contemporary Art
Art History 340
A consideration of the history of recent art,
beginning with a survey of the minimalism of
the 1960s and then focusing on artistic develop-
ments in the 1970s, 1980s, and 1990s. The class
meets in New York City every fourth week to
view current exhibitions.
Michelangelo: The Man, the
Masterpieces, and the Myth
Art History 345 Italian Studies
A study of the artistic achievements of
Michelangelo in sculpture, painting, architec-
ture, and poetry in the context of the biogra-
phies of Vasari (1550, 1568) and Condivi (1553).
Exploration of the meaning of Michelangelos
work is complemented by the study of the vari-
ous influences on the biographies. Discussion
also analyzes Michelangelos role in shaping his
public image and creating the modern idea of
the artist as isolated genius. Priority is given to
students with some background in art history,
Renaissance studies, and/or Italian.

Collage, Montage, and Sampling
Art History 346 Integrated Arts
Montage, considered by many to be the domi-
nant artistic mode of the 20th century, has been
given new life in the 21st by innovations in elec-
tronic media. This course involves a panoramic
tour of the forms of expression that involve cut-
ting, pasting, and manipulation. Besides the
genealogy of collage and montage in the plastic
arts and photography, students look at analogous
developments in literature (Lautramont and
the history of dtournement), film (Bruce Conner,
Guy Debord, Mlis, Vertov, et al.), and music
(the art of the DJ from Stockhausen and Cage to
Lee Perry, John Oswald, Steinski, and the RZA).
Also examined are the moral, legal, and philo-
sophical ramifications of art that is constructed
of recontextualized bits of other art. Prerequisite:
permission of the instructor.
Asian American Artists Seminar
Art History 348 Asian Studies
In recent years there has been increasing inter-
est in artists of Asian ancestry who have worked
in the United States. The relationships between
the artistic traditions of their native lands and
their subsequent immersion in American cul-
ture provide material for fascinating inquiries
concerning biography, style, subject matter, and
politics. This class surveys some of the central
figures involved and explores uncharted art his-
torical territory. Key artists studied include
Yasuo Kuniyoshi, Isamu Noguchi, Yayoi Kusama,
and Mariko Mori.
Women Artists of the Surrealist
Movement
Art History 349
This course examines the use of female sexuality
in surrealist imagery and then juxtaposes it to
the writing and work of such female surrealists
as Claude Cahun, Leonora Carrington, Leonor
Fini, Dora Maar, Lee Miller, Meret Oppenheim,
Dorothea Tanning, Toyen, Remedios Varo, and
others. Issues explored are female subjectivity,
cultural identity, occultism, mythology, dream
imagery, artistic collaboration, and the method-
ologies employed to interpret surrealism in gen-
eral. Prerequisite: permission of the instructor.
Art History 203
Sightseeing: Vision and the Image in
the Early Modern Period
Art History 356
This course examines the complex relationship
between theories of vision and the production and
reception of images in European art and culture
of the early modern period (circa 15001750).
Objects of study include visual technologies
(optical devices such as the camera obscura,
telescope, and peepbox); perspective systems
and their distortion; the curious and the con-
noisseurial eye; visions of the divine (the expe-
rience of miraculous apparitions); the ways vision
and imagery were associated with desire; eviden-
tiary theory; and the representation of sight.
Documentary Photography
Art History 357 Human Rights
Photography may not always tell the truth, but a
photograph cant help but give away certain
truths about the time it records. This course,
first of all, traces the evolution of documentary
photography from 1839 to the present, includ-
ing photojournalism, travel and exploration
photography, evidentiary photography, street
photography, and the subjective hybrids prac-
ticed by artists such as Robert Frank and Diane
Arbus. Students also consider how formal con-
ventions have affected content in various pho-
tographic practices that present themselves as
documentary, and ask whether many former
hallmarks of verity have been fatally compro-
mised. Throughout, the class is engaged in read-
ing photographs, less like critics than like
detectives.
Fin de Sicle: Seminar in Symbolism,
Art Nouveau, and Arts and Crafts
Art History 360 Integrated Arts
Students examine developments in the fine and
decorative arts in the late 19th and early 20th
centuries in Europe and the United States.
Topics include the antirealist reaction of artists
such as Vincent van Gogh, Paul Gauguin, and
Aubrey Beardsley; the development of the Arts
and Crafts movement; photography at the turn
of the century; and the relationship between
the Arts and Crafts movement, the Vienna
Werkstatte, and Art Nouveau.
204 The Arts
Seminar in 20th-Century Sculpture
Art History 365
A brief survey of the sculpture of the 20th cen-
tury is followed by a closer examination of more
specific topics, including the work of Constantin
Brancusi, the surrealist object, and the history of
sculpture since 1945, including the develop-
ment of installation art.
Feminism and Art in the United States
Art History 367 GSS
This seminar looks at the intertwined relation-
ship between womens liberation and art in the
United States during the 20th century. It con-
siders the role of women in the Arts and Crafts
movement, the art and artists associated with the
suffragist movement, and the Second Wave
feminism of the 1970s, among others. Students
present reports to the class about selected
women artists or about issues concerning the
interplay between art and womens political
issues. Readings include documents of feminist
art history and theory, including texts by
Charlotte Perkins Gilman and Linda Nochlin.
Open to Upper College students and others
with the permission of the instructor.
Mexican Muralism
Art History 375 LAIS
This course examines the muralism movements
philosophical origins in the decades following
the Mexican Revolution; the murals of Orozco,
Rivera, and Siqueiros, the Tres Grandes (The
Three Great Ones); and the work of lesser-
known Mexican muralists. Also considered is
the muralism movements wide-ranging impact
on murals executed under the WPA in the
United States throughout the 1930s, in Nicaragua
during the 1970s, and in urban Chicano com-
munities. Prerequisite: Art History 101-102 or
160 or permission of the instructor.
New Brutalism and the Architectural
Avant-Garde, 19501980
Art History 377
The architectural avant-gardes of the 1920s and
1930s are well known, but the neo-avant-gardes
of the postwar period embody an equally rich
and perhaps more diverse set of issues. This
course investigates these avant-gardes through
comparing and contrasting their written texts
and their built and unbuilt projects. The focus is
the immediate postwar period, when the move-
ment known as New Brutalism presented a cri-
tique of international-style modernism. Also
discussed are the interrelationships between art
and architectural movements (such as the con-
nection between New Brutalism and pop art)
and the debates surrounding postmodernism.
Religious Imagery in Latin America
Art History 379 Africana Studies,
LAIS, SRE
The course begins by exploring major pre-
Columbian monuments along with the sacred
practices of the Inca, Maya, Taino, Aztec, and
other groups. The class then analyzes how art
and architecture were used by colonizers as con-
version tools and considers how Latin America
ultimately developed unique Catholic imagery
and building types. African-based religions orig-
inating in Brazil and the Caribbean, such as
Candombl and Santera, are emphasized. Reli-
gious folk art and the ways in which contempo-
rary artists use religious iconography in their
work in order to celebrate and critique issues
surrounding national and personal identity are
examined.
Art Criticism and Methodology
Art History 385
This seminar, designed primarily for art history
majors, helps students develop the ability to
think critically about a range of different
approaches to the field of art history. Students
read and discuss a variety of texts in order to
become familiar with the disciplines develop-
ment. Methodologies such as connoisseurship,
cultural history, Marxism, feminism, and post-
modernism are analyzed.

Dance
Through intensive technique and composition
courses, onstage performance, and production
experience, the Dance Program prepares stu-
dents to understand and practice the art of
choreography and performance.
The program offers courses in modern dance
technique (in several styles, including Merce
Cunningham, Katherine Dunham, and Jos
Limn), dance composition, performance and
production, ballet, dance history, dance impro-
visation, dance repertory (taught by resident
and guest choreographers), anatomy for the per-
former, and the physics of dance.
The faculty includes choreographers and teach-
ers of dance technique. Choreographers in resi-
dence teach dance technique and composition
and dance repertory in addition to supervising
dance productions. Each year the program
mounts at least four productions that are open
to the Bard community and the public. These
productions are the framework for all Senior
Projects and Moderations in dance and so define
the work of the program.
In order to concentrate in dance, students enter-
ing the program must complete at least six cred-
its in dance technique courses appropriate to
their level of expertise. During the following six
semesters, dance majors specialize in perfor-
mance or choreography, according to their
interests and the degree of involvement demon-
strated in their early semesters.
All dance majors must take a minimum of four
dance classes per week each semester and must
study music, dance history, dance composition,
and production during their four years at Bard.
Moderation and Senior Project requirements are
fulfilled through onstage performance. For Mod-
eration, students must choreograph complete
dances for formal presentation and also must
perform. Upper College dance majors continue
to take studio courses in dance technique, study
dance history and music, take other performance-
related courses, and prepare work relevant to
their proposed Senior Project. For their Senior
Project students prepare choreography, perfor-
Dance 205
mance, or other material of appropriate scope and
size for public presentation. The Dance Program
is located in The Richard B. Fisher Center for
the Performing Arts. Facilities include a studio
and a fully equipped theater that seats 200.
Core faculty: Jean Churchill (director), Leslie
Boyce, Leah Chaback Katz, Peggy Florin, Lenore
Latimer, Susan Osberg, Aileen Passloff, Maria
Simpson, Bill Vanaver
Recent Senior Projects in Dance
Choreography
2+2+4+4+2+2set, choreography, and
lighting
Circling Silence
Rites of Passion
Sifting Spacestwo evenings of collabora-
tive choreography
Surfacean integrated arts/dance presenta-
tion of movement, sculpture, video projec-
tion, and performance
You Cant Always Get Emotional Freedom
When Its Raining in November
Directing and Choreography
Directing: The Effect of Gamma Rays on
Man-in-the-Moon Marigolds
Choreography: Code Blue, Where the Wild
Things Are
Tutorials
Tutorials in dance are common for performance,
choreography, and design students. Special tuto-
rials given over the past two years include
Lighting Design: Theory and Practice, Teaching
Dance, and Topics in Dance History.
Core Courses
(Specific requirements vary for dance, dance
composition, and other areas of concentration.)
Dance 103-104, Introduction to Dance
Dance 211-212, 311-312, Studio in Dance
Dance 217-218, Dance Composition I
Dance 260, Dance History
206 The Arts
Dance 317-318, Dance Composition II
Dance Workshop in Performance and Production
Courses in Literary and
Cultural Techniques
World Music and Dance
Dance 220
Familiarity with the structures and styles of eth-
nic music and dance is an essential part of a
well-rounded understanding of performance
forms. This course offers an opportunity to study
Balkan, central Asian, Irish, North African,
Native American, Andean, and other music and
dance forms. Students participate physically
through movement, vocalization, and the making
of music on their own instruments. Guest per-
formers are featured, and independent projects
in folklore and collaboration on creative works
are encouraged.
American Folk Music and Dance
Dance 221
An experiential survey that examines great
American music and dance traditions. Topics
include how mountain ballads joined with gospel
music and blues to become bluegrass, how
English miners wooden-soled-shoe dances
merged with Native American and African
styles as Appalachian clogging, how Irish reels
became hoedowns, how tap dancing was born,
and how to recognize the basic difference
between the song and dance styles of the Eastern
Woodlands and Plains Native Americans. Protest
songs from revolutionary times are followed
through the great labor, civil rights, and womens
movements and beyond. Students join their
own singing, dancing, and playing to these tra-
ditional songs and dances.
Anatomy for the Performer
Dance 250
A study of primary bones, joints, ligaments, and
muscles relevant to dancing; the physiology of
breathing; and the body as a complex physical
system. Students learn ways to prevent injury
and how to develop a full range of expression
with safety and pleasure. Kinetic awareness
techniques are taught that bridge the gap between
intellectual understanding of anatomical infor-
mation and actual experience of the body in
movement. This helps to relieve chronic ten-
sion, improve flexibility, and deepen the body-
mind connection.
Dance History
Dance 260
This course explores some of the ways in which
the human body has been constructed, or ide-
alized, during certain historical periods when
dance and choreography played key roles in
defining the spirit of the time. Starting with
French romantic ballet of the early 19th cen-
tury, the class proceeds through ballet and
modern dance history in Europe, Russia, and the
United States, examining along the way how
the dancing body (both male and female) was
configured and reconfigured by dance artists
(both performers and choreographers). The
course helps students to piece together a chrono-
logical narration of the development of dance
as a modern theater art and to learn to decon-
struct choreographic texts (as encountered in
videotapes and live performances) so as to
uncover the ideologies behind these texts. It
also introduces students to the craft of writing
about dance, through reading dance critics and
historians and writing their own papers.
Dance Studio Courses
Studios in Dance Technique
The teaching of dance throughout a students
four years is approached eclectically; a number
of teachers trained in and practicing ballet or
modern dance techniques offer students a wide
range of experiences in which to develop their
skills. Formal techniques, combinations, and
improvisations are used. Among the modern
dance techniques employed are those of Merce
Cunningham, Katherine Dunham, and Jos
Limn. Composition in a variety of styles is also
taught: with a formal structure, stemming from
improvisation, and in the mixed vein of dance
theater. Compositions use musical, verbal, and
silent accompaniments. They are performed
in weekly workshops and public dance theater
productions.

Dance Workshop in Performance
and Production
This course and Dance Composition (Dance 217-
218) are required of all dance majors. Before
Moderation, students enroll in both sections of
Dance Composition and Dance Workshop for four
credits; juniors and seniors enroll in 317-318 and
Dance Workshop. All students of Dance Compo-
sition must attend Dance Workshop in Performance
and Production. This course prepares students
for one of the Dance Programs four annual pro-
ductions. It is open to nonmajors, including
community members, with proven experience,
inclination, and permission of the instructor.
Introduction to Dance
Dance 103-104
This course comprises several classes or sections,
carrying one credit each, in modern dance and
ballet for the beginner. No previous dance
experience is required, and the courses are open
to all students. (Students with prior dance expe-
rience should consult with the instructor before
registration.) The course is indivisible; that is,
all sections must be completed successfully in
order to receive credit for the course. In the
spring semester, students seeking to register for
four classes (a total of four credits) are given
preference over those registering for fewer
classes. Students who intend to major in dance
must register for four credits.
Intermediate and Advanced
Studio Courses in Dance
Dance 211-212, 311-312
Intensive technique studies are an essential part
of the training of a serious dance student.
Prospective and current dance majors must take
four credits in dance technique each semester
during their four years at Bard. Interested stu-
dents are welcome to observe classes in order to
learn about the various styles and methods
employed in teaching both modern dance and
ballet for modern dancers. Studio courses are
indivisible; that is, a student must pass all sec-
tions of a course in order to receive credit for the
course. Studio courses are open to interested and
experienced nonmajors with permission of the
instructor.
Dance 207
Dance Composition I
Dance 217-218
This four-credit course and Dance Workshop in
Performance and Production are required for all
dance majors and must be successfully com-
pleted before Moderation. Dance Composition I
consists of two classes per week, each taught by
a different instructor, and a workshop. Open to
interested, experienced nonmajors with permis-
sion of the instructor.
Pilates / Body Balancing Technique
Dance 240
This course provides students with a strong foun-
dation in the Pilates method. Practiced regularly,
Pilates improves alignment, balance, and control;
opens the body to its full range of motion and
ease; and aids in preventing muscle and soft tissue
injury. The technique emphasizes body alignment
and breath work, enabling the dancer, actor, or
athlete to direct the movement out from the
physical center. Students work toward precisely
executed, smooth, rhythmic movements, using a
series of exercises designed to help them restore
muscular balance, develop dynamic core strength,
and increase flexibility. Mats and specialized
equipment give variable resistance and support for
muscular action. Limited to eight students. Dance
majors and students who have taken Anatomy for
the Performer (Dance 250) are given priority.
Flamenco
Dance 243244, 284, 343344,
443444
Prerequisite: permission of the instructor.
Studio in Dance Improvisation
Dance 313-314
A basis for composition work using the impro-
visatory approach. Open to intermediate and
advanced dancers or by permission of the
instructor.
Studio in Dance Repertory
Dance 316
Taught by two choreographers, one in the fall
and one in the spring, this studio offers students
an opportunity to experience choreography that
is made or re-created for them and thus provides
insight into the compositional process. Open to
junior and senior dance majors (and others by
208 The Arts
invitation from the instructor), it may be taken a
maximum of four times.
Dance Composition II
Dance 317-318
Two credits. Required of all junior dance majors,
this studio consists of weekly meetings of one
composition class and the composition workshop.
Advanced Studio in Technical Theater
Dance 320
The methods, techniques, and practice of tech-
nical production for the theaterstage manage-
ment, scene building, lighting, wardrobe, and
property building and/or findingare taught
through practical, closely supervised work on pro-
ductions. Each student is assigned responsibility,
research, and independent work in his/her area
of proven competence on at least one produc-
tion during the semester. The course meets once
a week for planning and problem solving, and
students are expected to attend appropriate pro-
duction meetings as a support resource; assist as
required by the instructor; and be familiar with
backstage work and problems in all areas.
Prerequisite: permission of the instructor.
Senior Conference
in Dance Composition
Dance 418
Four credits. Required for and limited to senior
dance majors.
Film and Electronic Arts
Critical thinking and creative work go hand in
hand in the Film and Electronic Arts Program,
which integrates various creative practices with
the study of theory and criticism. For example,
all filmmaking majors take courses in film his-
tory and video production, and a student writing
a Senior Project in the history of film and elec-
tronic arts will have taken some kind of creative
production workshop.
The program encourages interest in a wide range
of expressive modes in film, video, and the
expanding field of computer-based art. These
include screenwriting, animation, narrative and
nonnarrative filmmaking, documentary, and
interactive video.
Regardless of a students choice of specialization,
the programs emphasis leans toward neither
fixed professional formulas nor mere technical
expertise, but toward imaginative engagement
and the cultivation of an individual artistic
voice that has command over the entire creative
process. For example, a student interested in
narrative filmmaking would be expected to
write an original script, shoot it, and then edit
the film into its final form.
The program requires students to take advan-
tage of Bards broad liberal arts curriculum by
studying subjects that relate to their specialties.
A documentarian might take courses in anthro-
pology, an animator in painting or sculpture, a
screenwriter in literature, and a film critic in art
history.
A students first year is devoted primarily to
acquiring a historical and critical background.
The focus in the sophomore year is on learning
the fundamentals of production and working
toward Moderation (for a complete description
of Moderation, see page 12). Before Moderation
each prospective major presents to the review
board a completed 16mm film and videotape, a
full-length script, or a 10-page historical/critical
essay. The junior year is devoted mainly to the
deepening and broadening of the students cre-
ative and critical awareness, and the senior year
to a yearlong Senior Project.
Core faculty: Peter Hutton (director), Peggy
Ahwesh, Leah Gilliam, Jacqueline Goss, John
Pruitt
Recent Senior Projects in Film
A Hawksian Deception, an examination of
the tension and personalization of Howard
Hawkss Red River
Dont Kill My Children, a video documentary
about Brazilian street children
Pair and Parenthesis: The Aesthetic
Collaboration of Stan Brakhage and Jane
(Brakhage) Wodening

Silent Film, an unsilent 16mm film in four parts
Specific and Nonspecific Intervention, a 16mm
silent film on transsequential/transtemporal
indices
Traces of Soil: Where the Grass Is Greener, a
video documentary about African and
African American identity
Tutorials
Advanced work in film is usually done on a one-
to-one basis with a professor. Recent tutorials
include Film Sound; Buuel, Almodvar, and the
Catholic Church; Advanced Scriptwriting; and
Film Scoring.
Core Courses
Students majoring in the program are expected
to complete successfully the following courses.
First year: Film 113-114, History of Cinema (or
any other introductory-level film history
course)
Sophomore year: Film 201-202, Introduction to
the Moving Image, and a history course within
the program
Junior year: Major Conference; a course outside
the program related to proposed Senior
Project work; Physics 118, Light and Color (or
another related laboratory or social science
course)
Senior year: Major Conference; a technical sem-
inar (noncredit); Word and Image seminar
(noncredit)
The History and Aesthetics of Film
Film 109
This survey course is designed for first-year stu-
dents, especially those who are considering film
as a focus of their undergraduate studies. Weekly
screenings and lectures explore films by Chaplin,
Deren, Griffith, Hitchcock, Keaton, Renoir, and
Rossellini, among others. Students also read the-
oretical works by authors such as Arnheim, Bazin,
Eisenstein, Munsterberg, Pudovkin, and Vertov.
Film and Electronic Arts 209
History of Cinema
Film 113114
A broad introduction to the history and aesthet-
ics of film from a roughly chronological perspec-
tive. This course consists of weekly screenings of
major films widely acknowledged as central to
the evolution of the medium and supplementary
reading that provides both a narrative history
and a strong encounter with the leading critical
and theoretical issues of cinema, often within a
context of 20th-century art and literature. Open
to first-year students only.
Part I, Cinemas Origin to the End of the Silent
Era, begins with the early films of Lumire,
Mlis, Porter, Sennett, and Feuillade, then
explores the rapid evolution of the medium as
seen in the works of D. W. Griffith and Erich
von Stroheim; American silent comedians
Chaplin and Keaton; Soviet filmmakers Kuleshov,
Eisenstein, Dovzhenko, and Vertov; German
expressionists Murnau, Lang, and Pabst; major
Japanese figures Kinugasa and Ozu; practitioners
of the French avant-garde (Kirsanov, Dulac,
Man Ray, Lger, Duchamp, and Clair); and inno-
vative documentarians Ruttmann and Flaherty.
The second half of the sequence begins with
crucial films in the transition to the technology
and aesthetic of the sound film on an interna-
tional scale (those by Lang, Sternberg, Buuel,
Vertov, and Vigo), followed by a study of the
evolution of the long-take, deep-focus aesthetic
in the films of Renoir, Welles, and Mizoguchi; of
Hollywood genres in the films of Ford, Hitchcock,
Hawks, and Sturges; the rise of neorealism in
Rossellini, De Sica, and Visconti; the contribu-
tion of the American avant-garde in Deren,
Peterson, Brakhage, Anger, Smith, Conner, and
Breer; the French New Wave in Godard, Truffaut,
and Rohmer; the northern tradition in Dreyer
and Bergman; selections of Asian cinematic prac-
tice in films of Satyajit Ray, Kurosawa, and Ozu;
and finally, further European innovations in
Antonioni, Varda, the Taviani brothers, Pasolini,
et al. Readings are drawn from works by Bazin,
Brakhage, Deren, Bresson, Sontag, and others.
Survey of Media Art
Film 167 Integrated Arts
An introduction to the history of moving-image
art made with electronic media, with a focus on
210 The Arts
avant-garde traditions. Topics include video art,
guerrilla television, expanded cinema, feminist
media, Net art, music video, microcinema, digi-
tal feature filmmaking, and art made from video
games.
Introduction to the Moving Image
Film 201-202
This two-semester course introduces the basic
problems (technical and theoretical) related to
film and/or electronic motion picture produc-
tion. It is designed to be taken in the sophomore
year and leads to a spring Moderation project.
Prerequisite: a 100- or 200-level course in film
history.
Electronic Media Workshop: Sound
and Image
Film 203A / Integrated Arts 203A
This production course examines the major aes-
thetic elements of the visual and the aural. The
primary focus is the artful juxtaposition of sound
and image through the production of short film
or video projects. The course consists of techni-
cal instruction, readings, in-class screenings,
and critiques of student projects.
Digital Animation
Film 203B / Integrated Arts 203B
Students make short video projects using digital
animation and compositing programs (Macro-
media Flash and Adobe After Effects) in a work-
shop designed to help them develop a facility
with these tools and find personal animating
styles that surpass the tools at hand. Techniques
and aesthetics associated with digital animation
that challenge conventions of storytelling, edit-
ing, figure/ground relationship, and portrayal of
the human form are discovered. Diverse exam-
ples of animating and collage from film, music,
writing, photography, and painting are referred
to. Prerequisite: familiarity with a nonlinear
video editing program.
Documentary History
Film 204
This historical overview and critique of the doc-
umentary form makes use of ethnographic and
propaganda films, the social documentary, cin-
ema verit, and the travelogue. The class inves-
tigates the basic documentary issue of truth and/
or objectivity and critiques films using readings
from feminist theory, cultural anthropology,
general film history/theory, and other areas.
Screenwriting I
Film 211-212
The scriptwriting process is studied from idea
through plot and outline to finished script,
including character development and dramatic/
cinematic structure. Students work is analyzed
throughout the course. Limited enrollment, open
to students with a demonstrable background in
film or writing and a willingness to share their
work with others.
Seminar: Special Topics in the History
of Cinema
Film 214 Integrated Arts
Seminars offer an in-depth examination of a
particular period, style, filmmaker, or national
school of filmmaking. Weekly screenings of
acknowledged and influential masterpieces and
related lectures make up the bulk of the course,
with supplementary reading. Enrollment is open,
but class size may be limited.
Recent seminars in the History of Cinema have
included the following.
Filmmaking in Latin America
An overview of filmmaking in Latin America
and an introduction to the theoretical premises
and aesthetic trends that have marked its devel-
opment. Beginning with the arrival of sound
and ending with the return to popular genres
(melodrama, comedy, horror) in the 1980s and
90s, the readings and film screenings illustrate,
among other points, the question of national
cinema; the struggle for economic viability; the
suitability of hermeneutic categories devised for
European and Hollywood cinema to the study of
Latin Americas film production; the impact of
Hollywood cinema, Italian neorealism, and the
French New Wave; the continuity/discontinuity
of generic paradigms and thematic concerns
across time and borders; the dichotomy of art
cinema versus popular cinema; the idea of the
filmmaker as witness and cinema as an instru-
ment for political and social change; and possi-
ble links between film and literature (magical
realism), the visual arts (surrealism), and music

(tango, bolero). Among the filmmakers whose
work is screened and/or discussed are Luis Buuel,
Glauber Rocha, Jorge Sanjins, Patricio Guzmn,
Maria Luisa Bemberg, and Fernando Solanas.
Readings are in English, but students who wish
to read materials in the original Spanish are
encouraged to do so.
History of Yiddish Cinema
This seminar views selected Yiddish films, from
Second Avenue vaudeville houses to the golden
age of Yiddish theater and cinema in Vilnius,
Warsaw, the Lower East Side, and Hollywood.
Suggested private screenings of additional films,
assigned readings, and class discussions make up
the rest of the curriculum. Knowledge of Yiddish
is helpful but not required (all films are subtitled
in English).
The American Avant-Garde Film,
194275
A survey of one of the most significant artistic
movements in film following World War II, this
course focuses on a relatively small number of
major filmmakers: the early pioneers of the
1940s, Deren, Peterson, Menken, Maas, and
Broughton; the mythopoetic artificers of the
1950s and early 1960s, Anger, Brakhage, and
Baillie; and the formalists of the late 1960s,
Frampton, Snow, and Gehr. It also pays atten-
tion to the strong graphic/collage cinema of
artists like Cornell, Conner, Smith, and Breer,
and to the anarchic, comic improvisations of fig-
ures like Jacobs, Kuchar, and MacLaine. It ends
in the mid-1970s by touching on the move-
ments then future prospects, e.g., the revitaliza-
tion of storytelling through autobiography
(Mekas) and feminist/critical narrative (Rainer).
Supplementary readings include many theoreti-
cal works by the filmmakers themselves and
material touching on parallel avant-garde move-
ments in painting, photography, poetry, and
music, with works by highly influential artists
like John Cage, Charles Olson, and others.
Postwar Film in Italy and France
A lecture survey of two major cinematic schools
in postwar Western Europe, both of which had
enormous international influence. Four concen-
trated periods of intense creative activity are
studied: the immediate postwar years in Italy,
Film and Electronic Arts 211
which were dominated by neorealist filmmakers
De Sica, Rossellini, and Visconti; the mid-1950s
in France, when Bresson and Tati were most
impressive as classicists; the French New Wave
in the late 50s and early 60s, which saw the
dawn of the directorial careers of Chabrol,
Godard, Rivette, Rohmer, Truffaut, Varda, et al.;
and the miraculous maturation of a number of
key directors in Italy at roughly the same time,
including Antonioni, Fellini, Olmi, and Pasolini.
Theories of Film
Film 218
An introduction to the major developments in
classic and contemporary film theory and criti-
cism. The course covers key texts and authors
(Kracauer, Eisenstein, Bazin, Metz, Mulvey,
Bordwell) and examines the cultural contexts
that gave rise to these debates and arguments.
Among the issues under review: the specificity
of film form; cinematic realism; the politics and
ideology of cinema; the relation between cin-
ema and language; the way meaning is con-
structed in the process of viewing a film;
spectatorship, identification, and subjectivity;
the representation of women and racial and sex-
ual minorities; and the formation of film canons
and hierarchies. The syllabus pairs writings on a
central principle of film analysis with cinematic
examples that allow students to apply and/or
question the main ideas presented in the various
readings.
Film and Modernism
Film 219 Integrated Arts
This course explores the relationship between a
certain mode of cinematic achievement, for the
most part labeled avant-garde, and the major
tenets of modernist art, both visual and literary.
Many of the films studied are by artists who
worked in other media (Cornell, Duchamp,
Lger, and Strand) or whose work manifests a
direct relationship to a particular artistic move-
ment, such as surrealism, futurism, or construc-
tivism. An attempt is made to relate certain films
to parallel achievements in photography, poetry,
and music, with some attention paid to rela-
tively little-seen filmmakers, such as Jennings,
Kinugasa, and Lye. Much of the assigned reading
is not film criticism as such, but crucial critical
works that help to define modernism in general,
212 The Arts
including those by Baudelaire, Brecht, Moholy-
Nagy, Ortega y Gasset, and Pound. Filmmakers
studied include Buuel, Dulac, Eisenstein, Man
Ray, Ruttmann, and Vertov, from Europe; and
Americans Anger, Brakhage, Conner, Deren,
Frampton, Gehr, Rainer, and Snow.
Graphic Film Workshop
Film 223
An exploration of the materials and processes
available for the production of graphic film or
graphic film sequences, this course consists of
instruction in animation, rephotography, roto-
scoping, and drawing on film. The class also
views and discusses a number of films that are
primarily concerned with the visual.
Women in Film
Film 228 GSS
This course looks at women behind and in front
of the camera, from the beginnings of film to the
present, and at the construct of the feminine
both in film and within spectators. Readings are
drawn from film history and theory, especially
the multiple forms of feminist criticism connect-
ing the feminine to gender, sexuality, class, and
race. Films studied are drawn from classical nar-
rative cinema and independent film and include
work by Chantal Akerman, Martine Attile, Julie
Dash, Maya Deren, Alfred Hitchcock, Tracey
Moffett, Yvonne Rainer, Douglas Sirk, and Josef
von Sternberg, among others.
Documentary Film Workshop
Film 231
This advanced filmmaking workshop, intended
for students who are especially interested in dra-
matic, documentary, or reportage cinema, teaches
hands-on shooting and ways to work out solu-
tions to practical and/or aesthetic problems as
they are encountered in the making of a film.
Horror
Film 232
This course considers horror films across a broad
historical and geographical range, including the
work of Bava, Boyle, Browning, Cronenberg,
Denis, de Palma, Feuillade, Franju, Haneke,
Hooper, Jodorowsky, Kobayashi, Kiyoshi
Kurosawa, Miike, Murnau, Nakata, Polanski,
Romero, Tourneur, Ulmer, and Whale. The class
begins with generic definitions and transforma-
tions before moving into such topics as gender
and sexuality, abjection, the uncanny, apoca-
lypse, serial killing, and the ideology of horror.
Video Installation
Film 235
Since the beginning of video, artists have experi-
mented with installation. Wolf Vostell and Nam
June Paik used multiple monitors in the 1960s,
Joan Jonas incorporated video with live perfor-
mance, Juan Downey and Steina Vasulka experi-
mented with interactive laser discs, and so on.
The use of live feeds and large and small video
projections on walls and objects imply complex
shifts of narrative composition as well as tempo-
ral and spatial relationships. Through readings
and screenings, the class examines these diffuse
practices. Students are encouraged to explore
high- and low-tech solutions to their audiovisual
desires and to imagine the campus as their can-
vas. Prerequisite: Film 201202.
Contemporary Black American Cinema
Film 237 Africana Studies,
American Studies
An examination of African American cinema
from 1970 to 2000 that also traces the movement
of black cultural producers within the indepen-
dent and commercial spheres as they confront the
social, political, and aesthetic dimensions of con-
temporary black representation. Topics include
post-60s representational politics, blaxploitation,
the black star, the crime drama, cross-racial buddy
films, and black womens films. Directors studied
include Charles Burnett, Julie Dash, Spike Lee,
John Singleton, and Melvin Van Peebles.
Cinema of Asia
Film 239 Asian Studies
This course concentrates on the feature film
production of three regions: Japan, China
(including mainland China, Taiwan, and Hong
Kong), and India (Bollywood, in particular).
The historical development of the relatively
orthodox national cinema of Japan is reviewed
before the class investigates how the ethnic, lin-
guistic, and geopolitical complexity of the other
regions puts into question the apparently stable
category of national cinema. In addition to the

fundamental goal of teaching students to appre-
ciate a range of unfamiliar film texts, the course
seeks to develop an understanding of the chang-
ing place of cinema in a wider cultural land-
scape. Limited enrollment.
Chinese Cinema
Film 240 Asian Studies
A survey of the cinemas of mainland China,
Taiwan, and Hong Kong from a comparative per-
spective. The emphasis is on contemporary works
and the diverse genres represented in them, rang-
ing from art cinema and the new cinema move-
ments that emerged in the late 1970s and early
1980s to popular genres like the martial arts and
gangster films. The scope of the course is trans-
national and national, addressing topics related
to global spectatorship, such as cult audiences
and film festivals, and interregional influences.
Genre
Film 241
What constitutes a genre in commercial narra-
tive cinema? Three case studies are examined:
horror, science fiction, and the gangster film.
Topics of investigation include genres as literary
and cross-cultural categories, repetition versus
difference, reflexivity and revisionism, and
generic hybrids. Priority is given to students who
have completed film studies courses.
Video Strategies
Film 247
An advanced production course centered on the
basic aesthetic, theoretical, and technical issues
of electronic media production. The course con-
sists of technical instruction, readings, in-class
screenings, and critiques of student projects.
Framing the Election
Film 248
Fiction and documentary works like Haskell
Wexlers Medium Cool, Robert Altmans Tanner
88 and Nashville, D. A. Pennebakers War
Room, and arks voteauction successfully cap-
ture the complex narratives and legacies of
elections over the past 40 years. This course pro-
vides a structure for students to capture, process,
frame, and produce some aspect of presidential
politics in terms of their personal experience.
Works may reflect any political persuasion and
Film and Electronic Arts 213
take any form, including documentary, diary,
personal essay, fiction, or music.
Political Video
Film 253 Integrated Arts
This production course investigates the work of
film and video artists who have produced work
critical of a specific social or political situation.
Whether didactic, subversive, agitprop, rant,
provocation, or documentation, these works
employ inventive solutions to visual aesthetics
and narrative structure. Students engage in an
examination of these practices, past and present,
through the screenings of a wide range of exper-
imental films and video art, including works by
Guy Debord, Carolee Schneemann, Jonas
Mekas, Martha Rosler, Antonio Muntadas, and
Yvonne Rainer, among others. Assigned read-
ings of historical and theoretical texts augment
the screenings and class discussions. Students
are also expected to apply these investigations
to the production of three video projects.
Prerequisite: Film 201202.
Film Production Workshop
Film 278 Integrated Arts
Class members function as a rotating production
team, combining their talent, imagination, and
industry in the creation of an original 16mm
film. Each student has an opportunity to write,
direct, and edit one scene, and to act as crew or
cast in other scenes. Issues of art direction, nar-
rative continuity, and collaboration are addressed
as they arise. The primary goal is for students to
develop technical and storytelling proficiency
through working in a variety of roles in a film
production.
Designed Obstacles and Spontaneous
Response
Film 280
This class explores the process of story or script
development through spontaneous written
response to assigned problems, situations, com-
plications, and possibilities. The purpose: to
unhinge caution and access story by putting
aside logic and judgment in the initial stages of
creating an idea, character, and plot. Later in
the semester, elements of structure, balance, col-
laboration, and evaluation are added to the mix.
All assignments are handwritten in class and
214 The Arts
read aloud. Think of it as a scavenger hunt for
the imagination. Open to all students interested
in writing for literature, theater, or film.
Major Conference
Film 301
The Major Conference provides a forum for the
exchange of ideas prior to Senior Project work
and makes useful technical information avail-
able for individual projects through combined
theory-practice sessions. Students are required
to complete a short film and to share their work
with others. In addition, films are screened and
readings assigned to establish a common ground
for discussion and argument.
Recent examples of Major Conferences include
the following.
Found Footage, Appropriation, Hacks
This course surveys the history of appropriation
in experimental media from the 1950s to current
artistic and activist production efforts, including
culture jamming, game hacking, sampling, hoax-
ing, resistance, interference, and tactical media
intervention. The class examines a spectrum of
traditions, including the strategic reworking and
recontextualizing of educational, industry, and/or
broadcast media sources; the re-editing of out-
takes and recycling of detritus; and a variety of
works of piracy and parody that skew and subvert
media codes. Issues regarding gender, identity,
media and Internet politics, technology, copy-
right, and aesthetics are also addressed.
Live Video and Systems
of Surveillance
This course gives students a better understand-
ing of live video production as a vehicle for
artistic expression. Course participants develop
ways of working with videos most unique prop-
erty: its ability to produce an immediate and
continuous stream of images and sounds.
Surveillance, streaming media, spinning, call-in
talk shows, and cell phone usage have primed
audiences and spectators to expect immediate
access to and feedback from their media. How
does the media artist respond? Course partici-
pants work on individual projects, using cam-
eras, monitors, switchers, surveillance systems,
and software-based video mixers. Students also
work collectively to produce one live piece to be
broadcast to an audience. Additionally, the
larger cultural and psychological impact of live
video production is discussed, supplemented by
readings and viewings of work by Nam June
Paik, Richard Serra, Dan Graham, Rosalind
Krauss, Raymond Carver, Julia Scher, the
Surveillance Camera Players, and others.
Multimedia Installation and Events
This course charts a historical and critical
framework for the term multimedia and pro-
vides source material and inspiration for the cre-
ation of projects that combine art forms and/or
elude traditional categorization. Students com-
pose individual projects using video, slides,
surveillance systems, mixers, switchers, projec-
tion systems, and monitors. Through readings
and screenings, the class examines issues of spec-
tatorship, immediacy, interface design, spatial
construction, time, boredom, and performance.
Recording Techniques for Film and
Music Makers
This course explores the principles and practices
of sound recording for audio, video, and film
applications. Digital recording equipment, the
mixing console, microphones, field recording
techniques, and sync and Foley for film/video
will be covered in the recording studio and in a
variety of site-specific environments. Students
have access to the recording studio in the Avery
Arts Center and the ProTools system for record-
ing and postproduction. Students are required to
produce a number of short works in film/video,
audio, or installation.
Space, Sound, and the Moving Image
This course is intended to refine students video
production skills and give them a better under-
standing of installation as a medium for artistic
expression. Participants use video (as well as other
materials and media) to design and build real
environments that are meant to be experienced
spatially. Particular attention is paid to the use of
sound and light to transform existing spaces into
site-specific installations. Students also use video
monitors, projections, closed-circuit systems, and
surveillance equipment in innovative ways and
consider how to design spaces using time-based
media and interactive elements.

Advanced Projects in Nonlinear
Editing
Film 302
An investigation of the mutual influence of
sound and picture in audiovisual perception that
is two parts postproduction (hands-on individ-
ual and collaborative sound projects) and one
part theoretical analysis. Students explore the
process of building tracks on digital nonlinear
editing systems and the technical, aesthetic, and
sonic relationships between sound and image in
the production of cinematic, electronic, and
digital works. Students should be familiar with
the fundamentals of computer-based electronic
media. Prerequisite: Film 300, equivalent experi-
ence, or by permission of the instructor.
Film in the Digital Media Age
Film 303 Integrated Arts
An exploration of computer-based applications
for work with sound and image. Students develop
their own projects using desktop video, com-
positing (After Effects), and sound programs.
Apart from production, some emphasis is given
to critical discussions of issues such as film ver-
sus video; media essentialism and technological
development; the future of film and video; and
digital delivery.
Landscape and Media
Film 307
Designed for junior film and video majors, the
course compares film and painted representations
of the American landscape to those of television
and video. Students are required to complete a
short film or video referencing these issues.
McKibbens Age of Missing Information is the pri-
mary text.
Advanced Screenwriting
Film 312
An intensive writing workshop in which stu-
dents create a long-form screenplay that reflects
a complex original idea. Weekly writing assign-
ments and class critiques are at the core of the
workshop, although issues such as adaptation,
production-imposed practicalities, and the role
of the marketplace are also discussed. Enroll-
ment is by permission of the instructor.
Film and Electronic Arts 215
Cinemagic IX
Film 315
This course, offered every two or three years,
journeys through the idyllic times of preWorld
War II, through the horrors of war, and into the
wonders and magic of cinema. Many films are
screenedsome good, some bad, and a few that
will long endure. Each screening is preceded by
a theme song, a short film, and a lecture. The
highlights of the course are the screenings of
Masaki Kobayashis The Human Condition, an
11-hour trilogy, and The Gospel According to St.
Matthew, directed by Pier Paolo Pasolini. Priority
is given to film majors.
Film Production Workshop:
Cinematography, the Film Image
Film 317
This junior-level production workshop gives
students working in film a more thorough under-
standing of a wide range of cinematic vocabu-
laries and aesthetics unique to the language of
film. Students finish short films that explore the
qualities of film through extensive in-class
exploration of film stocks, lighting techniques,
and cinemagraphic strategies. The class visits a
New York motion picture lab to better under-
stand the photo/chemical implications of film in
the age of digital imaging.
Film Aesthetics Seminar
Film 319-320
Special film-related topics, both theoretical and
practical, are studied in depth. The seminar is
designed for students who have already taken a
film course or who, through personal experience
and interest, have acquired some knowledge of
the medium. Weekly screenings are held and a
strong emphasis is placed on supplementary
reading.
Recent seminars have included the following.
American Graphic Film: Abstraction,
Animation, and Collage
This seminar provides an in-depth study of a
significant tradition within the American avant-
garde film that connects quite directly to mod-
ernist practice in the graphic arts, particularly
painting and printmaking. Most of the films
under discussion eschew dramatic narrative for
216 The Arts
imagery that provides a direct adventure of
visual perception. Because the images move
over time, the class inevitably has to deal with
intricate matters of abstract musical form, which
is a source of inspiration for many of these
artists. Other theoretical issues discussed include
the intention behind the drive toward visual
abstraction and the inherent tension between
the real and the imagined. At first, the focus is
on the works of several classic practitioners from
the 50s, 60, and 70s, including Joseph Cornell, fieldwork, students examine specific theories,
Harry Smith, John and James Whitney, Robert
Breer, Larry Jordan, Pat ONeill, Jordan Belson,
Bruce Conner, George Landow, Paul Sharits,
and Stan Brakhage. Students next consider the
younger generation that emerged from the 80s
onward: Jennifer Reeves, Mark Street, Michele
Smith, Eve Heller, Craig Baldwin, et al.
On Reenactment
The class surveys the styles and meaning of
reenactments, including remakes, homages,
reinterpretations, sequels, and reruns, in order to
pose questions about history, trauma, memory
and forgetting, narrative and authenticity.
Themes such as fictionalizing historical events
(Kiarostami, 9/11 docudramas), repetition in
experimental media (Arnold, Jacobs), perfor-
mance and playacting (Raad, Dougherty),
memory and repression (Hitchcock) are high-
lighted in the screenings. Issues of gender, iden-
tity, politics, history, technology, and copyright
are also addressed.
Film Noir and the American Baroque
This seminar focuses on films whose stylistic
traits include narrative distortion, asymmetrical
composition, and low-key lighting. Major themes,
often ones that express social instability, embrace
extreme psychological situations of sexual
repression and/or rebellion, madness, sadism,
and paranoia. Films studied include defining
works of early noir like Shadow of a Doubt and
Out of the Past; late, mature masterpieces like
Touch of Evil and Kiss Me Deadly; baroque melo-
dramas like Johnny Guitar and Written on the
Wind; and self-conscious attempts to revive old
aesthetic virtues in a fresh guise in films like
Chinatown, Blue Velvet, Devil in a Blue Dress, and
Memento. Readings include both critical litera-
ture and primary texts, notably pulp fiction from
the 1930s that helped give rise to the later cine-
matic trend.
Reading Recent Texts: The Robot
This seminar considers the shifting boundaries
between humans and machines. With an empha-
sis on the robot, the class considers everything
from Poo-Chi the Interactive Pet to the pesky
cyber bots that disabled eToys. Through dis-
cussion, directed readings, presentations and
art practices, and representations. Robots include
Dr. Frankensteins monster, ASIMO, HAL, the
Sojourner rover, and the Stepford wives.
Thinking about Video Games
Film 323 STS
An analysis of computer gaming through philos-
ophy, history, cultural theory, and art. Topics
include the nature of games and their function
in society; the qualities of human-computer
interaction; depictions of gender, race, national
identity and war; aesthetic theories of game
design; ludology versus narratology in game
studies; serious games, game worlds, and vir-
tual reality; videogame modification, machin-
ima, and artist-made videogames. Readings
include Wittgenstein, Winnicott, Huizinga,
Caillois, McLuhan, Jenkins, Nakamura, Dibbell,
Aarseth, Juul, Frasca, Poole, Atkins, Manovich,
Bogost, and Galloway. Prerequisite: previous
course work in film and electronic arts, art his-
tory, or philosophy.
Cinematic Time
Film 327
This course brings together critical and theoret-
ical views regarding the cinematic representa-
tion of time. Topics of discussion include the
aesthetics of time (long-take style, ellipsis,
realism, flashback); the narrative poetics of time
(history and memory, the everyday); the rela-
tionship of cinema and photography; and how
the ideas of duration, ephemerality, chance, sta-
sis, and repetition are articulated through the
technology of cinema. The screening program
emphasizes work by East Asian filmmakers,
including Akira Kurosawa, Hou Hsiao-hsien,
Kenji Mizoguchi, Tsai Ming-liang, Shinji Aoyama,
and Jia Zhangke. Readings consist of theoretical

writings by Barthes, Bazin, Benjamin, Deleuze,
Doane, Kracauer, and Pasolini, among others.
Cinematic Adaptation
Film 328
Is adaptation translation or response? This
workshop takes on all kinds of inspirational
formsmusic, science, painting, literature, dance,
philosophy, etc.and uses them as the basis for
cinematic adaptation. Through a series of exer-
cises, students engage an outside work and trans-
late it to film.
Advanced Digital Editing
and Sound Design
Film 332
Students are guided through all phases of post-
production, from an assembly cut to sound mix
to getting an answer print made. The course
consists of in-class viewings, analysis of editing
strategies, critiques of student projects from start
to finish, and technical instruction. Advanced
postproduction steps covered include creating a
sound track, making and shooting titles, prepar-
ing the film for the lab (original cutting, hot
splicing, A&B rolling), and obtaining corrected
answer prints. Also discussed are options for
labs, sound-mixing facilities, optical houses,
grant writing, and future exhibition.
Human Rights Video Clinic
Film 335
Advanced digital video postproduction skills are
taught in the context of human rights documen-
taries. Working with Witness, an advocacy orga-
nization that uses video technology and media
campaigns to promote and secure human rights
around the world, students produce short docu-
mentary projects for webcast. Using footage shot
by Witness partner groups and working in teams,
students produce short Rights Alerts from
start to finish, including tape logging, research
on issues and advocacy objectives, liaison with
human rights advocates, script preparation, nar-
rative strategy, sound and narration, editing and
production, and webcasting.
Script to Screen
Film 338
This workshop is designed for juniors and first-
semester seniors in preparation for shooting an
Film and Electronic Arts 217
ambitious video or film project (narrative,
experimental, or documentary). The first por-
tion of the course is devoted to script revision
and development, with an emphasis on craft and
production feasibility. Using the revised screen-
play as a map, the second half of the course is
devoted to creating a detailed production plan.
Students are expected to present choices for
media, stock, lighting, production design, edit-
ing strategies, sound, locations, tone, and cast-
ing as an extension of the central ideas expressed
in their scripts. Students are also expected to
bring a draft of a script they plan to shoot to the
first class meeting.
Surrealism and Cinema
Film 346
This course traces the connections between sur-
realism and film culture, ranging from early
20th-century European experimental films to
the narrative features of Luis Buuel and Cinema
Novo to Japanese avant-garde cinema of the
1960s and 1970s. Through this spectrum of case
studies, the course frames the critical project of
surrealism as both an aesthetic discourse and a
theoretical endeavor extending across the fields
of art history, cinema studies, psychoanalysis,
materialist philosophy, sociology, and anthro-
pology. Readings include works by Georges
Bataille, Michel Leiris, Andr Breton, Hal Foster,
Rosalind Krauss, Linda Williams, and Fatimah
Rony. Open to Upper College and qualified stu-
dents by permission of the instructor.
Electronic Discourses: Art and the
Internet
Film 362
An examination of the electronic networks of
contemporary digital culture and its recent past,
this course explores a variety of information sys-
tems, virtual communities, and online art pro-
jects and examines them critically in readings
from cultural theory, policy, history, and aesthet-
ics. Each student is expected to design and
mount an online project.
Senior Seminar
Film 405
This seminar, a requirement for all majors in the
Film and Electronic Arts Program, is an oppor-
tunity to share working methods, knowledge,
218 The Arts
skills, and resources among students working on
Senior Projects. The course includes sessions
with visiting film and videomakers, who discuss
their processes and techniques; a life-after-Bard
skills workshop; a review of grant opportunities;
and critiques of works in progress.
Music
Performance, composition, and historical analy-
sis are the primary focuses of the Bard Music
Program. Students develop their talents as per-
formers through lessons and in large and small
ensembles. In addition to weekly rehearsals with
an ensemble and in open concerts offered
monthly, they present three or four full-length
concerts by the end of their fourth year.
Composers develop individual voices through
an active schedule of rehearsing, taping, and
performing their music with faculty, outside pro-
fessional players, and fellow students. Electronic
composers learn the use of a sophisticated elec-
tronic music studio and eventually present their
pieces (live or on tape) to the Music Program
and the Bard community. All senior music
majors are eligible either to perform with or
have a piece played by the American Symphony
Orchestra at the annual Commencement concert.
The music faculty believe that these activities
take on depth when grounded in a knowledge of
musical tradition. Bards Music Program is
equipped for specialization in four major areas:
jazz (and related African American traditions),
European classical music (including its younger,
American parallel), electronic music (starting
with its early 20th-century experimental roots),
and ethnomusicology. The music major explores
the history and theory of one of these four areas
through course work and also takes at least one
music course in an area outside his or her special-
ization. The Music Program encourages diversity,
provided the musician becomes sufficiently
immersed in one tradition to experience the
richness and complexity of a musical culture.
With a high ratio of faculty to students, the pro-
gram allows each entering student to construct a
course of study based on his or her interests,
strengths, and capabilities, in collaboration with
a faculty adviser.
Core faculty: James Bagwell (director), Thurman
Barker, Bob Bielecki, Sharon Bjorndal, Leon
Botstein, Arthur Burrows, Melvin Chen, the
Colorado Quartet (Diane Chaplin, Marka
Gustavsson, Deborah Redding, and Julie
Rosenfeld), Mercedes Dujunco, John Esposito,
Kyle Gann, Luis Garcia-Renart (emeritus),
Christopher H. Gibbs, Frederick Hammond,
Erica Lindsay, Patricia Spencer, Richard L.
Teitelbaum, Joan Tower, George Tsontakis
Recent Senior Projects in Music
Recitals I and II, a recital of baroque work for
flute, guitar, and piano and a recital of mod-
ern work for flute and piano
Robin-on-Hudson, a concert of original music,
prerecorded and live, with accompanying
photography and visuals
Sonic Boom, a display of sonically deducible
theories and commensurate configurations of
sound
The Alphabet Circus, a musical childrens
story orchestrated for piano, voice, and key-
board synthesizers
Trompongs and Trombones: Transcriptions of
Balinese Music and a recital of recent works
What Are These Strings For? A performance
project: from bluegrass banjo to steel drums
The Bard College Conservatory of Music (see
page 309) offers a five-year program in which
students pursue a simultaneous dual degree, a
bachelor of music and a bachelor of arts in a
field other than music. Music Program courses
are open to Conservatory students, and the two
programs may share some courses, workshops,
faculty, and performances facilities.
Curriculum
Music Program offerings are grouped under the
headings of workshops, ensembles, and courses.
Special Projects are for music majors only.
Workshops are project oriented, allowing a stu-
dent to enroll repeatedly in the same workshop;

courses cover specific material and one-time-
only registration is anticipated. Workshops,
ensembles, and courses are open to music majors
and nonmajors alike, and a number of courses
are specifically aimed at stimulating the interest
and listening involvement of the general stu-
dent population.
Workshops
Workshops offered in recent years include the
following.
The Art of Collaboration
Collaboration involves the art of listening along
with the art of feeling music with another
person. How do you get inside someone elses
head and heart through music? How do you
merge two ideas into one? The class (for pianists,
instrumentalists, and singers) begins with less
technically challenging music to facilitate a col-
laborative experience, then incorporates that
experience into more challenging works from
the baroque era to the 21st century. Prerequisites:
intermediate to advanced playing/singing ability
and permission of the instructor.
Basic Piano Skills
The class is divided into three one-hour work-
shops. Group I is for students who do not read
music and want to learn basic keyboard skills for
songwriting. Group II is for students who have
some ability to read music and want to learn
fundamentals of voice leading, scales, and chorals.
Group III is for composition students for whom
piano is a second instrument and who need
greater keyboard facility to compose orchestral
music. Open to all students, with preference
given to music majors.
Chinese Music Ensemble
A beginners workshop for students interested in
learning to play Chinese folk music on instruments
of the silk and bamboo (Chinese string and
wind instruments) category. Students acquire
basic skills on one of several instruments that may
include the di (bamboo transverse flute), erhu
(two-stringed fiddle), zheng (21-string plucked
board zither), yangqin (hammered dulcimer), pipa
(short-necked, pear-shaped lute), and sanxian
Music 219
(long-necked, three-stringed lute), with the goal
of eventually playing together in ensemble.
Prerequisite: permission of the instructor.
Classical Guitar
Students consider specific technical and interpre-
tation principles of the classical guitar and listen
to and discuss repertoire. The workshop must be
taken in conjunction with weekly private lessons.
Beginners to advanced players are welcome.
Composition
Students compose music that is transcribed and
passed along to players to be rehearsed and
taped. Every step of the process, particularly
notation, is assisted and discussed. Players from
inside and outside the class collaborate to help
bring each composition to life in sound. In addi-
tion, other 20th-century works are played and
discussed, and occasional visits are made to New
York City for performances of new music.
Prerequisite: ability to read music.
French Art Song
This course focuses on the interpretation and
performance of classical French song, along with
some training in the use of the International
Phonetic Alphabet. Primarily for students tak-
ing voice lessons and for pianists interested in
accompanying singers.
Hands-On Music History for
Performers
Members of the class play (or sing) a sampling of
chamber music from different eras. Goals include
improved sight-reading skills, as well as a broader
familiarity with a variety of harmonies and musi-
cal styles (mostly European). Composers may
include Dufay, di Lasso, Sweelinck, Purcell,
Frederick the Great, J. S. Bach and his sons,
Vivaldi, Mozart, Haydn, Beethoven, Brahms,
Schumann, Dvork, Ravel, Copland, Cage, and
Carter.
Improvisation
This performance course centers on techniques
and processes of nonidiomatic, structured, and
free improvisation. Exercises designed to over-
come resistances and barriers to fluid and spon-
taneous expression are offered, and participants
are encouraged to devise their own. Relevant texts
220 The Arts
and scores (verbal, graphic, and otherwise) by
Bailey, Cage, Cardew, Corner, Ferand, Goldstein,
Kosugi, Oliveros, Rzewski, Stockhausen, Wolff,
and many others are studied and performed. The
means of sound production may include acoustic
and electronic instruments, voice, found objects,
and homemade devices.
Introduction to Electronic Music
This hands-on workshop serves as an introduc-
tion to music technology / electronic art and
Bards electronic music studio. Topics include
the physics of sound, psychoacoustics, analog
and digital recording, sound synthesis, sampling,
multitrack recording, editing, sound processing,
and MIDI. Students become familiar with
Macintosh computers and software such as
SampleCell, StudioVision, and Sound Designer.
A final project (individual or collaborative)
combines artistic and technological disciplines.
Jazz
An intermediate-level jazz composition and
ensemble performance workshop. Students must
have some knowledge of major and minor scales
and chord construction.
Jazz Improvisation I, II
Jazz Improvisation I serves as an introduction to
improvisation for incoming jazz ensemble play-
ers as well as for classical players who want to
explore improvisational techniques in a jazz
framework. In Jazz Improvisation II, the goals
are to gain mastery over the basic scales used in
traditional jazz improvisation and to attain the
ability to improvise over basic two-five patterns
and simple modal progressions.
Keyboard Workshop
Guided sight-reading and technical drills develop
facility for basic music reading at the keyboard.
Intended primarily for music majors.
Live Electronic Performance Ensemble
Performance of classic compositions from the
repertoire, original works, and improvisations.
Musical Structure for Performers
This workshop helps performers define and
expand their role in conveying to the listener
the excitement of musical structures. Motivic,
harmonic, and formal analyses are combined
with a modified Schenkerian approach to explor-
ing foreground and background forces in music.
An emphasis is placed on poetic descriptions of
musical shapes as a means of bringing them to
life in performance.
Opera
A fully staged and costumed performance is the
main thrust of the semesters work. Class time is
dedicated to memorizing the music and mount-
ing the work. Extra time may be needed to
achieve the goal.
Percussion Discussion
This performance class explores rhythms
samba, bossa nova, and Afro-Cuban 6/8 beats
commonly found in the music of Latin America.
Selected jazz compositions that use some of
these rhythms are also studied. Techniques are
taught for playing a variety of percussion instru-
ments (such as the guiro) associated with the
region under study. Prerequisites: an understand-
ing of syncopation and rhythmic patterns in off
meters such as 3/4, 5/4, 6/8 and an understand-
ing of major and minor scales.
Performance
This unifying workshop for musicians within the
program may be taken in conjunction with any
other performance workshop or private instruc-
tion for four credits or alone for two credits.
Production and Reproduction:
Introduction to Sound Recording
This basic audio production and reproduction
workshop introduces the fundamentals of sam-
pling, processing, generating, and recording
sound. Students gain practice in recording events,
placing microphones, reinforcing sound, and
mastering and burning CDs. Those who qualify
produce their own work in Bards multitrack stu-
dios and act as supervisors for the work of others.
Songwriting
Lyrics, setting, clarity, musical scene, melody,
accompaniment, voice and accompaniment as
duet, notation, editing, rewriting, and the collabo-
rative process are examined. Participants present
their work with or without self-accompaniment
or in collaboration with other class members or

guests. The focus is primarily on work in progress
or work composed during the semester, with the
specific goal of writing 10 new songs.
20th-Century Composition
In this workshop, composition is influenced by
modern masterworks. The class studies impor-
tant 20th-century models in order to expand the
inner ear and inspire personal creativity.
Voice and Vocal Repertoire
for Singers and Pianists
This singing class explores the art songs of the
United States, England, France, and Germany,
including some opera arias and ensembles,
depending on the makeup of the class. Vocal
techniques are taught, and technical issues that
arise from individual performance are addressed.
Individual pianists and vocalists are paired as
working partners. Prerequisites: the ability to
match pitches and an adequate vocal range.
Ensembles
Ensembles may be taken for one credit or no
credit. If private lessons are taken in conjunc-
tion with an ensemble, one more credit may be
added. It is possible to participate in more than
one ensemble and receive additional credit
accordingly.
Bard College Orchestra
Music 104
Bard College Symphonic Chorus
Music 105
Bard College Community Chamber
Music Program
Music 106
Ensembles
Music 107108
Balinese Gamelan
Big Band
Chamber
Chamber Singers
Chinese Music
Contemporary
Music 221
Electro-Acoustic
Jazz
Jazz Guitar
Jazz Vocal
Live Electronic Music
Open Instrumentation
Percussion
Vocal
Wind
Wind and Brass Chamber
Courses
Introduction to Music
Music 112
Students hone listening skills as selected musi-
cal works from 1700 to the present are intro-
duced and studied in both musical and
historical/cultural contexts. Key examples from
the symphonic, chamber, operatic, jazz, popular,
and musical theater genres are examined,
primarily from the perspective of developing
informed and open listening skills. The ability
to read music is not required.
Music and Society in Four Italian
Renaissance Cities
Music 116
A survey of musical composition and perfor-
mance in the contexts of four of the greatest
Italian centers of music and art in the years
14501600: Ferrara, a hereditary monarchy;
Florence, a republic transforming itself into a
hereditary monarchy; Venice, a secular elective
monarchy; and Rome, a sacred elective monar-
chy. The course examines how the political and
social ethos of each of these cities influenced
and formed its musical and artistic expression.
The course is intended for the inquiring general
student, and no special knowledge of music is
required.
Introduction to Music Theory
Music 122
This course serves as an introduction to reading,
studying, and analyzing tonal music for non-
music majors and potential music majors who
have had little or no exposure to reading music.
It begins with the basics of musical notation and
progresses to the identification of scales, triads,
222 The Arts
and seventh chords. The class has an ear-training
component that allows for practical reinforce-
ment of the aural concepts presented.
Popular Musics of the Non-Western
World
Music 123 Asian Studies
What does it mean for a music to be popular, and
how does it become that way? In different parts
of the world, the production, consumption, and
distribution of popular music are all shaped by a
societys distinct encounter with and culturally
specific ways of negotiating modernity. These
have to do with mediations of identity, space,
and place that result in local scenes, global
trends, musical hybridity, and cross-pollination.
This course looks at various popular music genres
in different geographical regions, particularly
Asia, Africa, Latin America, and the Middle
East, and explores issues related to the emer-
gence of each one as well as their localized mean-
ings. Discussions are based on a combination of
selected readings, films/videos, and music record-
ings. Note that this course does not fulfill a music
history elective for music majors.
Topics in 19th-Century Chamber
Music: Beethoven and Schubert
Music 130
The Colorado Quartet explores the relationship
between these two giants of the early 19th cen-
tury through their rich contributions to the
quartet repertoire. Many works are performed in
their entirety during class meetings, recreating
the intimate, rarefied atmosphere of the initial
premieres. Required readings include Maynard
Solomans biography of Beethoven, Christopher
Gibbss biography of Schubert, and Goethes The
Sorrows of Young Werther. This course does not
fulfill a music history elective for music majors.
Fundamentals of Music I and II /
Ear Training
Music 133-134
This two-semester course begins by building
skills in reading music and recognizing basic
chords such as triads and sevenths. It continues
with an introduction to harmony, secondary
dominants, basics of modulation, four-part writ-
ing and voice-leading. The end result is the abil-
ity to write a hymn, song, or brief movement of
tonal music. Theoretical work is complemented
by an ear-training segment focused on develop-
ing the ability to sing and recognize secondary
dominants and modulations.
Jazz Ear Training I and II
Music 137-138
A creative jazz improviser strives for spontaneity
of expression and emotional immediacy. There
are many techniques used to train for these
goals. In this course, the student is introduced to
a number of different practice techniques while
exploring a wide range of improvisational mate-
rials, including chords, intervals, and recorded
jazz solos from composers such as Louis Armstrong
and John Coltrane. Open to both singers and
instrumentalists, the course fulfills a theory
requirement for music majors.
Introduction to World Music
Music 140
This course surveys various folk and traditional
musics of the non-Western world. Music cultures
are discussed individually in turn, all the while
maintaining a cross-cultural or cross-regional
perspective in order to discern common underly-
ing themes and processes as well as points of
divergence. Although organized according to
geographical and cultural areas, attention is paid
to important cross-cultural considerations such
as ideas about music, the social organization of
music, repertoires of music, the material culture
of music, culture contact, and musical change.
Discussion also includes issues such as cultural
ownership, appropriation, and commodifica-
tionissues that have arisen as the countries
and places where the musics originate get more
deeply implicated in the global economy. Some
class time is devoted to exercises in critical lis-
tening and aural analysis. A background in music
is not required.
Western Art Music for the
Nonspecialist
Music 142
A survey of the basic repertory of music in the
Western art tradition. It covers the major com-
posers and genres from 1600 to the end of the
20th century, including Monteverdi, Bach,
Handel, Mozart, Beethoven, Wagner, Verdi,
Brahms, Schoenberg, and Stravinsky. All works

are presented in a larger historical context. No
specialized training or knowledge is required.
This course does not count toward a music his-
tory requirement for music majors.
String Quartets of Shostakovich
and Bartk
Music 169A
This course explores the string quartets of
Dmitrii Shostakovich and Bla Bartk from the
performers perspective. Students focus on the
unique ways these composers reconciled their
nationalistic and ethnocentric roots with an
emerging modernist aesthetic. Readings help
place the works in their social and political
contexts.
Chamber Music of 19th-Century
Nationalism
Music 169B
A survey of romantic nationalism, as exempli-
fied in the works of Borodin, Debussy, Dvork,
Ravel, Smetana, and Tchaikovsky. Students
read letters written by these composers as well as
short works by contemporary writers, including
Tolstoys Kreutzer Sonata.
Jazz Harmony I and II
Music 171-172
This two-semester introduction to jazz harmony
helps students identify and understand chords
and chord progressions commonly used in jazz.
Music Theory I and II
Music 201-202
This course serves as an introduction to music
theory and music making and is the entry-level
course to the classical theory sequence. Basics of
musical notation is the starting point, after
which the class moves quickly to scales and
recognition of triads and seventh chords, as well
as rhythmic performance. By the end of the
course, students should possess the ability to
write a hymn, song, or brief movement of tonal
music. At all times the course emphasizes analy-
sis of real music, and an ear-training component
reinforces the theoretical knowledge with prac-
tical experience. This course fulfills a music the-
ory requirement for music majors.
Music 223
Operas of Mozart
Music 206
This chronological survey begins with Mozarts
early work in opera and related genres and
examines in detail his seven mature operatic
masterpieces.
Jazz in Literature I and II
Music 211-212 Africana Studies,
American Studies, SRE
A two-semester course designed for music lovers
and readers of literature. The class explores jazz-
themed short stories, novels, and plays, with the
goal of scrutinizing the synergy of two great
American art formsliterature and jazzin the
20th century. The reading list includes Maya
Angelou, James Baldwin, Donald Barthelme,
Ralph Ellison, Langston Hughes, Toni Morrison,
and Ann Petry.
The Arithmetic of Listening
Music 216
This introduction to the overtone series and the
history of tuning teaches how tuning shapes the
course of a cultures music; traces the parallel
development of music and the number series
back 6,000 years, to the teachings of Pythagoras;
shows how to discriminate the pitch subtleties
that differentiate Indian music, Balinese music,
and even the blues from conventional European
tuning; analyzes music by American avant-
gardists such as Glenn Branca, Harry Partch, and
La Monte Young; explores the possible uses of
music in meditation; and, most important, sensi-
tizes class members to aspects of listening that
20th-century Westerners have been trained to
filter out. A basic ability to read music is strongly
recommended, but a background in mathematics
or acoustics may compensate for its absence.
Romantic Harmony
Music 219
The romantic era is explored in terms of its most
colorful characteristic: harmony. Works by
Brahms, Chopin, Liszt, Schumann, and Scriabin
and excerpts of larger works by Berlioz, Bruckner,
and Wagner are analyzed for form and orchestra-
tion and to explore the flowering of ultrachro-
matic harmonic progressions and modulations.
Along with augmented sixth chords, borrowed
chords, enharmonic modulations, and chromatic
224 The Arts
voice-leading, the class studies the wealth of
thematic transformation techniques that made
late romanticism such a fluid and often extra-
musically referential language. Prerequisite:
Music 133-134 or the equivalent.
Music of China
Music 226 Asian Studies
An examination of various forms of Chinese
music, with a particular focus on instrumental
genres. The goal of the course is to provide stu-
dents with a comprehensive knowledge of musi-
cal styles, concepts, and recurring themes in
Chinese music history. The topical organization
follows a more or less chronological order as
attention is drawn to certain issues and promi-
nent characteristics of music and musical life in
China from the ancient times to the present.
The course, which fulfills a music history elec-
tive for music majors, includes lectures, assigned
readings, listening and viewing assignments, and
performance demonstrations by guest artists.
Renaissance Counterpoint
Music 228
A knowledge of 16th-century counterpoint
imparts fluidity to a composers music. Its exact-
ing discipline teaches the ability to see musical
problems in terms of multiple possible solu-
tions and helps the composer to internalize
Schoenbergs dictum that the eraser is the
important end of the pencil. This course exam-
ines Knud Jeppesens classic text Counterpoint;
the works of Josquin Desprez; and 16th-century
motets and mass movements by Josquin, di Lasso,
Willaert, and others. Prerequisites: the ability to
read music and a familiarity with intervals.
20th-Century Masters: Schoenberg,
Stravinsky, Shostakovich
Music 232
The work of these three composers encapsulates
much of the history, techniques, and aesthetics
of 20th-century Western art music. Arnold
Schoenberg (18741951) carried Wagnerian har-
mony to what he considered its logical conclu-
sion: the destruction of tonality. Igor Stravinsky
(18821971), a product of Russian imperial cul-
ture, assimilated everything from Tchaikovskian
romanticism to serial technique. The tormented
Dmitrii Shostakovich (19061975) spent most
of his career trying to balance creative expression
with the demands of the Stalinist government.
The class considers major works by each com-
poser. Musical training is useful, but not required.
Analyzing Beethoven
Music 234
Contrary to his public image, Beethoven wasnt
really more experimental than his predecessors
Haydn and Mozart; rather, he accepted his inher-
ited forms, but vastly increased the range of
drama and dynamic contrast inherent in sonata
form. In so doing he arrived at a music so logical
that it can sometimes be memorized after a read-
ing or two and created archetypes for musical
expression that dominated Europe for a century
and continue to resonate today. This analysis
course follows the development of Beethovens
formal ideas, leading up to a detailed examina-
tion of the astonishing late piano sonatas and
string quartets, still considered by some the most
avant-garde music ever written, in which he
seemed to try to synthesize the entire classical
era by superimposing sonata form, variation
form, and fugue all at once. Sonata form is exam-
ined based on the latest musicological views as
propounded in William E. Caplins Classical
Form (1998). Literature relevant to the public
image of Beethovens late music, such as Thomas
Manns Doctor Faustus and Rose Rosengard
Subotnicks Adornos Analysis of Beethovens
Late Style: Early Symptom of a Fatal Condition,
are also considered. Prerequisites: Music Theory I
and II or the equivalent (familiarity with Roman
numeral analysis, secondary dominants, and aug-
mented sixth chords). The course fulfills a theory
requirement for music majors.
The Music of Claudio Monteverdi
Music 235
Claudio Monteverdi (15671643) was the first
great composer of the Baroque period, and his
music continues to grow in interest and attrac-
tion. Students consider his career in historic and
artistic contexts, from its start at the court of the
Gonzaga family in Mantua to its conclusion in
Venice, where Monteverdi was master of the
ducal chapel of San Marco. Students examine
his productions in various genres: madrigal, opera
(e.g., LOrfeo and Lincoronazione di Poppea),

masque, and sacred music. The course fulfills a
music history requirement for music majors.
Music and the Brain
Music 237
Music, in its myriad forms, is ubiquitous through-
out human society. Why is music such an inte-
gral part of the human experience? How do we
hear sound, and how do certain combinations of
pitches and rhythms invoke emotion? Using
psychophysics, cognitive psychology, and neu-
rology, this course explores these and other fun-
damental questions of music. Each class focuses
on a different musical topic, including melody,
harmony, rhythm, and emotion. Texts include
Moores Introduction to the Psychology of Hearing,
Rossings The Science of Sound, and Yosts Funda-
mentals of Hearing. No scientific or musical
background is necessary.
The History and Literature
of Electronic and Computer Music
Music 238
Beginning with the history of such early elec-
tronic instruments as the theremin and the
Ondes-Martenot, this course traces the develop-
ment of electronic music from early musique con-
crte, elektronische musik, and tape music through
the advent of live electronic music and computer
music (from the early mainframe works of
Mathews, Tenney, and Risset to recent and cur-
rent PC-based interactive and multimedia
pieces). Composers studied include Amacher,
Anderson, Babbitt, Berio, Cage, Eno, Henry,
Kosugi, Lewis, Martirano, Musica Elettronica,
Nono, Oliveros, Pousseur, Schaeffer, Sonami,
Sonic Arts Union, Spiegel, Stockhausen,
Subotnik, Takahashi, Varse, Viva, Xenakis, and
Young. Other developments, including the ambi-
ent, illbient, and DJ scenes, are also studied.
Introduction to Experimental Music I
Music 240 Integrated Arts
Taking the radical innovations of such revolu-
tionary figures as Henry Cowell, Charles Ives,
and Edgard Varse early in the 20th century as its
starting point, this course examines the experi-
mental music tradition in the United States and
elsewhere. In addition to studying the body of
work this tradition has produced and discussing
its aesthetic and philosophic underpinnings, stu-
Music 225
dents are encouraged to actively realize and per-
form works by the composers and artists studied.
Possible performance projects include Ivess quar-
tertone pieces; Cowells piano music; graphic
scores by Brown, Cardew, and Feldman; chance
and intermediate scores of Cage; live electronic
pieces by Behrman, Lucier, or Tudor; the realiza-
tion of a Nancarrow player-piano score on
Disklavier; event pieces by Fluxus, Kusogi, and
Paik; Oliveross meditation pieces; phase pieces
by Steve Reich; notated and text pieces by
Rzewski; and game pieces by Wolff and Zorn.
Introduction to Experimental Music II
Music 241 Integrated Arts
The course begins with a brief survey of the ear-
liest electronic instruments and postwar develop-
ments in France, Germany, and the United States.
Also studied are computer music from early
sound synthesis experiments at Bell Labs and
elsewhere; live electronic music, from Cage and
Tudors pioneering work to recent and current
PC-based interactive live computer music; and
multimedia works, from 60s classics to the pre-
sent. Assignments include extensive listening,
reading, research, and analysis, as well as possible
recreations of classical pieces from the reper-
toire and original compositional and perfor-
mance projects inspired by these studies. The
course is a continuation of and complement to
Music 240 and is strongly recommended as a
preparation for all electronic music studio
courses.
German Romantic Chamber Music
from Schubert through Brahms
Music 249
A survey of 19th-century German chamber music,
beginning with Franz Schubert, continuing with
Felix Mendelssohn and Robert Schumann, and
culminating with the enormous contributions to
the genre by Johannes Brahms. The Colorado
Quartet is joined by other Bard faculty for in-class
performances. Also explored are concurrent trends
in art, philosophy, and literature, aided by guest
lecturers in order to shed light on the musical
world of German romanticism. Readings include
Schuberts Vienna (Erickson, ed.), The Life of
Schubert by Christopher Gibbs, the Dover edition
of Schumanns critical writings, Nancy Reichs
biography of Clara Schumann, Grillparzers Der
226 The Arts
Arme Spielmann, and writings of Kleist and Leon
Botstein. Ability to read music is not required.
Analysis of the Classics of Modernism
Music 255
This course analyzes several works that changed
the way composing is considered: the cinemato-
graphic intercutting of Stravinskys Le Sacre du
Printemps and the ironic Bach appropriations of
his Symphony of Psalms; the textural overlayer-
ing of Ivess Three Places in New England; the
elegant mathematical proportioning of Bartks
Music for Strings, Percussion, and Celesta; the
delicate symmetries of Weberns Symphonie,
Op. 21; the tonal organization of Stockhausens
Gruppen; and the compelling, multitempo
climaxes of Nancarrows Study No. 36.
Production/Reproduction
Music 257 Integrated Arts
This course focuses on the theory and practice of
sound recording. Students learn the use of record-
ing equipment, including digital tape recorders,
mixing consoles, signal processing devices, and
microphones. A/B listening tests are used to
compare types of microphones, microphone
placement, and recording techniques. Assigned
projects include multitrack and direct-to-stereo
recordings of studio and concert performances.
ProTools software is available for digital editing
and mastering to CD.
Musical Electronics: Analog Synthesis
and Processing
Music 259
This course concentrates on the theory, design,
and creative use of the basic components of ana-
log electronic music systems. Students examine
some of the original circuits used by Bode,
Moog, Serge, Theremin, and others. Discussions
cover voltage control techniques, synthesis, and
processing. Class projects re-create some of the
classic circuits and patches. Enrollment limited.
String Quartets of Beethoven
Music 260
This course examines the personal and creative
life of Ludwig von Beethoven through the
medium of his 16 string quartets. The composers
relationship with writers and philosophers of the
time, including Goethe, Kant, and Schiller, is
explored through his creative development, and
the works placed in a historical and political
context.
Literature and Language of Music
Music 264265
A survey of selected musical works, ranging (in
the first semester) from Gregorian chants in the
Middle Ages to the early works of Beethoven
(around 1800). The second semester surveys
music from Beethoven to the present day. All
works are placed in a broad historical context,
with specific focus on stylistic and composi-
tional traits. In addition, musical terminology,
composers, and historical and theoretical
methodology are described in relationship to the
repertoire. As students use scores in class discus-
sions, basic skills in music reading are expected.
This course is primarily designed for music
majors, including sophomores, and counts
toward the music history requirement for music
majors. It is not required that students take both
semesters.
Jazz Repertory:
American Popular Song
Music 266 Africana Studies,
American Studies
This performance-based course surveys the
major American popular song composers of the
Tin Pan Alley era, whose work forms the core of
the jazz repertoire. Berlin, Ellington, Gershwin,
Porter, Rodgers, Warren, and others are studied
via readings, recorded music, and film. Students
also perform the music in a workshop setting.
Prerequisite: Music 171-172 or permission of the
instructor.
Additional Jazz Repertory subjects have included
Bebop Masters, John Coltrane, and Thelonious
Monk.
The Art of Acoustic Recording
Music 267
Building on ProTools fundamentals, the class
explores techniques for creating quality record-
ings of a wide variety of instruments and voices.
Students develop an understanding of the sonic
and musical properties that make each instru-
ment unique; skills for working with live instru-
mentalists/vocalists in the studio; and advanced

ProTools techniques. Students are required to
spend time each week recording and mixing
their own multitrack sessions and are encour-
aged to work collaboratively. The class also lis-
tens to a variety of recorded music, and students
apply their observations of these recordings to
their own projects.
Notes Not Necessary: Exploring
Other Ways to Make Music
Music 270 Integrated Arts
An examination of the works of contemporary
composers working in a variety of styles and
sound media. Discussion topics include new
conceptual models for form and content and
ways to work with sounds, the environment, and
our own perceptions to create music. Students
present work in class and keep a journal of their
impressions and critiques. Recommended for
students from any discipline.
Introduction to Opera
Music 276
A survey of opera from Monteverdi to the pre-
sent day. The focus is on a limited number of
operas, including treatments of the Orpheus
myth by Peri, Monteverdi, Gluck, and Glass;
Handels Giulio Cesare; Purcells Dido and Aeneas;
Mozarts Don Giovanni; Beethovens Fidelio;
Wagners Die Walkure; Verdis La Traviata; Bergs
Wozzeck; Stravinskys The Rakes Progress; and
Glasss Einstein on the Beach. Students pay partic-
ular attention to the ways in which works of the
written and spoken word are transformed into
compelling musical theater. Classes also include
video screenings and comparisons of different
productions.
The Music of Johann Sebastian Bach
Music 277
J. S. Bach is regarded as one of the greatest musi-
cians of the Western art tradition. This survey
examines his life and music in light of the most
recent research. Special emphasis is placed on
various traditions and questions of performance
practice, with regular classroom performances.
This course satisfies a history requirement for
the music major but is also recommended for the
general student.
Music 227
Populism versus Progress
in 20th-Century Music
Music 282
The 20th century opened (circa 1912) with a
startling emancipation of sonic phenomena that
had been carefully prohibited for centuries. For
the next several decades the tide of modernism
flowed and ebbed, as each move toward abstrac-
tion, structural rigor, and complexity was
countered by another move toward populism,
accessibility, and musical vernacular. The para-
dox of the century was that musical progres-
sivism and political progressivism did not go hand
in hand, but were often opposed; Americans with
communist sympathies favored folk-tune-based
symphonies for the masses, while Soviet com-
posers had a similar ideology imposed from above.
Hitler banned decadent, formalist modern
music; are we now obliged to approve of any
music Hitler didnt like? And the overpowering
rise of pop music in the 1960s forever altered
classical musics internal discourse. This course
looks at the centurys classical music from a
political viewpoint, focusing on arguments made
by Schoenberg, Cage, Babbitt, Cardew, and
many other composer protagonists. At its heart
is the philosophical question: how does a person
choose what kind of music to make in a modern,
democratic society? The ability to read music is
recommended. This course fulfills a music his-
tory requirement for music majors.
High/Low: Tensions and Agreements
Between Popular and Serious
Music in Western Culture
Music 283
As far back as the early Renaissance, distinc-
tions were made as to what constituted popular
and serious music. In the 15th century some of
those distinctions were defined by musics rela-
tionship to the church. Later, in the 18th and
19th centuries, idiomatic folk music began to be
deliberately used in opera and symphonic reper-
toire to evoke elements of nationalism and
local color. In the 20th and 21st centuries, as
characteristics of jazz, folk, and rock music inter-
mingled, some earlier distinctions between pop-
ular and serious music began to blur. In this
course, key works in Western classical music
from the 16th through the 21st centuries will be
studied along with the popular music of the day.
228 The Arts
Careful attention is paid to critical reaction to
these works, along with an examination of the
cultural climate and trends that might have
contributed to high/low distinctions. Works to
be studied include Josquins Missa Lhomme
arm, Handels Messiah, Haydns Symphony No.
104, excerpts from Berliozs Les Troyens, Ravels
Lenfant et le sortilge, excerpts from Philip
Glasss Einstein on the Beach, and John Adamss
Nixon in China. Also examined is the music of
Louis Armstrong, George Gershwin, Miles Davis,
the Velvet Underground, the Beatles, and Sonic
Youth, among others. This course counts toward
music history credit.
Introduction to Ethnomusicology
Music 285 Anthropology
Ethnomusicology is the study of music in rela-
tion to other aspects of culture (i.e. language,
religion, politics, social organization). This course
introduces students to the history, scope of sub-
ject matter, theory, and methodology of the
field. Students examine how ethnomusicology
has developed over the last half-century in con-
nection with various understandings of what
culture is and with musics position within
these different conceptual frameworks, roughly
described as music in culture, music as cul-
ture, and music culture. Also introduced are
the main research methodologies, borrowed
from anthropology, of ethnographic fieldwork
and participant observation.
Musical Ethnography
Music 287 Anthropology, SRE
This course provides practical instruction in
field research and analytical methods in ethno-
musicology. It is intended to assist students who
are considering doing a Senior Project that is
ethnomusicological in nature by providing a
sense of the field, its options, and the real-life
practice of ethnomusicology. Topics include
research design; grantsmanship; fieldwork; par-
ticipant observation; writing of field notes,
interviews, and oral histories; survey instru-
ments; textual analysis; audiovisual methods;
archiving; performance as methodology; histori-
cal research; and the poetics, ethics, and politics
of cultural representation. Students conceive,
design, and carry out a limited research project
over the course of a semester. They also write up
a grant proposal for a project (this may be the
same as the semester project) and defend it in a
mock review.
Advanced Analysis Seminar
Music 302
Students make a thorough analysis of a maxi-
mum of three works from the 19th and 20th
centuries. The emphasis is not on harmonic
analysis, but on how networks of motives are
used to generate overall structurethat is, the
essence of large-scale compositional thinking.
Students complete individual papers on a work
related to the music analyzed in class, which
may include Beethovens Grosse Fuge, Morton
Feldmans Turfan Fragments, and Stravinskys
Piano Concerto. Prerequisites: Music 255 or
Harmony Workshop and permission of the
instructor.
Advanced Electronic
Music and Arts Workshop
Music 310 Integrated Arts
Instruction and guidance are provided in realiz-
ing projects in electronic composition, perfor-
mances, and installations. Possible projects include
interactive computer music composition and
performance using MAX, the object-oriented
programming language (including algorithmic
composition, machine listening, and improvisa-
tion); digital sound synthesis and signal process-
ing using SuperCollider software; alternate
MIDI controllers and interfaces. Students
present original work in public performances at
least once during the semester. Prerequisite: Music
240 or permission of the instructor.
Jazz: The Freedom Principle
I, II, III
Music 331, 332, 335 Africana Studies,
American Studies, SRE
This three-part course is a study of the cross-
pollination between postbop in the late 1950s
and free jazz. Employing a cultural approach, it
examines the effects on music of the prevailing
social climate from 1958 to the mid-1960s. The
emphasis is on artists and composers such as Art
Blakey, Ornette Coleman, John Coltrane, Miles
Davis, Eric Dolphy, Charles Mingus, Thelonious
Monk, Max Roach, Horace Silver, and Cecil
Taylor.

World Music Seminar
Music 337
This study of traditional world music emphasizes
the classical music of India, Indonesia, China,
Korea, and Japan, and also examines the influ-
ence it has had on 20th-century Western music.
The latter includes the California school of
Cage, Cowell, and Harrison; minimalists Glass,
Reich, Riley, and Young; and Europeans such as
Ligeti, Messiaen, and Xenakis. Western-trained
Asian composers who have reintroduced tradi-
tional Asian materials into their work (Tan
Dun, Yuji Takahashi, Toru Takemitsu, Chou
Wen-chung) are also studied. The most recent
developments in intercultural hybridization by
younger composers and improvisers (Fred Ho,
Jin Hi Kim, Miya Masaoka, Ikue Mori) are stud-
ied in the context of a developing integrated
world music culture that promises to be a major
musical trend in the 21st century. Students carry
out research projects and experiment with inter-
cultural compositions and performances.
Perspectives in 20th-Century Music
Music 339
As the dust begins to settle on the 20th century,
the outlines of its musical history emerge more
clearlyacknowledged masterpieces, unacknowl-
edged masterpieces, turning points, false starts
and roads not taken, fallen idols, and outright
flops. This seminar examines an eclectic cross-
section of works, under such rubrics as Music and
Painting (Hindemith, Mathis der Maler); Music
and Transcendentalism (Ives, Concord Sonata);
Music and Sex (Shostakovich, Lady Macbeth);
Music and Ideology (Brecht-Weill, Mahagonny);
Music and Race (Gershwin, Porgy and Bess);
Great Incomprehensibles (Carter, Double Con-
certo); Academic Composers (Babbitt, Philomel,
and works by Bard composers); Songs by Bessie
Smith and Cole Porter; and Great Flops
(Stravinsky, Mavra). For upper-level students
and music majors, or by permission of the
instructor.
Music 229
Russia on the Opera Stage
Music 340 RES
Although it represents an inseparable part of
European culture, modern Russian culture has a
distinctly original character that was shaped
initially by the Orthodox Christian tradition
passed on from Byzantium. This tradition even-
tually came into contact and conflict with the
flow of West European ideas. The monumental
achievements of European civilization were
absorbed and confronted, transformed and
blended with the unique Russian experience.
Russian music followed a similar path. The early
development of Russian music benefited from
appropriation of Byzantine unaccompanied
choral singing and at the same time suffered
from the absence of instrumental music. By
comparison, Western European music combined
the use of vocal and instrumental faculties and
resulted in the creation of numerous forms of
musical art, including the most elaborate one:
opera. Students explore Russian culture through
the medium of Russian opera. The material
includes selected literary texts, musical record-
ings, and opera performances on video. This
course is offered under the auspices of the Bard-
Smolny Virtual Campus Project, in cooperation
with Smolny College in St. Petersburg, Russia.
Music and Culture of the African
Diaspora I
Music 344 Africana Studies
Focusing on the musical cultures of Africa, this
course examines music and music making in the
context of African philosophy, religion, and spe-
cific cultural practices. The musical practices of
the Caribbean and other areas of the New
World where Africans reside in significant num-
bers are also investigated. Reading, writing,
analysis, critical listening, and participatory
activities are required.
Introductory Psychoacoustics
Music 345
This course is about perception and hearing. It
begins with a description of the physiology and
function of the ear and how auditory informa-
tion is processed. Technical material is enlivened
through the use of graphic illustrations, recorded
examples, interactive demonstrations, experi-
ments, a guest lecturer, and a visit to a studio
230 The Arts
lab. The second half of the semester focuses on
sound localization and the technologies used in
spatialization and 3-D audio. Auditory localiza-
tion cues, binaural recording, spatial audio syn-
thesis, sound for virtual realities, and immersive
environments are explored. Enrollment limited.
Interactive Performance and
Composition Using MAX/MSP
Music 346
An introduction to computer programming for
algorithmic composition, sound installations,
interactive performance, and live sound process-
ing, using the musician-friendly MAX/MSP pro-
gramming language. This is a hands-on course
with several small assignments culminating in a
final project of programming and composing and
a presentation or performance. Prior experience
with sequencers or MIDI software is helpful.
Music and Culture of the African
Diaspora II
Music 347 Africana Studies
A continuation of Music 344, focusing on the
culture, history, and music of the African dias-
pora in the New World. Included are musical
cultures of the Caribbean and Latin America
with special emphasis on the United States
before 1920. Interrelationships among New
World cultures are explored. Reading, writing,
analysis, oral presentations, critical listening,
and participatory activities are required.
Collaborating with Strangers:
Individuals, Communities, and
Institutions
Music 350 Integrated Arts
An interdisciplinary course for performers, com-
posers, dancers, sculptors, painters, multimedia
artists, and others who want to take more risks
in their work. Students examine the work and
methods of visual and audio artists who create
public art projects and installations as well as
those who work within existing communities or
with communities created specifically for a piece.
Student work is presented on the street, in the
community, and as proposals in class.
Writing about Music
Music 351
Drama criticism has been called the art of tat-
tooing soap bubbles, and music criticism often
seems an even more quixotic endeavor. How do
you pin down, in words on a page, the passage of
sound waves in fleeting time? This course
explores many strategies for writing about music:
critical, analytical, descriptive, historical, philo-
sophical, objective, and subjective. Students
must fulfill weekly writing assignments in
response to recordings and live concerts (pop,
classical, jazz, world music, avant-garde). They
also read samples of music writing, from early
critics such as E. T. A. Hoffman and Robert
Schumann to current cultural magazines. For
both music majors and nonmusicians.
Electronic, Electroacoustic, and
Computer Music Composition
Music 352
As todays media begin to enhance the sensitive
range of our perceptual modes, will the auditory
arts do likewise? Will sound art explore emer-
gent technologies to delve consciously into
these expanded sensitivities? And if so, in what
ways? Taking VR (Virtual Reality 3D sonic imag-
ing and graphics, telepresence, and cyberspace)
as a point of departure, this workshop examines
the possibilities of individualizing sonic archi-
tectures for listeners and for spaces. Scenarios
are proposed for future sonic worlds, and cross-
sensory explorations are investigated. Readings
include selected excerpts spanning musical the-
ory, acoustics, neuroscience, and the literature
of the imagination. Internet sources are used
extensively to access new developments in inter-
face and enhancement technologies. Students are
expected to bring in ongoing projectse.g.,
computer programs, digital or analog recordings,
or scores for installations and mixed media
works.
Orchestration
Music 353
Students learn how to score for instrumental
combinations, from small ensembles up to full
orchestra. Live demonstrations of orchestral
instruments; score study of orchestral literature;
chord voicing and notation of bowings, breath-
ing, articulations, and special orchestral effects;

and the practice of basic conducting patterns
and skills are covered. Prerequisites: Music
133134 and Composition Workshop.
Opposites Attract: Beethoven and
Schubert
Music 354
Franz Schubert revered Beethoven above all
other composers. Although born of different
generations, they died just 20 months apart
and were ultimately buried just feet apart. As
Schuberts reputation grew in the 1820s,
Beethoven became aware of the new young tal-
ent and, it is said, looked on approvingly. This
seminar examines the musical and cultural con-
text in which both composers lived and worked
in Vienna, concentrating on the period from the
Congress of Vienna (1814) to their deaths. The
class studies their personal, professional, and
musical relationships; analyzes relevant compo-
sitions; and explores their contemporaneous and
posthumous receptions. A major emphasis is
placed on biographical representations of the
two composers: a masculine, symphonic, and
heroic Beethoven constructed against a femi-
nine, lyrical, and shy Schubert. This upper-level
seminar is intended for music majors but is open
to others with permission of the instructor.
Death Set to Music
Music 355
This course analyzes key musical works that use
death and mourning as subject matter. These
works include the requiems of Wolfgang Amadeus
Mozart, Giuseppe Verdi, Johannes Brahms,
Benjamin Britten, and Paul Hindemith, as well
as Johann Sebastian Bachs Johannes-Passion and
Ich habe genug (Cantata 82). Prerequisites: One
semester of Literature and Language of Music or
an equivalent music history course. This course
fulfills a music history requirement for music
majors.
Arranging Techniques for Jazz
Music 356
This class focuses on the various techniques used
in jazz ensemble writing, from quintet to big
band ensembles. Classic drop-two voicings and
tertiary approaches are covered, as are more con-
temporary cluster, quartal, and line part writings.
Myriad approaches to textural issues that arise in
Music 231
each particular instrumentation are examined,
along with various approaches to section writing.
Final projects, ranging from sextet to big band,
are either recorded or performed live at the end
of the semester. This is an advanced seminar
open to moderated Upper College music majors
who have successfully completed Jazz Compo-
sition I and II, or by permission of the instructor.
This course fulfills an upper-level music theory
requirement for music majors.
Music and Tourism in South East Asia
Music 357 Anthropology,
Asian Studies, SRE
Through a combination of lectures, discussions
based on key readings, and audiovisual materials
students consider the topic of music and tourism
in the context of music cultures in Southeast
Asian countries such as the Philippines, Indonesia,
Thailand, Malaysia, and Vietnam. Students gain
an understanding of how tourist settings, events,
and artifacts are produced, interpreted, and con-
sumed, and the important role of music and
music-related practices in the process. In partic-
ular, the class zeroes in on two specific settings
common to many tourist experiences, the festi-
val and the cultural show. Among the issues
explored: the production of the exotic for the
consumption of the other; tradition and
authenticity; the commodification of music cul-
ture and history; and the politics and aesthetics
of cultural/musical production.
Workshop in Electroacoustic
Composition and Interdisciplinarity
Music 358 STS
Across the contemporary artistic spectrum, elec-
troacoustic sound and music are increasingly in
confrontation with the visual. This course
focuses on the work of student composers, with
special emphasis on interdisciplinary forms.
Readings supplement compositional exercises,
but the course is primarily intended as an open
format for the critique and exploration of ongo-
ing student work. Also examined are works from
the field, in the areas of video, animation, digi-
tal media, broadcasting, podcasting, and new
forms of graphical/digital notation. Prerequisite:
consent of the instructor.
232 The Arts
20th-Century Innovations
Music 359
The first decade of the 20th century saw an
explosion of innovative compositional theories
and directions. Led by Debussy and Schoenberg,
composers began to reshape the future of music.
Harmonic symmetries commingled with tradi-
tional diatonic and chromatic practices to bring
new colors, textures, form, and freedom, leading
to the wide array of musical styles and aesthetics
heard today. Students listen to and analyze
selected seminal works, from Debussy to Messiaen
and Ligeti, in their historical context. This
course counts toward a music theory credit.
John Cage and His World
Music 363
Long reviled as a charlatan and/or madman,
John Cage has finally achieved recognition as
one of the most influential composers and musi-
cal thinkers of the late 20th century. This course
focuses primarily on an analysis of his music,
encompassing such innovations as the prepared
piano, chance, and indeterminacy. Also consid-
ered is the work of his teachers and influences,
as well as his collaborators from the worlds of
music, visual arts, dance, literature, politics, and
religion. Prerequisite: permission of the instructor.
Music of Japan
Music 365 Asian Studies
The course begins with an examination of the
ancient repertories of Buddhist chant (shomyo)
and court music (gagaku), both deeply indebted
to the cultures of China and Korea, as well as to
India and Southeast Asia. Students also con-
sider such genres as the Zen-inspired shakuhachi
(end-blown bamboo flute) honkyoku and music
for biwa (lute), shamisen, koto, and other tradi-
tional instruments. After exploring the impact
of Western music on Japan, the class focuses on
the combination of traditional Japanese instru-
ments and forms with Western contemporary
classical techniques, as exemplified by the work
of Toru Takemitsu, Yuji Takahashi, Toshi
Ichiyanagi, and others. Postwar experimental
and avant-garde groups and their relationships
to Fluxus and other international movements
are also explored, as are such key figures as Yoko
Ono and Takehisa Kosugi. Finally, the most
recent developments in noise music by Merzbow
and Otomo Yoshihide, among others, are exam-
ined in the context of the current scene, in
which traditionally trained gagaku musicians
collaborate freely with electric guitarists,
turntablists, and laptop players. Open to moder-
ated, Upper College students by consent of the
instructor, this course fulfills an upper-level
music history requirement for music majors.
Advanced Contemporary
Jazz Techniques
Music 366
This course introduces methods for the jazz
improviser to deconstruct and reorganize the
basic harmonic and rhythmic elements for a
composition. Issues addressed include reharmo-
nization, remetering, metric modulation, and
variations in phrasing, tempo, and dynamics;
that is, the arrangement and reorganization of
compositional elements. This is a performance-
oriented class, and the repertoire includes jazz
standards and compositions of the instructor.
The class is open to moderated, Upper College
students who have successfully completed Jazz
Harmony I and II, and previous jazz repertory
classes. This course fulfills an upper-level music
theory requirement for music majors.
Special Projects
Special Projects are designed for music majors
who want to pursue individual or group projects
with a particular instructor. Four credits.
Photography
A photographers growth is the product of the
simultaneous development of three interdepen-
dent factors. The first is the conscious or intu-
itive understanding of the visual language of
photographythat is, how the world is trans-
lated into a photograph and how a photograph
orders a segment of the world in the space and
time that it shows. This is a photographs gram-
mar. The second factor is the acquisition of
technique. Without a technical foundation there
is no possibility of expression; the broader the
foundation, the greater the scope of expression.

This is a photographs vocabulary. The third fac-
tor is the photographers work on his or her self.
This entails overcoming visual and psychologi-
cal preconceptions and conditioning, deepening
and clarifying perceptions, opening emotions,
and finding passions. This is a photographs con-
tent. The Photography Program instructs stu-
dents in this three-part process and provides a
historical and aesthetic framework for their
development.
Core faculty: Stephen Shore (director), Laurie
Dahlberg, Tim Davis, Barbara Ess, Larry Fink,
An-My L, John Pilson, Luc Sante
Study Plans
Photography students are expected to take and
pass the following: one studio course in photog-
raphy each semester; Photography/Art History
113, History of Photography; at least one upper-
level history of photography course; one addi-
tional art history course; and Physics 118, Light
and Color. Photography majors are expected to
complete a Senior Project successfully; seniors
will also provide several images for the Word
and Image website.
Course of Study for Studio Classes
First semester: Photography 101, Introduction
to Photography, or Photography 103, Basic
Photography.
Second through fourth semesters: Photography
105, Photographic Seeing; Photography 201, The
View Camera; Photography 203, Color Photography.
Fifth semester: Photography 305, Digital Imaging.
Sixth semester: a choice of Photography 301-
302, Advanced Photography, or Photography 307,
Advanced Digital Imaging.
Seventh and eighth semesters: Senior Project
For a complete description of Moderation, see
page 12. For photography students Moderation
occurs at the end of the fourth semester: by that
time they are expected to have earned at least
60 credits and to have taken Photography/Art
History 113 and at least two semesters of photog-
Photography 233
raphy studio classes. The student meets with a
Moderation board, presenting two short papers
and a portfolio of 30 prints, 8" x 10" or larger.
These pictures should represent the students
best work to date, both aesthetically and techni-
cally. The portfolio demonstrates to the
Moderation board whether the student can see
and think photographically, can communicate
his or her perceptions and feelings in pictures,
and possesses the technical skills required for
expression.
Introduction to Photography
Photography 101
An introduction to both the techniques and the
aesthetics of black-and-white photography as a
means of self-expression. Systematic instruction
in darkroom techniques and weekly criticism of
individual work provide a solid understanding of
the use of the camera as an expressive tool.
Required materials include a camera (35mm or
2 1/4") with fully adjustable f-stops and shutter
speeds and a handheld reflected light-exposure
meter. No previous darkroom experience required;
admission by portfolio.
Basic Photography
Photography 103
This course covers the same material as
Photography 101 but is intended for beginning
students with some photography experience.
Admission by portfolio.
Photographic Seeing
Photography 105
Beyond the material technique of photography
lies a visual technique. This involves learning to
see the way a camera sees; learning how a
photograph, by its nature, transforms the world
in front of the camera. The first half of the
semester is devoted to exploring this visual
grammar of photography and how it clarifies a
photographs meaning and the photographers
intent. During the second half of the semester
students pursue independent projects, putting
their visual understanding into practice.
Prerequisite: Photography 101 or 103.
234 The Arts
History of Photography
Photography 113 / Art History 113
Victorian Studies
See Art History 113 for a full course description.
The View Camera
Photography 201
View cameras, the first cameras, were the pri-
mary photographic tool for the first half of pho-
tographys history. They offer unsurpassed clarity,
tonality, and image control. Operation of the
view camera and advanced darkroom techniques
are demonstrated as the class explores the
expressive potential of the conscious use of the
cameras precise control of the image. Students
are supplied with 4" x 5" camera outfits.
Prerequisite: Photography 105. Admission by
portfolio.
Color Photography
Photography 203
An introduction to the problem of rethinking
photographic picture making through the
medium of color photography. Technical areas
explored include transparencies, color nega-
tives, and type-C prints. Admission by portfolio.
Photography in America
Photography 215
Photography was one of the first areas of artistic
production in which the United States achieved
international predominance. This course exam-
ines American photographs in the context of
the history, art, and literature of the 19th and
20th centuries. Topics include the daguerreo-
types resonance with transcendental philosophy;
the indelible photographic images of the Civil
War; photography and the rise of American
consumer culture; the progressive movement
and photographic muckraking; photographys
place in Stieglitzs literary/artistic circle; and
photography and American postwar social
alienation.
Art and the Uses of Photography
Photography 216 Integrated Arts
In this study of photography as a material or tool
in art making, the emphasis is placed on devel-
oping ideas and using simple, direct photo-
graphic means to express them. Students create
a body of work with snapshots, slides, laser
Xeroxes, Polaroids, photocollage, and other
basic forms. Slide presentations examine the
work of artists such as Vija Celmins, Susan Hiller,
Hannah Hoch, Anselm Kiefer, Sigmar Polke,
Gerhard Richter, Ed Ruscha, Kiki Smith, Andy
Warhol, David Wojnarowicz, and many others.
Visits are made to New York City galleries and
museums to consider the prevalence of photo-
graphic-based work in contemporary art prac-
tice. The course does not involve darkroom
instruction; facilities will be available on a lim-
ited basis to students with prior experience.
Admission by interview and portfolio.
Photography and the Modernist Creed
Photography 222
In many ways, photography is considered to be
the medium that most perfectly represents the
aims and principles of modernism. This seminar
considers European and American photography
in its high modernist era (19001940) as a
medium shaped by the key texts and events of
modernism, such as the writings of Bergson,
Freud, and Marx, and by World War I. The
course investigates some of the lesser-known fig-
ures in photography in addition to the mono-
liths of the era, including Moholy-Nagy and
Stieglitz. Prerequisite: Photography 101.
Photography 1950 Present: From
Human Documents to the Image
World
Photography 247 / Art History 247
Human Rights, STS
In the decades after World War II, photographys
social and artistic roles changed in many ways.
The 1950s saw the dominance of magazine
photography in Life and Look and witnessed the
birth of a more personal photographic culture,
exemplified by Robert Franks book The
Americans. In the 1960s and 1970s, photographers
such as Diane Arbus, Lee Friedlander, and Garry
Winogrand created a new poetry of contempo-
rary life from moments gathered in streets and
homes. In the following decade, artists such as
Sherrie Levine, Richard Prince, Cindy Sherman,
and Laurie Simmons appropriated mass-media
images to create ironic commentaries on con-
sumer culture. This turbulent period in the history
of photography is the focus of this intensive
seminar. The class is limited to 12 students, with

senior and junior photography majors given
admission preference. Prerequisite: Photography
113.
Advanced Photography
Photography 301-302
To prepare the student for ongoing independent
work, this course emphasizes the exploration of
visual problems through asking good questions
of oneself and ones work, seeing how other pho-
tographers and artists in other media have dealt
with such questions, and answering the ques-
tions through individual projects. Prerequisites:
Photography 201 and 203.
Digital Imaging
Photography 305
An introduction to the use of Adobe Photoshop
for image processing. The class first studies tech-
niques for color management, scanning, image
processing, and outputting. Students then pur-
sue individual projects, which are critiqued in
class. Open to photography majors and non-
majors; permission of the instructor required.
Advanced Digital Imaging
Photography 307
This course, for students with a basic under-
standing of Adobe Photoshop, explores digital
photography from a technical and a theoretical
perspective. In addition to learning various dig-
ital imaging techniques, students examine criti-
cally the ways in which digital imaging affects
the creation and viewing of photographs. Issues
central to photography in the digital era are
considered, including the relationship of digital
photography to traditional analog photography;
the degree to which faith in the veracity of the
photographic image has been altered by the
seamless editing capabilities of digital photog-
raphy; effects on authorship, ownership, and
copyright protection; and utilization of the
interactive arenas of multimedia and the Internet.
Prerequisite: Photography 305 or permission of
the instructor.
The Employment of Photography
Photography 315
This course addresses the many purposes to
which photography has been put outside the
realm of art. Students consider the studio por-
Theater 235
trait, the postmortem portrait, journalistic pho-
tography, scientific photography, forensic photog-
raphy, spirit and Kirlian photography, erotic
photography, advertising photography, fumetti,
and the snapshot. Students study methods of
production and reproductionthe carte de vis-
ite, the postcard, the Fotomat, the Polaroidin
their social and historical contexts. Discussion
topics include how photographs change their
meaning over time, and how they insinuate
themselves into the unconscious and the human
desire for narrative.
Senior Seminar
The senior seminar is required of all seniors
majoring in photography. It meets weekly and
carries no credit.
Theater
The Theater Program is grounded in the belief
that theater is a fundamental cultural necessity
that enriches all who participate in it.
The program emphasizes the practical and the
theoretical; technique and practice; and the
knowledge of dramatic literature, theater his-
tory, and dramaturgy. It is geared toward stu-
dents who are interested in theater as a part of a
liberal arts education and those who might wish
to pursue further professional training or a
career in theater.
Students can concentrate on acting, directing,
or playwriting. Performers are trained in voice
and movement technique and take acting
classes in a studio setting that supports their
work in production. Writers and directors exer-
cise their craft and develop their style in class in
preparation for staged readings, workshops, or
full productions.
The program is strongly oriented toward inter-
disciplinary participation and collaboration.
Theater Program courses emphasize the truly
inclusive nature of theater, which encompasses
performance, literature, design, history, artistic
community, and intellectual rigor. Students are
expected to acquire a solid familiarity with
236 The Arts
dramatic literature and to develop the ability to
research the historical context and dramaturgy
of a play and to write about it.
The Theater Program is located in The Richard
B. Fisher Center for the Performing Arts.
Facilities include studios and a black box
theater that seats 200.
For a complete description of Moderation, see
page 12. The following courses are required before
Moderation in the Theater Program: Theater
101-102, Introduction to Acting; Theater 122-123,
Movement for Actors; Theater 131, Voice for
Majors; Theater 206, History of Theater I; Theater
227, Neutral Mask; Theater 228, Character Mask,
or Theater 215 or 216, Physical Comedy; at least
one course from the Survey of Drama group
(Theater 310); and one course in art history. In
addition, moderating students are required to read
the following texts: The Theater and Its Double by
Antonin Artaud, The Empty Space by Peter Brook,
and Towards a Poor Theatre by Jerzy Grotowski.
Students seeking to concentrate in theater are
also required to perform a role in a play, write a
short play, or direct a significant scene or play;
they must also write a paper about that project
and what they expect to accomplish as a major in
the program.
Before graduation, all theater majors must com-
plete a total of three courses from the Survey of
Drama group; Theater 210, History of Theater II;
Theater 318, Visual Imagination for the Modern
Stage; and one advanced literature course. In
addition, theater majors are required to read The
Birth of Tragedy by Friedrich Nietzsche and The
Death of Character by Elinor Fuchs. Actors must
complete two semesters of advanced scene study,
playwrights two semesters of playwriting, and
directors two semesters of directing seminars.
Individual tutorials will be designed to accom-
modate Senior Projects, which in most cases will
involve a production.
Core faculty: JoAnne Akalaitis (director), Lynn
Hawley, Chiori Miyagawa, Jonathan Rosenberg,
Elizabeth Smith, Dominic Taylor, Naomi
Thornton, Jean Wagner, Shelley Wyant, Judith
Youett
Courses
Introduction to Acting
Theater 101-102
This two-semester course, designed for prospec-
tive theater majors, focuses on accessing the
beginning actors imagination and creative
energy. Using theater games, movement work,
and improvisational techniques, the course
seeks to expand the boundaries of accepted logic
and encourages risk taking in the actor. Course
work includes intensive classroom sessions, indi-
vidual projects, and group projects focused on
the process of collaboration.
Acting Company
Theater 103-104
In this course, which corresponds with Theater
303304 (Directing Seminar), actors work with
student directors on scenes for in-class presenta-
tion. Open to first-year students.
Movement for Actors
Theater 122-123
Basic training is provided in movement, analy-
sis, rhythm, development of technique, and con-
fidence in space.
Voice for Majors
Theater 131
This course develops awareness of physical
equipment, natural pitch, purity of vowels and
consonants, tone, inflection, diction, agility,
nuance, and vocal imagination.
Voice for Non-Majors
Theater 132
This course concentrates on basic voice
and speech work, in order to help students
communicate with greater clarity and confi-
dence. The demands of public speaking are also
addressed.
Alexander Technique I, II
Theater 141, 142 Dance
The Alexander Technique, a widely respected
method used to investigate the body and
achieve alignment and relaxation, is a valuable
tool for performers, writers, scholars, and artists.
It offers a kinesthetic re-education that provides
a means of monitoring and eliminating self-

created tension in order to avoid interfering
with the creative process.
History of Theater I, II
Theater 206, 210 Literature
This survey course looks at the major periods of
dramatic literature, from ancient Greece to the
20th century. Plays are read with particular ref-
erence to historical context and dramatic con-
vention informing theater practice during these
periods. Along with the plays, the class consid-
ers critical and theoretical essays that elucidate
these social and aesthetic conditions.
Playwriting I
Theater 207 Writing Program in
Fiction and Poetry
This introductory course focuses on discovering
the writers voice. Through writing exercises
based on dreams, visual images, poetry, social
issues, found text, and music, each writer is
encouraged to find her or his unique language,
style, and vision. A group project explores the
nature of collaborative works. Students learn ele-
ments of playwriting through writing a one-act
play, reading assignments, and class discussions.
Playwriting II
Theater 208
This course functions as a writers workshop.
After writing a short play, students focus on
developing a full-length play, with sections of
the work in progress presented in class for dis-
cussion. Students grow as playwrights through
exposure to diverse dramatic literature and by
undertaking a short adaptation of either a class
play or a short story. Prerequisite: Theater 207.
Scene Study
Theater 209
This course, for students who have taken one
semester of Introduction to Acting and would like to
continue their study, moves from a games-
oriented curriculum into work with theatrical
texts and discovery of the processes of scene study.
Physical Comedy
Theater 215, 216 Integrated Arts
By embracing the archetypes of childhood and
reclaiming the internal response without the
diminishing filter of socialization, actors start to
Theater 237
lose the inhibitions that block them from being
purely expressive. Beginning with exercises in
broad physicality, balance, rhythm, discovery,
physical mask, and surprise, this course explores
what is unique and funny about each individual.
Openness, invention, playfulness, generosity,
courage, and sensitivity are encouraged. Pre-
requisite: Theater 101.
Theater Practicum
Theater 217
Theater majors and prospective majors are
required to perform out-of-class work and take
part in activities that broaden their understanding
and appreciation of all areas of theater. By
designing for productions and working on cos-
tume, scenery, lighting, sound, and other crews,
they interact with theater professionals and
receive invaluable hands-on training in the
technical aspects of making theater. This prac-
tical applied work is required for Moderation
into the program. The course meets weekly for
discussion, planning, and problem-solving with
the instructor. This course is not for work associ-
ated with Moderation or Senior Projects. It may
be repeated for credit by special arrangement
with the students adviser and the instructor.
Russian Performance Practicum
Theater 218
In this course, students familiarize themselves
with the theater of Russia and the works of
Andrei Bely in preparation for collaborative
work with students at Smolny College in St.
Petersburg, where they rehearse and perform a
new theatrical adaptation of Belys novel,
Petersburg, during a five-week summer program.
Additional readings include plays, novels, and
theatrical writings by Dostoevsky, Gogol,
Mayakovsky, Meyerhold, and Pushkin. Videos
and documentaries about Russian theater tradi-
tions are also viewed. Students are required to
enroll in a non-credit-bearing Russian intensive
prior to the class and follow up with a credit-
bearing Russian intensive program. Enrollment
is limited to 10 by interview and audition.
238 The Arts
Neutral Mask
Theater 227
Character Mask
Theater 228
Masks are a product of diverse traditions, includ-
ing those of the Balinese, and of great teachers
and theorists, such as Franois Delsarte, Jacques
Lecoq, and Michel Sainte Denis. These two
courses are intended to be taken in sequence,
starting with Neutral Mask, in which students
use expressionless masks in order to identify
physical elements that contribute to a range of
characters and physical expressions. In Character
Mask, working with masks that have stylized
and recognizable expressions leads student
actors to a liberation behind the maskthe
development of character in the body and in the
story of the person behind the mask. Prerequisite:
Theater 101.
Classics of American Drama
Theater 229 / Literature 229 American
Studies
A survey of American theater from the post-
Revolutionary era through the 20th century
that addresses the vigorous responses of select
playwrights to complex social and historical
questions, and examines how, within an often
commercial medium, they crafted visions of
American life. Playwrights include Edward
Albee, Dion Boucicault, Lillian Hellman, Arthur
Miller, Eugene ONeill, Royall Tyler, Tennessee
Williams, and August Wilson.
Site-Specific Workshop
Theater 230 Integrated Arts
This workshop creates unique theatrical experi-
ences inspired by sites on and around the Bard
campus. Through a series of weekly assignments,
students focus on the kinetics, space, sound, his-
tory, poetry, and uniqueness of particular sites as
they script, direct, choreograph, perform in, and
critique each others works. Admission by per-
mission of the instructor.
Voice and Verse
Theater 231
Verse is a significant part of drama, and learning to
interpret and speak it is essential for the per-
former. This course deals with verse from the great
poets and dramatists. Prerequisite: Theater 131.
Theatrical Adaptation
Theater 240
Adapting classic and contemporary fiction or
biographies to a theatrical form is a creative pro-
cess that integrates the original intention of the
material with the writers imagination. It is an
exciting collaboration between two writers,
though only one is writing the script. Adapta-
tions have an important place in all storytelling
fieldsmusicals, plays, television shows, and
movies. Students read examples of successfully
adapted scripts and examine different approaches
and styles of writing. They adapt several short
stories into short plays and choose a significant
person in history, research his or her biographi-
cal information, and write a play based on his or
her life. Prerequiste: at least one introductory
writing workshop.
Shakespeares Tragedies
Literature 2502
See Literature 2502 for a full course description.
Studies in Shakespeare
Literature 2503
See Literature 2503 for a full course description.
Directing Seminar
Theater 303-304
This two-semester course covers the practice of
directing: text analysis, table work, imagining
the world of the play, design, casting, space,
rehearsal, and blocking in different configura-
tions. The class proceeds from work on scenes to
a full-length work for public presentation.
Advanced Acting
Theater 307
A performance-oriented course in which stu-
dents create works of drama derived from both
literature and popular culture. Extensive reading
and viewing of classical and modern texts and
film provide the basis for exploration of various
methods of presenting contemporary drama.
Groups delve into collaborative research and
development of new work, and the course cul-
minates in a series of public performances.
Prerequisite: any previous advanced scene study
class or permission of the instructor.

Survey of Drama
Theater 310
Survey of Drama courses, which study the major
styles and periods in drama from a literary, stylis-
tic, and performance perspective, are at the cen-
ter of the Theater Program. They are practical
courses, applying text to scene work. All theater
majors take four such courses over two years.
Recent Survey of Drama courses have included
African American Theater, 1858 Present; The
American Musical; Beckett, Brecht, and Pirandello;
Bchner and Strindberg; Chekhov and His Predeces-
sors; Dissent and Its Performance; Feminist Theater;
French Neoclassicism; German Theater; The Greeks;
Grotesque in Theater; Ibsen, Shaw, and ONeill;
Jacobean Theater; Japanese Theater; Post-Colonial
Theater; Shakespeare; Tennessee Williams; Theater
of the Absurd; Women Playwrights in History; and
Yiddish Theater.
Visual Imagination
for the Modern Stage
Theater 318 Integrated Arts, Studio Arts
As taught by leading theatrical designers and
directors, this course examines the explosive
prominence of visual ideas on the stage in the
past 30 years, the emergence of a new form of
collaboration between directors and designers,
and the inclusion of new media on the stage.
Required for theater majors.
Theater Salon
Theater 320
This course serves as a meeting/workshop involv-
ing faculty, students, and visitors from the field of
theaterplaywrights, directors, designers, and
actors. Group projects might include adaptations
or shared readings and discussion, but this is
mainly a forum for the discussion of ongoing
work. Students visit New York theaters and opera
productions. Enrollment is limited to theater
majors, for whom this is a required course.
Artists in Education
Theater 334 Integrated Arts
Focusing on a work created in one of the Divi-
sion of the Arts programs, this course teaches
the theory and practice of being a teaching
artist. Numerous philosophies and approaches to
arts perception are studied, including those of
Integrated Arts 239
Augusto Boal, Eric Booth, John Dewey, Carol
Gilligan, Maxine Greene, and Jane Remer; in
addition, guest artists present workshops and
demonstrations. Students become familiar with
the scope of the field of arts in education, dis-
cover firsthand what practical work is necessary
to bring live art into the classroom, and learn to
utilize their discipline as a teaching tool. In
cooperation with teachers at nearby Red Hook
High School, they write and execute detailed
lesson plans for three classroom visits based on
the work of art to be viewed. Open to all students.
Voice in Performance
Theater 340
This course for students who have already had
some training in voice concentrates on address-
ing demands on the voice that occur in perfor-
mance, such as speaking over underscoring,
sustaining dialogue in fights or dances, and
developing power and range. Technical exer-
cises are used to promote coordination of speech
and movement, and the class works on selec-
tions from Under Milkwood and Faade.
Prerequisites: Theater 131 and 231, or permission
of the instructor.
Integrated Arts
Integrated arts is a relatively new program that
is still evolving. It offers Upper College students
an opportunity to work creatively in two or
more related arts fields or in a particular art form
that defies traditional categorization. The pro-
gram offers courses that challenge students to
think historically and critically about the mean-
ing of artistic practice and its relation to politi-
cal, philosophical, sociocultural, and aesthetic
spheres of human activity and inquiry.
Through the participation of all the other pro-
grams in the Division of the Arts, integrated arts
offers several courses that address the ways in
which the various arts are related, either
historically or critically, or in actual creative
practice. Some courses are team-taught in order
to present views of the same issue from the per-
spective of different disciplines. Integrated arts
also gains breadth from the participation of
240 The Arts
programs in the Colleges other academic divi-
sions: Social Studies, Languages and Literature,
and Science, Mathematics, and Computing.
Moderation: It is the Integrated Arts Programs
core belief that an interdisciplinary focus should
be based upon a strong foundation of technique,
history, and experience. As a result, prospective
integrated arts majors must prepare to moderate
in a traditional Lower College program prior to
a subsequent Moderation as an integrated arts
major. By providing a solid grounding in both
the history of art and expressive technique, core
courses in the Lower College programs offer a
critical context for the study of, and creative
work in, art forms that are more innovative or
conceptual.
Students moderate into integrated arts after
they have been successfully promoted in their
area of primary concentration. In this double-
Moderation framework, the student declares an
intention to moderate in the semester prior to
Moderation. Then, in consultation with his or
her primary program adviser, integrated arts
adviser, and/or the Integrated Arts Program
chair, the student arranges a second Moderation
board. Here, in conference with the board, the
student maps out academic objectives and
course selections that will prepare her or him for
the integrated arts Senior Project.
Alternatively, in rare cases where a student has
completed significant course work in the area of
secondary concentration while in the Lower
College, she or he can moderate into the pro-
gram through the combined-major framework.
In the semester prior to Moderation, the student
declares an intention to moderate within the
combined-major framework. Then, in consulta-
tion with the primary program adviser, inte-
grated arts adviser, and/or Integrated Arts
Program chair, a Moderation board consisting of
both primary and Integrated Arts Program fac-
ulty is held. In close consultation with the advis-
ers, the student maps out in the Moderation
papers the course selections for the junior year
that will prepare her or him for the integrated
arts Senior Project. Intended integrated arts
majors who pursue this route are promoted to
the Upper College as combined majorsfor
example, in creative writing and integrated arts
or electronic music and integrated arts. Students
interested in this approach should be aware that
some programs, such as studio arts, prohibit two
Senior Project presentations in the same semester.
Requirements: In addition to fulfilling the
collegewide distribution requirements for gradu-
ation, students majoring in the program are
expected to complete successfully the Integrated
Arts Major Conference (IAMC) as well as a
technical seminar and a history/theory course
related to their proposed Senior Project work.
The Integrated Arts Major Conference is the
hallmark of the Integrated Arts Program.
Required for integrated arts majors but open to
all, the IAMC is often taught as a collaboration
between professors from different disciplines.
Through this dynamic pedagogical approach, stu-
dents and faculty alike are challenged to interro-
gate their practice in terms of larger historical and
critical discourses. As guest faculty and visiting
artists are on hand to critique student work and
present current research, the IAMC provides an
academic context for the work of the program. In
order to successfully complete an integrated arts
Senior Project, students are required to take the
IAMC or another 300-level practicing arts course
in their area of concentration. Recent confer-
ences include Location Recording for Music and
Media Makers; Multimedia Installation and
Events; and Video Strategies: Space, Sound,
and the Moving Image.
The second graduation requirement for an inte-
grated arts major is the successful completion of
one history, criticism, or theory course in the
students new or secondary area of study. For
example, a student who has studied creative
writing in the Lower College and wishes to com-
bine this discipline with video in the Integrated
Arts Program might enroll in Survey of Media
Art (Integrated Arts 167) or Film and Modernism
(Integrated Arts 219) to fulfill her or his history
requirement. Alternately, a student who is inter-
ested in pursuing installation or expanded art
forms might enroll in Art after Pop (Art History
274), Postmodernism and Deconstruction (Art His-
tory 334), or John Cage and His World (Music 363).

Facilities and Equipment: Students in the
Integrated Arts Program have access to an elec-
tronic music and multitrack recording studio,
computer sound synthesis network, and MIDI
sound processing facilities; video production and
projection systems; and graphics digitizing audio
and video monitor systems. The Integrated Arts
Colloquium Room in the Milton and Sally Avery
Arts Center and a gallery space are available for
performances and presentations in all media.
Core faculty: Hap Tivey (director), Peggy
Ahwesh, Laura Battle, Bob Bielecki, Ken Buhler,
Jean Churchill, Barbara Ess, Leah Gilliam,
Jacqueline Goss, Paul Ramrez Jonas, Ann
Lauterbach, Nancy Leonard, John Pruitt,
Richard L. Teitelbaum, Shelley Wyant
Recent Senior Projects in Integrated
Arts
Appearance Matters: Gender and the Art of
Costume in the Early Modern Period
Promise, a two-channel video installation
experimenting with the audio and visual of
laughing and crying
The Topography of Catharsis
Young and in Love: Karaoke Suite
Youre Intruding on My Mind: A Reality
Show
Representative Courses
Art 100, 200, 300, Cybergraphics I, II, III
Film 167, Survey of Media Art
Film 203, Electronic Media Workshop: Sound
and Image
Film 214, Special Topics in the History
of Cinema
Integrated Arts 2122, Exploding Text: Poetry in
Performance
Integrated Arts 301 (Major Conference),
Location Recording for Music and Media
Makers; Multimedia Installation and Events;
Video Strategies: Space, Sound, and the
Moving Image
Integrated Arts 241
Related Courses
Division of the Arts
All studio courses and workshops
All art history and theory courses
Of special interest:
Art 206, Sculpture II / Digital II: Fast, Cheap,
and Out of Control
Art 305, Sculpture III: After the Monument
Film 303, Film in the Digital Media Age
Music 216, The Arithmetic of Listening
Music 257, Production/Reproduction
Music 270, Notes Not Necessary
Music 350, Collaborating with Strangers
Photography 216, Art and the Uses of
Photography
Theater 101, Introduction to Acting
Theater 206, History of Theater
Theater 230, Site-Specific Theater Workshop
Division of Science, Mathematics, and
Computing
Computer Science 351, Artificial Intelligence
Physics 116, Acoustics
Physics 118, Light and Color
Division of Languages and Literature
Classics 101, The Rise and Fall of Athens
Literature 3132, Dawns of a New Age: Russian
Symbolism and Futurism
Literature 3207, Responsibility and Cultural
Memory
Literature 3224, Advance Poetry Workshop:
Investigative Poetics
Literature 3352, Poetics of Modernity
Literature 3641, Verdi the Dramatist
Literature 3743, Poetics of the Experimental
Attitude: Gertrude Stein and John Cage
Literature 390, Contemporary Critical Theory
Division of Social Studies
Anthropology 234, Language, Culture, and
Society
History 237, The Sixties
Philosophy 230, Philosophy and the Arts
Religion 304, Contemplative Traditions of Asia
Sociology 310, Cultural Studies: A Sociological
Perspective
242 The Arts
Workshops and Seminars
All-Media Composition
This course focuses on the invention and explo-
ration of art forms that create collaborations
across the boundaries of distinct expressive-
language media (sound, movement, still and
mobile images, and words, for example), or that
seek to dissolve such boundaries altogether
perhaps to create entirely new boundaries on
the basis of new criteria of purpose or sense.
Composition Workshop / Integrated
Arts Seminar: Body Languages
This course is an inquiry conducted through
composition combined with study (reading, lis-
tening, looking, witnessing, discoursing) of the
convergence of physicality and expression; the
languages of, within, and about bodies. Topics
include the production of sexuality (sexual iden-
tity, not sexual behavior) as viewed in the con-
text of an art form and the reality produced
through the interrelation of nature and expres-
sion. Works include Judith Butlers Bodies That
Matter; writings by Artaud, Gregory Bateson,
Suzanne Cusick, Gilles Deleuze, Foucault,
Freud, Felix Guattari, Kafka, Lacan, Susan
McClary, Plato, Gilbert Rouget, and Shakespeare;
Benjamin Boretzs music/consciousness/gender;
films by Jean-Luc Godard (Prenom), Jennie
Livingston (Paris Is Burning), Luchino Visconti
(Death in Venice), and others; music by
Beethoven, Coltrane, Hendrix, Mahler, Randall,
and Wagner; music and literature in Berlin and
Paris before World War II; post-1945 American
music (high art, rock, jazz); painting; theater;
and dance.
Ensemble: Reading Plays Aloud
Each week a play by a different playwright is read
aloud, then discussed and analyzed for language,
structure, character, and content. Students are
assigned roles the previous week and are
expected to come to class familiar with the play
and their parts. There is a final group project at
the end of the semester. No previous acting
experience is necessary, but students should be
prepared to participate in the dramatic reading.
Performances and Installations
The focus is on real-time performance or spatial
construction of creative works composed by stu-
dents in the Integrated Arts Program or works
from the worlds literature of relevant scores.
Cybernetic structures and resources are an inte-
gral component of this workshop. Performance
events, occasions, and other modes of presenta-
tion are explored and periodically offered to the
community.
Sound Sculpture / Instrument Building
Students in this workshop design and construct
sound-making objects. Research in acoustics,
psychoacoustics, tuning, and electronics is
applied to the use of strings, resonators, sound-
boards, and transducers. Many nontraditional
instruments (devised by Harry Partch, David
Tudor, and others) are examined in regard to
their physical construction, sound, and musical
properties. A public performance is given.
Courses
Survey of Media Art
Integrated Arts 167 / Film 167
See Film 167 for a full description.
Electronic Media Workshop: Sound
and Image
Integrated Arts 203A / Film 203A
See Film 203A for a full course description.
Digital Animation
Integrated Arts 203B / Film 203B
See Film 203B for a full course description.
Exploding Text: Poetry in Performance
Integrated Arts 2122
This hands-on exploration of a full-bodied liter-
ature provides a theoretical basis for spoken-
word poetics via deep reading and analysis of
texts, as well as performance practice. Recent
focus has been on freestyle thinking with the
tongue and the epic poem The Battlefield
Where the Moon Says I Love You by Frank
Stanford. Hip-hop, dada, futurism, New York
School, rock, beat, Black Mountain, and other
traditions weave through the curriculum. Media
other than print are engaged: video and audio
 Integrated Arts 243

recording, live music collaborations, poets the-
ater, and the Internet are all considered. Students
participate in class collaborations with painters
and musicians and create a performance in at
least two media as a final project. Several classes
are held in New York City, where students meet
with artists to discuss their work.
Film and Modernism
Integrated Arts 219 / Film 219
See Film 219 for a full course description.
Integrated Arts Major Conference
Integrated Arts 301
The Major Conference is required of integrated
arts majors and concentrators and is usually
taken in the junior or senior year. Examples of
recent Major Conferences follow.
Video Strategies: Space, Sound, and
the Moving Image
This workshop refines students video produc-
tion skills and gives them a better understanding
of installation as a medium for artistic expres-
sion. Participants use video and other materials
and media to design and build real environ-
ments that are meant to be experienced spatially
and also to design spaces using time-based media
and interactive elements. Particular attention is
paid to using sound and light to transform exist-
ing spaces into site-specific installations. Video
monitors, projections, closed-circuit systems,
and surveillance equipment are used in innova-
tive ways.

Multimedia Installation and Events

This is a course in doing and making art and in
reintegrating art into life. Theory is tamed by
action, and action is a laboratory for theory. All
aspects of the job of being an artist are discussed:
inspiration, research, economics, social utility/
inutility, politics, education, technology, fun,
and suffering. Participants must have a project
in mind that engages at least two arts; each pro-
ject is on the table for the classs input and
reaches a finished formperformance, video,
website, concert, bookby semesters end. The
class also creates and presents a collaborative
group piece. Guest faculty guide the class through
arts disciplines as needed.

Recording Techniques for Film and

Music Makers
An exploration of the principles and practices of
sound recording for audio, video, and film
applications. Digital recording equipment, the
mixing console, microphones, field recording
techniques, and sync and Foley for film/video
are covered, both for the recording studio and a
variety of site-specific environments. Students
have access to the recording studio in the
Milton and Sally Avery Center for the Arts as
well as the use of the ProTools system for record-
ing and postproduction. Students are required to
produce a number of short works in film, video,
audio, or installation.
Division of Science, Mathematics,
and Computing
In the Division of Science, Mathematics, and Computing, progressive and classical
curricular elements lead to an active understanding of the concepts, methods, and con-
texts of these disciplines. The division welcomes all studentsscience majors and
nonmajorsinto its courses, and offers a diverse array of introductory and advanced
courses to meet the needs, interests, and backgrounds of Bards students. In all courses
in the division, learning comes from doing: working in the laboratory, using comput-
ers, posing and solving problems. Students in divisional courses acquire not only a body
of fundamental knowledge in a field, but also the habits of critical and creative think-
ing that are necessary components in all scientific activity.

Beginning in the fall of 2007, the state-of-the-art Gabrielle H. Reem and Herbert J.
Kayden Center for Science and Computation will provide 49,000 square feet of new
academic and laboratory space for the Biology, Computer Science, and Mathematics
Programs. The Reem and Kayden Center contains two open research labs, capable of
holding 75 faculty and students working together on research projects; a computer sci-
ence hardware/robotics lab, a cognitive science lab, and a zebra fish research facility;
classroom/laboratory suites that allow a seamless transition between lecture and
research; a seminar room; and an auditorium. All classroom spaces can accommodate
multimedia presentations and two of the classrooms can accommodate videoconfer-
encing. (See pages 337 and 339 for a more complete description of the Science,
Mathematics, and Computing Division facilities.)

Research opportunities in science at Bard start early: the Immediate Science Research
Opportunity Program (ISROP), described on pages 320 and 381, offers research expe-
rience in biochemistry and molecular biology for first- and second-year students.

In 2000 Bard College and The Rockefeller University in New York City established a
collaborative program in the sciences. New courses have been developed, starting with
a course in human disease, which was offered to Bard students by the Rockefeller fac-
ulty. As part of the collaboration, Rockefeller also reserves places for Bard students in
its Summer Undergraduate Research Fellows program, and Bard faculty may be
appointed to adjunct faculty positions at Rockefeller, enabling them to develop
research programs in Rockefeller laboratories. The Bard Rockefeller Semester in
Science in New York City began in the spring of 2007. It is a one-semester program
designed for advanced science students, particularly in the fields of neuroscience, bio-
chemistry, molecular biology, developmental biology, biophysics, and genetics.

244
 Science, Mathematics, and Computing 245

Students spend a semester in New York City working in the laboratory with Rockefeller
faculty and taking specially designed classes at The Rockefeller University and at
Bards Program on Globalization and International Affairs in New York City.

The Division of Science, Mathematics, and Computing oversees five programs: biol-
ogy, chemistry, computer science, mathematics, and physics. Students exercising the
3-2 engineering or environmental options also usually moderate into the division. The
pursuit of a degree in the division provides majors with the foundation needed for
advanced, independent, and original work in graduate or professional schools or in
technical professions requiring no further academic preparation.

The division emphasizes the interrelationships of the sciences, mathematics, and

computing and their common ground of scientific attitude and methodology.
Academic flexibility is enhanced by small class size and individual instruction, both
of which allow students and faculty to tailor topics for advanced study to match their
interests and skills. Laboratory equipment and computers are used extensively for ana-
lytical work, data acquisition, and data analysis. Advisory conferences, tutorials, and
special projects allow a variety of areas to be covered in depth and help prepare stu-
dents for Senior Projects. Research assistantships are available to both Upper and
Lower College students.

A Moderation board, usually consisting of three members of the division, at least one of
whom is not a member of the core faculty of the program, advises a student moderating
into a divisional program. The student prepares two short Moderation papers, one out-
lining past academic work and the other setting out undergraduate and postgraduate
goals. Using these as a basis for discussion, the board meets with the student to advise
on the best direction for the students work. The board makes a recommendation to the
division, and the program votes on the students acceptance into the program.

The Senior Project usually comprises experimental or theoretical research in the stu-
dents chosen field of study. Each student who completes a Senior Project in the divi-
sion participates in the Senior Project Poster Session, attended by faculty and students
of the division and by other members of the College community. Based on the submit-
ted thesis and a meeting with the student, a Senior Project board (again, usually con-
sisting of three division members, including at least one who is not from the programs
core faculty) makes an overall evaluation of the project and recommends a grade to the
division. The division makes the final determination of the Senior Project grade.

Laboratory Manager: Maureen Hebert

Director of Immediate Science Research Opportunity Program: Valeri J. Thomson 85
Systems Administrator: Michael Rich
246 Science, Mathematics, and Computing

Biology 4. Chemistry 141-142, Basic Principles of Chemistry.

5. A minimum of three additional courses in
biology from the Electives Courses list. At
In order to meet the needs and interests of
least one of these courses must be a 400-level
students within this diverse field, the biology
course and at least one must be a laboratory
curriculum at Bard is designed to be flexible.
course.
Students are encouraged to consult with their
advisers to design a personal curriculum that
Core faculty: Michael Tibbetts (director), John
covers requirements for advanced study and sat-
B. Ferguson, Felicia Keesing, William T. Maple,
isfies varied interests, in particular, biological
Catherine OReilly
problems at different levels (for example, bio-
chemical, molecular, ecological) and through a
variety of approaches (laboratory-based, field-
Recent Senior Projects in Biology
based, computational). A few sample curricula
are described below. In addition to their focus
The effects that increased temperature and rain-
on biology, students are encouraged to explore,
fall have on the incidence of malaria in the
in depth, another scientific discipline. Gaining
United States
additional expertise in chemistry, physics, math-
Syntenic reconstruction of microbial genome
ematics, or computer science is essential to pre-
rearrangements: A case study using Chlamydia
pare students for the interdisciplinary nature of
sequenced genomes
modern biological research.
Characterization of the product of a putative
mitochondrial isocitrate dehydrogenase gene
Upper College courses emphasize exposure to
(ICD1) from Tetrahymena pyriformis
experimental techniques, examination of the
Investigating the role(s) of activin proteins in
primary literature, and written and oral presen-
zebra fish development
tation of scientific material. Bards laboratory
Effects of forest fragmentation on carnivore
facilities, field station, and relationship with
diversity in Dutchess County, New York
The Rockefeller University allow students to
undertake sophisticated Senior Projects in a
wide variety of areas. Funds for summer research
Elective Courses
are available on a competitive basis.
Biology 204, Introduction to Physiology
Biology 206, Botany
In addition to the collegewide distribution and
Biology 301, Biochemistry
First-Year Seminar requirements, biology majors
Biology 302, Molecular Biology
must complete a Senior Project of original scien-
Biology 303, Microbiology
tific research and the following courses:
Biology 304, Cell Biology
Biology 305, Ecology
1. Two semesters of 100-level courses from the
Biology 306, Vertebrate Zoology
following list: Biology 141, Subcellular Biology;
Biology 307, Aquatic Ecology
Biology 142, Organismal Biology; Biology 151,
Biology 310, Prokaryotic and Viral Genetics
From Genes to Traits; Biology 152, Biodiversity.
Biology 312, Biogeochemical Cycles
Students typically take these courses during
Biology 321, Molecular Evolution
their first year. Students who come to Bard
Biology 407, Diabetes Mellitus
with Advanced Placement credit in biology
Biology 411, Cancer Biology
are encouraged to take Biodiversity or From
Biology 415, Advanced Seminar in Ecology
Genes to Traits.
2. Biology 201, Eukaryotic Genetics, and Biology
202, Ecology and Evolution. Most students take
these courses during their second year.
3. Biology 144, Biostatistics. Most students take
this course in their second or third year.

Sample Curricula
Biochemistry: In addition to the Biology Programs
core courses, a curriculum that prepares students
for work in the area of biochemistry would typi-
cally include, but would not be limited to, the
following elective courses:
Biology 204, Introduction to Physiology
Biology 301, Biochemistry
Biology 302, Molecular Biology
Chemistry 201-202, Organic Chemistry
Chemistry 301, Principles of Chemical Analysis
Chemistry 311, Bio-organic Chemistry
Chemistry 312, Advanced Inorganic Chemistry
Mathematics 141, 142, Calculus I,II
Physics 141, 142, Introduction to Physics I,II
Students intending to continue their education
in this field should be aware that some graduate
programs in the area of biochemistry expect stu-
dents to have also taken Chemistry 411-412,
Physical Chemistry.
Ecology: In addition to the Biology Programs
core courses, a curriculum that prepares students
for work in the area of ecology would typically
include, but would not be limited to, the follow-
ing elective courses:
Biology 206, Botany
Biology 305, Ecology
Biology 306, Vertebrate Zoology
Biology 307, Aquatic Ecology
Biology 415, Advanced Seminar in Ecology
Students intending to continue their education
in this field should be aware that some graduate
programs in the area of ecology expect students
to have also taken Physics 141 and 142, Intro-
duction to Physics I,II.
Molecular and Cellular Biology: In addition to the
Biology Programs core courses, a curriculum
that prepares students for work in the area of
molecular and cellular biology would typically
include, but would not be limited to, the follow-
ing elective courses:
Biology 204, Introduction to Physiology
Biology 301, Biochemistry
Biology 247
Biology 302, Molecular Biology
Biology 304, Cell Biology
Chemistry 201-202, Organic Chemistry
Students intending to continue their education
in this field should be aware that some graduate
programs in the area of cellular and molecular
biology expect students to have also taken:
Mathematics 141 and 142, Calculus I,II; Physics
141 and 142, Introduction to Physics I,II; and
Chemistry 411-412, Physical Chemistry.
Biology of Infectious Disease
Biology 112
Both morbidity and mortality due to infectious
disease declined steadily during the 20th cen-
tury in developed nations, but remain high in
poorer nations. Students examine the reasons
for this disparity as they study agents of bacte-
rial, viral, protozoan, and metazoan disease.
Diseases covered include anthrax, typhoid fever,
cholera, botulism, tetanus, bubonic plague, Lyme
disease, leprosy, tuberculosis, influenza, small-
pox, rabies, yellow fever, polio, AIDS, malaria,
African sleeping sickness, and schistosomiasis,
among others. Many of the readings are rela-
tively nontechnical case histories, but the biol-
ogy underlying each condition is thoroughly
developed. This course is of interest to those
aiming for a career in the health professions, but
is also designed to provide liberal arts students
with some degree of medical literacy in these
health issues. The laboratory portion introduces
students to bacteria and viruses that are rela-
tively nonpathogenic for humans. Offered every
fourth spring semester. Prerequisites: experience
in high school biology and chemistry; Biology
141 or its equivalent strongly recommended.
Biology of Noninfectious Disease
Biology 114
While both morbidity and mortality from infec-
tious disease declined steadily during the 20th
century in developed nations, they remained
constant for noninfectious diseases. Students
examine the reasons for this failure to deal more
effectively with these conditions as they study
various specific diseases. Examples include
inherited diseases such as sickle-cell anemia,
Huntingtons disease, and cystic fibrosis; endo-
crine disorders such as acromegaly; nutritional
248 Science, Mathematics, and Computing
disorders such as vitamin and mineral deficien-
cies; therapeutic drug addiction and toxicities;
various poisonings such as plant intoxications
and rattlesnake envenomation; cardiovascular
diseases such as myocardial infarctions and cere-
brovascular accidents; neurological diseases such
as Parkinsons disease and Alzheimers disease;
allergies; and autoimmune diseases such as myas-
thenia gravis, multiple sclerosis, and diabetes
mellitus. Many of the readings are relatively
nontechnical case histories, but the biology
underlying each condition is thoroughly devel-
oped. This course is of interest to those focusing
on a career in the health professions, but is also
designed to provide liberal arts students with
some degree of medical literacy in these health
issues. The laboratory portion introduces stu-
dents to human physiology as it relates to dis-
ease. Offered every fourth spring semester.
Prerequisites: experience in high school biology
and chemistry; Biology 141 and 142 or the
equivalents strongly recommended.
Sex and Gender
Biology 123
Why are there so many differences in the social
behaviors of men and women? Why are there
two sexes? Why do women get depressed more
often than men but commit suicide less often?
Why are women, on average, shorter than men?
Why do they live longer? Students in this
course, intended for nonscientists, examine the
biological bases of sex and gender. They con-
sider evidence for hypotheses that attempt to
explain differences in behavior between males
and females, including data from behavioral
studies on humans and other animals. The
genetic and hormonal determinants of sex and
gender are investigated, and the arguments for
how and why sex evolved in the first place are
considered, especially in light of the strong evo-
lutionary advantages of self-cloning. No specific
science or mathematics background beyond
algebra is required.
Field Study in Natural History
Biology 130
Designed to acquaint the interested nonscience
student with the plants and animals that make
the Bard campus their home, including trees
and shrubs in their winter condition and wild-
flowers in the spring. Animal tracks and bird
migrations also are objects of study. Although
the course includes some lab work on preserved
specimens, especially during severe weather,
most class meetings are field trips. Participants
must have clothing appropriate to the weather
and terrain: good walking shoes or boots, warm
clothing, and rain gear. Some Saturday field
trips and early morning meetings may be
required. Limited to 10 students. Prerequisite:
permission of the instructor.
Subcellular Biology
Biology 141
An introductory survey of life at the cellular
level primarily intended for prospective biology
majors, but also open to interested students not
majoring in science. Beginning with an intro-
duction to the evolution and complexity of life,
including the prokaryotes and viruses, the course
examines the commonality of life at both the
biochemical and cellular levels. One primary
focus is energy transfer in living systems (fer-
mentation, respiration, and photosynthesis),
followed by attention to information transfer
(genetics, nucleic acid replication, transcrip-
tion, and translation). The course ends with
discussions of more complex topics (genetic
engineering, human genetics, and immunology).
The laboratory portion of the course provides an
introduction to the methodologies and instru-
mentation found in the modern biology lab.
Offered every fall. Students are strongly encour-
aged to enroll concurrently in Chemistry 141.
Prerequisites: eligibility for Q courses and high
school biology and chemistry.
Organismal Biology
Biology 142
An introduction to organismal biology and
ecology, primarily for those who intend to con-
tinue in biology; also open to interested students
not majoring in science. Topics include popula-
tion genetics, evolution, vertebrate embryology
and anatomy, and animal phylogeny, taxonomy,
and ecology. Biology 142 may be taken before
Biology 141, if necessary. Students majoring in
biology are strongly encouraged to enroll con-
currently in Chemistry 142. Prerequisite: eligibil-
ity for Q courses.

Biostatistics
Biology 144
This course provides a background in: (1) the
basic methods of data analysis for biologists, (2)
applications of mathematics to the description
of biological phenomena, and (3) the genera-
tion of testable hypotheses from models of bio-
logical processes. The goal of this course is to
provide a general idea of the statistical methods
commonly used in biology, the methods appro-
priate for various types of data, and an in-depth
examination of how the methods work. Among
topics covered are elementary probability and
statistics, fitting and hypothesis testing, charac-
teristics of frequency distributions, regression
analysis, and some multivariate-based methods.
Prerequisite: eligibility for Q courses.
Earth and Life through Time
Biology 146
An introduction to our dynamic Earth on its
true timescale. Students examine physical pro-
cesses operating on the Earth, and the ways the
planet has changed since its formation. This
includes longer time-scale processes like climate
change and glaciation and the impacts of haz-
ards such as volcanoes, earthquakes, tsunamis,
and meteorites. Labs involve field trips to local
sites of geologic interest. Prerequisite: eligibility
for Q courses.
From Genes to Traits
Biology 151
An introductory look at the relationships
between genetics, environment, and biochem-
istry. The course, intended for students with a
strong interest in science and appropriate for
biology majors, begins with an examination of
heredity in both classical and modern molecular
contexts. It then focuses on the relationships
between genes and proteins, and the complex
biochemical interactions that produce a pheno-
type. The course culminates in a discussion of
how the environment interacts with multiple
genes to influence complex traits (for example,
schizophrenia) and the modern methods for
identifying the genetic components of these
traits. The laboratory provides students an oppor-
tunity to examine some of the principles in
more detail and to become acquainted with
some of the methodologies and instrumentation
Biology 249
found in a modern biology laboratory. Prerequisites:
eligibility for Q courses and high school biology
and chemistry.
Biodiversity
Biology 152
This course, intended for biology majors and
students with a strong interest in science, exam-
ines scientific issues related to biological diver-
sity. In addition to studying characteristics of
the major groups of organisms on earth, students
investigate the evolutionary causes and the eco-
logical consequences of diversity. They examine
patterns of biodiversity through time and
develop an understanding of how the present
loss of biodiversity compares in magnitude and
rate to previous periods of extinction. Finally,
students evaluate methods for preserving biodi-
versity based on principles of conservation biol-
ogy. Throughout this course, they explore the use
of statistical methods for evaluating scientific
data. Prerequisites: strong background in high
school biology and eligibility for Q courses.
Life in Sight: Investigations under
the Microscope
Biology 160
Some of the most interesting and aesthetically
fascinating aspects of life are just out of human
sight, but within our reach using simple stereo-
scopic microscopes. The underlying goal of this
course is to use the microscope for making
inductive observations about living things, ask-
ing questions, and generating deductive hypothe-
ses. With class themes in functional biology as a
guide, students use pre-prepared and self-prepared
slides of microscopic organisms and parts of larger
organisms to generate questions and hypotheses
about how things work.
Introduction to Genomics
Biology 161
What is a genome? How do genomes differ
between species and individuals within a species?
How are genomes sequenced and how is compu-
tation used to understand genomes? These fun-
damental questions are explored through lectures
and computer programming labs using PERL. A
series of programming exercises examines sev-
eral cryptographic systems in order to develop
the programming skills needed to explore and
250 Science, Mathematics, and Computing
understand the structure of genomic sequences.
In final group projects, students develop com-
puter programs to further explore a genomic
topic of interest to each group. Prerequisite: the
equivalent of AP biology or AP calculus, or per-
mission of instructor.
Eukaryotic Genetics
Biology 201
An introduction to the mechanisms of inheri-
tance and the generation of diversity in eukary-
otic organisms. The course takes a modern
approach to the study of genetics in which classi-
cal ideas about genotype, phenotype, and inheri-
tance are integrated into the modern molecular
and genomic understanding of the processes
involved in the generation of diversity. In addi-
tion to discussions of the molecular mechanisms
of DNA replication, recombination, the genera-
tion and repair of mutations, and the relationship
between genotype and phenotype, special consid-
eration is given to understanding the processes
involved in generating population-level varia-
tion in complex traits and how this understand-
ing can help identify the myriad genetic and
nongenetic factors influencing these traits. The
laboratory consists of a semester-long project
involving the genetic manipulation of a model
organisms genome to address one or more topics
in the course. Offered every fall. Prerequisite: one
year of college biology.
Ecology and Evolution
Biology 202
An introduction to the general principles of
ecology and evolution that, with genetics, form
the core of biological understanding. In addi-
tion to studying foundational ideas in both ecol-
ogy and evolution, the class explores topics at
the boundary between these two areas, includ-
ing how genetic variation among individual
organisms can influence ecological interactions,
and how these interactions can influence fit-
ness. Students use model building to inform a
mechanistic understanding of processes. Offered
every spring. Prerequisite: Successful completion
of Biology 201.
Introduction to Physiology
Biology 204
This course focuses on the relationship between
the physical and chemical functions of various
organs and organ systems and overall homeo-
stasis, with an emphasis on human physiology.
Systems examined include the central and
peripheral nervous systems, muscle, heart and
blood vessels, blood, lungs, kidneys, digestive
system, endocrine glands, and reproductive sys-
tems. Laboratory work provides practical experi-
ence in relevant topics of human physiology.
This course is appropriate for those interested in
a career in the health professions and others
interested in animal biology. Offered in alter-
nate spring semesters. Prerequisites: Biology 141
and 142 and Chemistry 141-142; Chemistry
201-202 is recommended concurrently.
Botany
Biology 206
This course consists of lectures, labs, and fre-
quent field trips. The first part surveys the plant
kingdom and focuses on anatomy, histology, and
physiology, with an emphasis on form, function,
and adaptation. The last third of the semester
covers local flora, taxonomy, and plant ecology.
Prerequisites: Biology 141 and 142 and Chemistry
141-142 or permission of the instructor.
Metabolic Disease:
From Genetics to Diet
Biology 211
This course examines human metabolism
through instances in which it fails to function
correctly. Some diseases with direct bearing on
human metabolism include leptin deficiency,
severe childhood epilepsy, hyper- and hypo-
cholesterolemia, type I and II diabetes, hypogo-
nadism, and more complex disease states, such
as Syndrome X and morbid obesity. Although
some familial instances of these diseases do
occur and have been attributed to the loss of
single genes, others, such as Syndrome X, occur
in up to 25 percent of the population and are
most likely the result of multiple interacting fac-
tors. The environmental versus genetic compo-
nents of these diseases, as well as methods to
regulate the metabolic system, such as diet com-
position, exercise, and medication, also are dis-
cussed. Students visit Rockefeller University to

meet with researchers who have been responsi-
ble for key insights into these processes.
Prerequisite: Biology 201 or permission of the
instructor.
Issues in Bioethics
Biology 268 / Philosophy 268
See Philosophy 268 for a full course description.
Biochemistry
Biology 301
An introduction to general biochemistry,
including protein structure, enzyme mecha-
nisms and kinetics, coenzymes, thermodynamics,
central metabolic pathways, biological mem-
branes, DNA structure and replication, and
ribosomal translation. Emphasis is placed on
integrating knowledge of fundamental organic
chemistry into a biological context. Laboratory
work provides practical experience in the topics
covered. Offered in alternate fall semesters.
Prerequisites: Biology 141 and Chemistry 201-202.
Molecular Biology
Biology 302
Through close reading of primary and secondary
literatures, students examine the molecular and
biochemical mechanisms that control the
dynamic cellular processes involving DNA and
RNA. Discussions of review articles on particu-
lar topics precede in-depth discussions of one or
more research articles in those areas. The litera-
ture is read with the objective of understanding
the current models describing molecular pro-
cesses, as well as the experimental rationale and
modern techniques used to probe fundamental
molecular mechanisms and test the models. Of
particular consideration are the regulatory mech-
anisms controlling such processes as DNA repli-
cation, transcription, translation, and genome
structure. The laboratory consists of a semester-
long project in which a cellular or developmen-
tal process is probed at the molecular level.
Offered in alternate spring semesters. Prerequisites:
Biology 201 and 202 and Chemistry 201-202.
Microbiology
Biology 303
An introduction to the biology and ecology of
prokaryotes and viruses. Every attempt is made
to organize the diversity of the prokaryotes into
Biology 251
a modern phylogenetic context based on the
latest results of molecular evolutionary analyses.
The first portion of the course deals with
prokaryotic cell biology and growth; the second
with plant viruses, viroids, bacteriophages, ani-
mal viruses, and prions; and the third with the
diversity of the prokaryotes, ranging from
archaea through both pathogenic and non-
pathogenic bacteria. Laboratory work provides
practical experience in dealing with prokaryotes
and bacteriophages. This course is appropriate
for those interested in a career in the health pro-
fessions and those interested in ecology. Offered
in alternate fall semesters. Prerequisites: Biology
141 and 142 and Chemistry 141-142; Chemistry
201-202 is recommended concurrently.
Cell Biology
Biology 304
This course examines the molecular and bio-
chemical mechanisms involved in processes
relating to eukaryotic cellular organization,
communication, movement, reproduction, and
death. These topics are considered through
close reading of the primary and secondary liter-
atures. Discussions of review articles on particu-
lar topics precede in-depth discussions of one or
more research articles in those areas. The litera-
ture is read with the objective of understanding
the current models describing cellular processes,
as well as the experimental rationale and the
modern techniques used to probe fundamental
cellular mechanisms and test the models. The
laboratory consists of a semester-long project in
which a cellular process is investigated. Offered
in alternate spring semesters. Prerequisites:
Biology 201 and 202 and Chemistry 201-202.
Ecology
Biology 305 Environmental Studies
In this introduction to the principles that gov-
ern interactions among organisms, students
examine what determines the distribution and
abundance of organisms by developing an under-
standing of how these organisms interact with
their biotic and abiotic environments. The class
considers both general theoretical perspectives
and specific case studies, which focus primarily
on ecological issues related to conservation and
the biology of disease as an ecological phe-
nomenon. Lectures, lab work, and field trips are
252 Science, Mathematics, and Computing
part of the course. Prerequisites: Biology 141 and
142 and Chemistry 141-142.
Vertebrate Zoology
Biology 306
Surveys the natural history, evolution, and ecol-
ogy of the vertebrates native to the Hudson
Valley region. Lab sessions are used for identifi-
cation, taxonomy, and study techniques, with as
much work as possible done in the field. Occa-
sional evening or weekend classes are required.
Prerequisites: Biology 141 and 142, Upper College
status, and permission of the instructor; Biology
305 is recommended.
Aquatic Ecology
Biology 307
Freshwater ecosystems span a wide range of
environments. This course explores the physical
and chemical processes that structure these
ecosystems and examines how these influence
the abundance and diversity of plants and ani-
mals. Students subsequently look at how differ-
ent human activities are affecting our freshwater
resources. The course is lab- and fieldwork-
intensive and involves studying several lakes, wet-
lands, streams, and rivers in the area. Prerequisites:
Chemistry 142 and two biology courses, at least
one at the 200 level.
Prokaryotic and Viral Genetics
Biology 310
Considers biological inheritance in prokaryotes
(bacteria) and their viruses (bacteriophages).
Lectures alternate with student presentations of
fundamental papers in chronological order.
Topics include mutagenesis and repair, plasmids,
conjugation, transformation, intemperate and
temperate phages, transduction, transposition
and nonhomologous recombination, homolo-
gous recombination, and the regulation of gene
expression. Laboratory work provides practical
experience in the topics covered. Offered in
alternate spring semesters. Prerequisites: Biology
201, Biology 303, and Chemistry 201-202.
Biogeochemical Cycles
Biology 312
Our planet is basically a closed system, and
cycles of certain elements dictate life determin-
ing processes. The nitrogen, phosphorus, and
carbon cycles are of particular interest in under-
standing patterns of life on earth. At different
timescales, geological, biological, and chemical
processes all play important roles mediating the
availability of these nutrients. Students exam-
ine how interactions between biological pro-
cesses (like primary productivity) and geological
processes (like rock weathering) influence nutri-
ent availability and long-term climate. With
this understanding, students investigate how
various human activities, such as agriculture and
energy consumption, are affecting these cycles.
Prerequisites: Chemistry 142 and two biology
courses, at least one at the 200 level.
Evolution and Diversity of Mammals
Biology 314
What were the ecological, biogeographical, and
morphological circumstances leading to the
evolution of Mammalia over 200 million years
ago? What led to the Cenozoic explosion of
diversity, and what are the primary structural
innovations that characterize extant mam-
malian orders? This course introduces students
to the evolution and diversity of the three major
mammalian lineages: the monotremes, marsupi-
als, and placentals. Class discussions consider
mammalian phylogeny and taxonomy, struc-
tural adaptive innovation, biogeography, com-
munity ecology, behavioral strategy, and life
history. Students become familiar with the cra-
nial and postcranial skeleton and identify the
major mammalian taxa as well as local species.
They practice field techniques, and, if inter-
ested, learn to prepare specimens for museum
collections. Prerequisite: at least one 200-level
course in biology or permission of the instructor.
Not open to first-year students.
Molecular Evolution
Biology 321
This lecture/lab examines the apparent evolu-
tion of nucleotide (and amino acid) sequences
in biology and the extent to which species phy-
logeny can be reliably reconstructed from such
sequences. Students learn how to retrieve
sequences from computerized data banks, align
them, and construct phylogenic trees by parsi-
mony analysis. The course concludes with a
project in which the students perform these
manipulations on sets of sequences of their own

choosing. Offered in alternate fall semesters.
Prerequisites: Biology 201 and Biology 301.
Bioinformatics
Biology 323
Examines different computational methods used
to search for, analyze, classify, and model DNA,
RNA, and protein sequences. Included are
methods that examine genome sequencing,
gene expression, functional genomics, and vari-
ation within populations, as well as genome-
wide analysis. These methods are then related to
the larger context of the human genome project
and where such research may lead the field of
biology. Offered in alternate fall semesters.
Prerequisites: Biology 141 and Computer Science
141 or permission of the instructor.
Ecology of African Savannas I and II
Biology 332-333
A two-semester scientific investigation of the
ecology of African savannas. Students collect
data during an intersession trip to Kenya, analyze
the data graphically and statistically, and prepare
and deliver oral and written presentations of the
results of their research projects. Classes before
and after intersession cover basic statistics for
data analysis, evaluation and interpretation of
scientific data, and preparation of both written
and oral scientific presentations. Students are
selected for this course through an application
process at the start of each academic year. First-
year students, sophomores, and juniors with
some science background are eligible for selec-
tion. Biology 332 and 333 are nondivisible.
Advanced Topics in Cell Biology
Biology 403
This two-credit course meets once a week for two
hours. Weeks alternate between lectures and
group evaluation of papers (two per discussion)
from the primary literature relevant to the previ-
ous weeks lecture topic. Although each member
of the class is responsible for reading each paper
and participating in discussions, teams of two stu-
dents present the papers. Some topics focus on
historical investigations central to cell biology,
while others focus on current and sometimes con-
troversial investigations. Prerequisites: Biology
201 and Chemistry 201202.
Biology 253
Immunology
Biology 405
Through close reading of the primary and sec-
ondary literatures, this course takes a detailed
look at a sampling of topics from the field of
experimental immunology. Discussions of review
articles on particular topics precede in-depth dis-
cussions of one or more research articles in those
areas. The literature is read with the objective of
understanding the current models describing
immune system development, function, and mal-
function, as well as the experimental rationale
and modern techniques used to probe funda-
mental cellular, molecular, and biochemical
mechanisms. Potential topics include develop-
ment of the acquired immune system, autoim-
munity, mechanisms of innate and acquired
immunity, and hypersensitivity (allergic reac-
tions). Prerequisites: Biology 201 and 202 and
Chemistry 201-202; Biology 301 and 302 are
recommended.
Diabetes Mellitus
Biology 407
Diabetes mellitus is one of the most complicated
physiological abnormalities to afflict humans,
and is also one of the most common. It has been
estimated that the lifetime risk of developing
diabetes for individuals born in 2000 is 33 per-
cent for males and 38 percent for females. It is
responsible for a large fraction of the morbidity
and mortality of developed nations. This semi-
nar examines the development of current scien-
tific understanding of diabetes by examining the
medical and scientific literature in chronologi-
cal order, from the Ebers papyrus (1536 B.C.E.)
and Aretaeus the Cappadocian (200 C.E.) to
papers describing the latest developments in the
field. Wherever possible, students see the works
in the languages in which they were written.
The course provides a historical perspective on
the development of current notions of the dis-
ease and an opportunity for seniors to apply
their knowledge of many subdisciplines of biol-
ogy to a single problem. Two credits, no labora-
tory. Prerequisites: extensive course work in
molecular, cellular, and organismal biology;
senior status; permission of the instructor.
254 Science, Mathematics, and Computing
Cancer Biology
Biology 411
Cancer is a genetic disease that cannot be inher-
ited; a disease in which ones own cells disrupt
normal physiological functions; a disease for
which some therapies result in the loss of the
bodys ability to fight disease. This advanced
course looks at the complex reasons for these
paradoxes, and more, by examining a particular
cancer from several perspectives: epidemiologi-
cal, physiological, genetic, molecular, and cellu-
lar. A seminar-style approach is taken, in which
both text and the primary literature sources are
used to examine issues of cancer cause, progres-
sion, and treatment. Students are expected to
present primary literature articles and to write a
research paper on a type of cancer. Prerequisites:
Moderation in biology and permission of the
instructor.
Advanced Seminar in Ecology
Biology 415
Stable isotopes provide a simple approach to
many environmental questions that might other-
wise be difficult to answer and are used as a tool
in such fields as paleoclimatology, forensics,
archaeology, and ecology. This course covers
some of the ways that oxygen-, carbon-, and
nitrogen-stable isotopes can be used to study
nutrient sources, biochemical processes, and food
web interactions. These tools provide a straight-
forward way to address questions such as: Did our
early ancestors grow fat on meat or milk or each
other? Is ocean productivity declining in the
North Pacific? How do we know what the Earths
past climate was like? The class is based primarily
on student presentation and discussion of current
literature. Students also complete a small isotope
project that they present at the end of the
semester. Prerequisites: Chemistry 142 and per-
mission of the instructor.
Chemistry
Chemistry at Bard is geared primarily, but not
exclusively, to meeting the needs of students
planning to do graduate work in chemistry and
biology. Students receive extensive hands-on
experience with modern instruments. These
include a 300-MHz NMR; GC/MS, UV/Vis,
and FTIR spectrophotometers; and HPLC. In
addition to the core courses, a student typically
takes at least two advanced electives in chem-
istry, biology, mathematics, or physics, accord-
ing to personal goals.
Before moderating, students should complete or
be enrolled in Chemistry 141-142 and 201-202,
Mathematics 141 and 142, and Physics 141 and
142. Students are expected to follow the stan-
dard divisional procedure for Moderation and to
fulfill the collegewide distribution and First-Year
Seminar requirements.
Core faculty: Craig Anderson (director), Simeen
Sattar, Kim M. Touchette, Hilton M. Weiss
(emeritus)
Recent Senior Projects in Chemistry
Design and reactivity of iminic ligands and
their platinum complexes
I Am Not an Alchemist: The Chemical
Cosmology of Samuel Cottereau Duclos
(15981685)
Synthesis and characterization of new, poten-
tially anticancer, mixed-metal
[ruthenium(III)-platinum(II)] dimers and
trimers, and the interactions of the trimer
Na2{trans,cis,trans-[Ru(III)Cl4(DMSO-S)
(-pyz)]2Pt(II)Cl2} with DNA
Core Courses
Chemistry 141-142, Basic Principles of Chemistry
Chemistry 201-202, Organic Chemistry
Chemistry 301, Principles of Chemical Analysis
Chemistry 312, Advanced Inorganic Chemistry
Chemistry 411-412, Physical Chemistry
Mathematics 141, 142, Calculus I,II
Mathematics 212, Calculus III
Physics 141, 142, Introduction to Physics I,II

Elective Courses
Advanced chemistry courses
(two offered each academic year)
Chemistry 311, Bio-organic Chemistry
Chemistry 341, Spectroscopic Methods
Chemistry 405, Theoretical Organic Chemistry
Chemistry 408, Organic Synthesis
Chemistry 414, Chemical Kinetics
Chemistry 431, Organometallics
Other common electives
Biology 301, Biochemistry
Computer Science 141, Introduction to Object-
Oriented Programming
Mathematics 211, Ordinary Differential Equations
Physics 314, Thermal Physics
Experiments in Chemistry
Chemistry 106
This course provides additional and independent
laboratory experience for students enrolled in
Chemistry 142. Students choose their own pro-
jects. Past favorites include synthesis and analy-
sis of aspirin; tracing a historical controversy in
inorganic chemistry through synthesis and anal-
ysis of a series of cobalt compounds; studies of
cis-trans and optical isomerism; and diverse anal-
yses (sodas, fruit juices, aluminum cans, antacids,
vitamins, milk, alcohol, water, cigarettes, car
exhaust, and cigarette smoke). A time commit-
ment of one afternoon per week is expected.
Basic Principles of Chemistry
Chemistry 141-142
An introduction to the composition, structure,
and properties of matter. The first semester cov-
ers atomic structure, stoichiometry, periodic
trends, bonding and molecular geometry, ther-
mochemistry, and the behavior of gases, liquids,
and solids. Central concepts in the second
semester are energy transfer, spontaneity, and
change (thermochemistry, chemical equilibrium,
and kinetics). The laboratory stresses basic tech-
niques and quantitative applications. Basic alge-
bra skills are required. Concurrent enrollment in
calculus is recommended for students who
intend to concentrate in chemistry.
Chemistry 255
Organic Chemistry
Chemistry 201-202
Students study the structure and reactions of
specific types of organic compounds and develop
interrelationships that provide an integrated
understanding of organic chemistry. The course
emphasizes general principles and reaction
mechanisms, but students are also expected to
accumulate and utilize factual material. The
laboratory is coordinated with classroom topics
and should provide direct experience with many
reactions and concepts. The laboratory is also
intended to develop familiarity with experiment
design, experimental techniques, and instru-
mental methods such as chromatography and
spectroscopy. Prerequisite: Chemistry 141-142.
Principles of Chemical Analysis
Chemistry 301
A survey of the field of analytical chemistry,
with emphasis on the basic principles of solution
equilibriums. Quantitative treatment of solubil-
ity, acidity, and oxidation potential provides the
background for understanding gravimetric and
volumetric techniques. Modern methods of
instrumental analysis are studied and integrated
into the laboratory work. Prerequisite: Chemistry
141-142.
Bio-organic Chemistry
Chemistry 311
This course focuses on applying the mechanistic
theories of organic chemistry to the reactions
found in biological systems. General reaction
types are studied by analogous model systems,
and the extrapolation of these reactions to bio-
logical systems is developed. Experimental
results with specific enzymes are used to support
postulated mechanisms and illuminate enzymatic
strategies for rate optimization and product con-
trol. Some time is spent in analyzing the design
of metabolic pathways that use common enzymatic
reactions. Prerequisites: Biology 141 and a grade
of B or better in Chemistry 201-202.
Advanced Inorganic Chemistry
Chemistry 312
An introduction to the chemistry of the ele-
ments, this course places emphasis on the classi-
fication of the properties and reactivity of the
elements by chemical periodicity, structure, and
256 Science, Mathematics, and Computing
bonding. Topics in modern inorganic chemistry
to be covered include coordination chemistry of
the transition metals, organometallic chemistry,
and bioinorganic chemistry. Laboratory work
includes synthetic and instrumental techniques
that apply to inorganic and organometallic chem-
istry. Prerequisites: Chemistry 201-202 and either
Chemistry 301 or Chemistry 411-412.
Spectroscopic Methods
Chemistry 341 / Physics 341
Examines various types of spectroscopy, starting
with the physical basis of the techniques and
working up to qualitative and quantitative appli-
cations to various chemical problems. Emphasis
is placed on NMR spectroscopy, including multi-
nuclear NMR, two-dimensional techniques, and
variable-temperature experiments. Other topics
are IR and ESR spectroscopy and mass spec-
troscopy. Prerequisites: Chemistry 201-202 and
Physics 141 and 142.
Theoretical Organic Chemistry
Chemistry 405
An introduction to the theory and use of molec-
ular orbital calculations. Huckel calculations are
stressed, and results are applied to the study of the
structure and reactivity of organic molecules.
Particular attention is paid to orbital symmetry
and frontier orbital theory. Depending upon stu-
dent interests, advanced calculations may also be
considered. Other advanced topics may include
electronic spectroscopy, photochemistry, and
molecular mechanics. Prerequisites: Chemistry
201-202 and Physics 141 and 142.
Organic Synthesis
Chemistry 408
An introduction to the design and develop-
ment of organic syntheses. The starting point is
the predictable design of organic structures by the
disconnection approach, based heavily on
the use of carbanions and other modern reac-
tions. The versatility of these methods is dis-
cussed, using novel ways to apply these reactions
to generate elusive structures. Variations in reac-
tivity are discussed to illustrate the differential
reactivity of similar functional groups and how
these differences may be used to modify them
selectively. Fairly complicated syntheses are eval-
uated to appreciate new ideas and approaches to
synthesis. Recent papers in organic synthesis are
presented by the professor, participating students,
and visiting speakers from industry and academia.
There are no exams, and performance is evalu-
ated on the basis of seminar participation and
presentation. Prerequisite: Chemistry 201-202.
Physical Chemistry
Chemistry 411-412
A modern, molecular approach to the subject.
The first semester begins with a study of model
quantum mechanical systems and culminates in
the application of the model systems to atomic
and molecular structure and spectra. In the second
semester, statistical mechanics is used as the link
between quantum chemistry and equilibrium
thermodynamics. Selected experiments illustrate
these topics. Molecular modeling software is used
to go beyond a consideration of prototypical sys-
tems. Prerequisites: Chemistry 141-142, Physics
141 and 142, and Mathematics 141, 142, and 212.
Chemical Kinetics
Chemistry 414
Topics include the kinetic theory of gases, rates
of chemical reactions and how they can be
explained, theories of chemical kinetics, and
reaction dynamics. Includes some laboratory
work. Prerequisite: Chemistry 411-412 or per-
mission of the instructor.
Organometallics
Chemistry 431
The course integrates material from inorganic and
organic chemistry to provide a basis for under-
standing the rich chemistry of the metal-carbon
bond. The material consists mainly of an exami-
nation of various organometallic reaction mecha-
nisms, including substitution, oxidative addition,
reductive elimination, and insertion, combined
with a survey of the structure and reactivity of the
important types of organometallic ligands. Special
topics such as organometallic photochemistry,
catalysis, and the use of organometallic reagents in
organic synthesis are also covered.

Computer Science
The Computer Science Program at Bard offers
courses of interest to computer science, science,
and nonscience majors. The program focuses on
teaching fundamental ideas of computer science
and introduces students to multiple program-
ming languages that emphasize different pro-
gramming paradigms. It offers broad coverage of
theoretical, applied, and systems-oriented topics.
Before Moderation a student in the program
should complete or be enrolled in Computer
Science 141, 201, 225, and 243, as well as
Mathematics 141 (or the equivalents of these
courses). Students are expected to follow stan-
dard divisional procedures for Moderation and
to fulfill the collegewide distribution and First-
Year Seminar requirements. By graduation, a
student in the program must take Computer
Science 301, 305, 312, and either 326 or 335, at
least two other computer science courses num-
bered 300 or above, and complete a Senior
Project.
Core faculty: S. Rebecca Thomas (director),
Sven Anderson, Robert W. McGrail
Recent Senior Projects
in Computer Science
An Incursion into Finite Model Theory
Bacterial Identification: Algorithms for the
Selection of Primers for PCR Reactions
Chat-Based Security System
Determining Image Authorship: Applied
Statistical Techniques of Stylometrics
Information Visualization and HCI: Novel
Visualization Techniques to Increase
Cognition Rates for Information-Intensive
Tasks
Parallelizing -CAML Programs Using a
Preprocessor
Computer Science 257
Core Courses
(offered every year or every other year)
Computer Science 141, Introduction to Object-
Oriented Programming
Computer Science 201, Data Structures
Computer Science 225, Computer Architecture
Computer Science 243, Introduction to
Functional Programming
Computer Science 301, Algorithms
Computer Science 305, Design of Programming
Languages
Computer Science 312, Theory of Computation
Computer Science 326, Operating Systems
Computer Science 335, Computer Networks
Computer Science 351, Artificial Intelligence
Elective Courses
(offered at least once every three years or by
tutorial)
Computer Science 321, Databases: Theory and
Practice
Computer Science 323, Computer Graphics
Computer Science 425, Compiler Design
Computer Science 451, Topics in Advanced
Artificial Intelligence
Introduction to Computing:
Automated Reasoning
Computer Science 111
This course explores the application of computing
to logical deduction. Students design programs
that automate many aspects of human reasoning.
Topics include natural language processing, natu-
ral language generation, automated theorem prov-
ing, and verification. Prerequisite: eligibility for Q
courses.
Introduction to Computing:
Graphics and Animation
Computer Science 112
This course provides an introduction to the use of
computer programming for creating and display-
ing a wide variety of objects, patterns, and digital
images. Students learn to use a programming lan-
guage and graphics interface to write algorithms
that represent and render two-dimensional and
three-dimensional geometrical objects, beginning
258 Science, Mathematics, and Computing
with points and lines and extending to three-
dimensional solids. Topics studied include applied
geometry, coordinate transformations, projection,
perspective, object modeling, and basic anima-
tion. Prerequisite: eligibility for Q courses.
Introduction to Computing: Robotics
Computer Science 113
This course introduces students to ideas that are
fundamental to robotics and to computing in
general. Teams design and build shoe boxsized
robots, with guidance from the instructor. These
rather minimalist robots are mobile and have
multiple sensors. Teams use a simple program-
ming language to program their robots to carry
out simple tasks, then move to a more robust pro-
gramming language and more complex tasks by
the end of the semester. Prerequisite: eligibility for
Q courses.
Introduction to Computing:
Understanding the Computer
Computer Science 114
This course examines several ideas central to
computer science, from the point of view of
understanding the computer as a machine.
Students move from the very concrete (digital
circuits) through increasingly abstract descrip-
tions of computing machinery. Along the way,
students learn how to decode the jargon of com-
puter advertisingGBs, RAM, GHz, and so on.
Students explore the basics of computer program-
ming via several simple assignments. Prerequisite:
eligibility for Q courses.
Introduction to Computing:
Simulating Reality
Computer Science 115
How do rumors and fashions spread in society?
Does a small change in environmental tempera-
ture disrupt an ecosystem? Questions like these
are explored, using computers to create virtual
worlds. This introduction to modeling and simu-
lation is for students who are interested in creat-
ing computer models of objects, processes, and
complex systems using computer software. Stu-
dents create and run several different simulation
model types drawn from a variety of disciplines,
including artificial life, cognitive science, eco-
nomics, environmental science, evolution, neuro-
science, physics, and political science. Students
learn how to combine mathematical modeling,
computer simulation, and data analysis as they
use and create software that enables them to
build simulation models that answer a practical
need and/or scientific question. No prior knowl-
edge of computer programming is required.
Prerequisites: a strong background in precalculus
mathematics or the equivalent and eligibility for
Q courses.
Introduction to Computing:
Semantic Web
Computer Science 116
This course is an introduction to semantically
intelligent content management for the World
Wide Web. Participants construct social net-
working software, similar in scope to weblogs or
facebooks, using an advanced content manage-
ment system. A strong emphasis is placed on the
development of flexible applications that effi-
ciently store and process data and metadata. In
addition to basic computer programming, vari-
ous XML technologies are introduced and
employed. Prerequisite: eligibility for Q courses.
Cognitive Science
Computer Science 131 Psychology
How do brains make minds? Can computers
think? Is my dog conscious? Cognitive science
assumes that the brain is some sort of computa-
tional engine and, beginning with that premise,
attempts to answer such questions. The course is
taught by faculty in biology, computer science,
linguistics, philosophy, and psychology, who
combine their approaches to explore how
humans and other intelligent systems feel, per-
ceive, reason, and act. In particular, the course
focuses on the fundamental importance of lan-
guage, signaling, and representation at many
levels. Laboratories provide analysis of neural
and behavioral data as well as computational
modeling. Prerequisite: Mathematics 110 or the
equivalent.
Introduction to Object-Oriented
Programming
Computer Science 141
This course introduces students with prior pro-
gramming experience to the methodologies of
object-oriented design and programming, which
are used throughout the computer science cur-

riculum. Students learn how to move from infor-
mal problem statement through increasingly pre-
cise problem specification to the design and
implementation of a solution. Good program-
ming habits are emphasized. Prerequisite: any
Introduction to Computing course or permission of
the instructor.
Data Structures
Computer Science 201
This course introduces students to the basic
ideas underlying data storage and retrieval.
Several standard data structures are covered,
including stacks, queues, lists, hash tables, and
balanced binary trees. The course balances
implementation of structures and formal analy-
sis of their properties. Prerequisite: Computer
Science 141.
Computer Architecture
Computer Science 225
An introduction to the structure and operation
of modern computer architecture. Topics include
instruction sets, pipelining, instruction-level
parallelism, caches, memory hierarchies, storage
systems, and multiprocessors. Assembly lan-
guage programming is used to demonstrate con-
cepts. Corequisite: Computer Science 201, with
Physics 210 recommended.
Introduction to Functional
Programming
Computer Science 243
This course introduces students to the functional
programming paradigm. Topics include recursion,
recursively defined data types, and first-class
functions. The course also introduces some basic
programming techniques from artificial intelli-
gence, including blind and heuristic search algo-
rithms. Prerequisite: Computer Science 141.
Discrete Math and Functional
Programming
Computer Science 244
This course covers many mathematical concepts
of importance to the foundation of the modern
computer scientist, employing a functional pro-
gramming language as a vehicle for computa-
tional expression. General discrete mathematics
topics include logic and formal proof, sets, rela-
tions, functions, induction and coinduction,
Computer Science 259
number theory, and graph theory. Functional pro-
gramming concepts include lambda calculus, type
theory, lists and algebraic data types, recursion
and corecursion, and polymorphism. This course
satisfies the functional programming requirement
for Moderation into the Computer Science
Program. Prerequisites: Math 141 and an intro-
ductory computer science course, or their equiva-
lents.
Algorithms
Computer Science 301
This course covers the design and analysis of cor-
rect and efficient computer algorithms. Topics
include sorting, greedy algorithms, divide-and-
conquer algorithms, dynamic programming algo-
rithms, and graph algorithms. Advanced topics
in algorithms may be selected from specialized
areas of the mathematical and empirical sci-
ences. Prerequisites: Computer Science 201 and
Mathematics 161 or 261.
Design of Programming Languages
Computer Science 305
Covers a selection of important issues in the
design of programming languages including, but
not limited to, type systems, procedure activation,
parameter passing, data encapsulation, dynamic
memory allocation, and concurrency. In addition,
the functional, logical, and object-oriented pro-
gramming paradigms are presented, along with a
history of high-level programming languages.
Prerequisite: Computer Science 201.
Theory of Computation
Computer Science 312
An introduction to several computational mod-
els developed to formalize the notion of an algo-
rithm, the course also offers detailed discussion
of primary topics in the theory of computation,
including the theory of recursive functions,
Turing machines, and several undecidable prob-
lems, such as the halting problem. Prerequisite:
Mathematics 261 or both Computer Science
301 and Mathematics 161.
Databases: Theory and Practice
Computer Science 321
An introduction to the design, implementation,
and uses of databases. Topics include database
design, database models, integrity, concurrency,
260 Science, Mathematics, and Computing
security, and database query languages. Prerequi-
site: Computer Science 201.
Computer Graphics
Computer Science 323
Computer graphics have become ubiquitous in
todays society, from magazine ads to movies to
video games. In this course students explore the
basic algorithms used to create and manipulate
two- and three-dimensional graphic objects.
Among the topics covered are coordinate trans-
formations, projection, hidden surfaces, shad-
ing, ray tracing, and texture mapping. A strong
background in mathematics and programming is
necessary. Prerequisites: Mathematics 242 or
331, Computer Science 201, and permission of
the instructor.
Operating Systems
Computer Science 326
Covers traditional topics of operating systems,
including interprocess communication, sema-
phores, monitors, scheduling algorithms, dead-
locks, virtual memory, and file system design. In
addition, discussion may include issues in dis-
tributed systems such as the client-server model,
remote procedure call, distributed synchroniza-
tion, transactions, threads, and file servers.
Prerequisite: Computer Science 201.
Computer Networks
Computer Science 335
Takes a bottom-up approach to computer net-
working, covering in detail the physical, data-
link, MAC, network, transport, and application
layers. TCP/IP and OSI reference models are
introduced, with examples taken from the
Internet, ATM networks, and wireless networks.
Prerequisite: Computer Science 201.
Artificial Intelligence
Computer Science 351
Provides a broad introduction to topics in artifi-
cial intelligence, including knowledge represen-
tation and reasoning, planning and problem
solving, and machine learning. Advanced top-
ics may include natural language processing,
multiagent systems, and image processing.
Prerequisite: Computer Science 201.
Biologically Inspired Machine Learning
Computer Science 352
Examines computation as a metaphor for under-
standing adaptive systems. Several biological
systems are studied and related to abstract mod-
els that incorporate elements of their data struc-
tures, information processing, and learning.
Neuron models, neural networks, and evolution-
ary learning are studied using mathematics and
computer simulation. This course emphasizes
information processing, pattern recognition, and
associated computational abilities of artificial
models, but takes an ethological approach to
understanding how natural and artificial intelli-
gence systems adapt to their environment.
Prerequisite: Computer Science 201.
Modeling and Simulation
Computer Science 353
An introduction to mathematical modeling and
the computer simulation of discrete and con-
tinuous systems. Students create mathematical
models of systems, design simulation experi-
ments, construct simulations, test their validity,
and statistically analyze output. Prerequisites:
Mathematics 142, Computer Science 201 or the
equivalent, and at least one 200-level course in
the sciences or social sciences.
Software Interface Design
Computer Science 373
Focuses in detail on desiderata for good user
interface design, including questions of layout,
command entry, and display of information.
The course centers on event-driven program-
ming, using the Java programming language.
Prerequisite: Computer Science 201 or experi-
ence with Java.
Research Seminar in Computer
Sciences and Mathematics
Computer Science 408 / Mathematics 408
Juniors and seniors concentrating in computer
science or mathematics are strongly urged to
take this two-credit course. Each senior presents
personal research in progress or significant
material from the literature. Each junior pre-
sents an interesting paper of personal choice
from the literature. The purpose of the seminar
is to enhance communication among seniors
about their research and to encourage juniors to

become familiar with both the academic litera-
ture and research undertaken in the program.
Prerequisite: moderated status or permission of
the instructor.
Compiler Design
Computer Science 425
An introduction to the process of writing a lan-
guage translator. Topics include lexical analysis,
parsing, syntax-directed translation, optimiza-
tion, and code generation. Students complete a
project involving design and implementation of
a compiler for a simple high-level programming
language. Prerequisites: Computer Science 305
and Computer Science 312.
Parallel Computing
Computer Science 431
An introduction to parallel algorithms and
parallel architectures. The central focus is the
application of parallelism in order to speed the
solution of computational problems. Such prob-
lems include sorting, matrix operations, graph
traversal, and image analysis. Time is also spent
on specialized parallel architectures such as grids,
hypercubes, and butterfly and De Bruijntype
networks. Prerequisite: Computer Science 301.
Topics in Advanced Artificial Intelligence
Computer Science 451
Topics covered may include robotics, natural lan-
guage processing, machine learning, neural net-
works, genetic algorithms, genetic programming,
planning, and computer vision. Selection of top-
ics will be guided in part by student interest and
background. Prerequisite: Computer Science 351.
Mathematics
Mathematics is at the core of human civilization
and is the cornerstone of all modern science and
technology. The Mathematics Program at Bard
has three main functions: to provide students in
the program with the opportunity to study the
primary areas of contemporary mathematics, to
provide physical and social science majors with
the necessary mathematical tools for work in
their disciplines, and to introduce all students to
Mathematics 261
serious and interesting mathematical ideas and
their applications.
The requirements of the Mathematics Program
are flexible enough to allow a student to prepare
for graduate study in mathematics, professional
schools (such as medical or law), or employment
in the public or private sector.
By the time of Moderation a student in the pro-
gram should have taken (or be taking) these
courses or their equivalents:
Mathematics 141, Calculus I
Mathematics 142, Calculus II
Mathematics 212, Calculus III
Mathematics 261, Proofs and Fundamentals
By graduation, a student in the program must
have completed:
Mathematics 242 or 331, Elementary Linear
Algebra or Linear Algebra
Mathematics 332, Abstract Algebra
Mathematics 361, Real Analysis
At least two other mathematics courses num-
bered 300 or above
A computer science course, preferably before
beginning the Senior Project
A Senior Project
Students in the Mathematics Program are
expected to follow the standard divisional pro-
cedure for Moderation and to fulfill the college-
wide distribution and First-Year Seminar
requirements.
Core faculty: Lauren Lynn Rose (director), Ethan
D. Bloch, John Cullinan, Mark D. Halsey,
Samuel K. Hsiao, Greg Landweber
Visiting faculty: Jules Albertini, Mary Krembs
Other Bard faculty who teach mathematics
courses: Matthew Deady (physics), Robert W.
McGrail (computer science), Jan M. Rizzuti
(director of quantitative literacy).
262 Science, Mathematics, and Computing
Recent Senior Projects
in Mathematics
Combinatorial Laplacians of Simplicial
Complexes
Forbidden Subgraphs for Edge Domination
Geodesics on Types of Singular Surfaces
Hilbert Sequences of Monomial Ideals
On the Curvature of Polyhedra
SET Theory the New York Times. Other examples are drawn
The Matching Model for Routing
Permutations on Graphs
Tutorials
The Mathematics Program offers tutorials in
advanced topics not covered by courses taught in
the current semester. The following is a sampling
of mathematics tutorials from the past few years.
Advanced Abstract Algebra
Differential Geometry
Mathematical Logic
Number Theory
Probability
Topology
Core Courses
(offered every year)
Mathematics 141, Calculus I
Mathematics 142, Calculus II
Mathematics 211, Ordinary Differential Equations
Mathematics 212, Calculus III
Mathematics 242, Elementary Linear Algebra
Mathematics 261, Proofs and Fundamentals
Mathematics 275, Probability and Statistics
Mathematics 332, Abstract Algebra
Mathematics 361, Real Analysis
Elective Courses
(offered at least once every three years or by
tutorial)
Mathematics 351, Point Set Topology
Mathematics 372, Combinatorics
Mathematics 373, Graph Theory
Mathematics 405, Mathematical Logic
Mathematics 432, Advanced Algebra
Mathematics 434, Topics in Algebra and
Combinatorics
The Mathematics of Chance
Mathematics 102
Students and the instructor choose serious
applications of probability and statistics as the
focus of the course. Concepts in probability
and statistics are developed to the extent neces-
sary to understand the applications. Most topics
are introduced in a case-study fashion, usually by
reading an article in a current periodical such as
from journals such as Chance, Nature, Science, and
Scientific American. Primary reading is supple-
mented by readings on basic probability and
statistics. The goal is to enable the student to
make critical judgments and come to informed
conclusions about current issues involving
chance. Prerequisite: eligibility for Q courses.
Mathematics and Politics
Mathematics 106
The course examines applications of mathe-
matics to political science. Five major topics are
covered: a model of escalatory behavior, game-
theoretic models of international conflict, yes-no
voting systems, political power, and social choice.
For each model presented, its implications and its
limitations are discussed. Students are actively
involved in the modeling process. There is no
particular mathematical prerequisite for this
course, though algebraic computations and
deductive proofs of some of the main results are
required. Prerequisite: eligibility for Q courses.
Topics in Geometrical Mathematics
Mathematics 107
Geometrical mathematics involves many topics
other than traditional Euclidean geometry. This
course explores various topics from semester to
semester and may include some, but not all, of the
following: symmetry, groups, frieze and wallpaper
patterns, graphs, surfaces, knots, and higher
dimensions. Prerequisites: eligibility for Q courses
and a willingness to explore new ideas and con-
struct convincing arguments.
Precalculus Mathematics
Mathematics 110
For students who intend to take calculus and
need to acquire the necessary skills in algebra
and trigonometry. The concept of function is

stressed, with particular attention to linear,
quadratic, general polynomial, trigonometric,
exponential, and logarithmic functions. Graphing
in the Cartesian plane and developing the
trigonometric functions as circular functions are
included. This class makes extensive use of the
TI-82 graphing calculator. Prerequisites: eligibil-
ity for Q courses and satisfactory performance on
the precalculus entrance exam.
Exploration in Number Theory
Mathematics 131
This course, an overview of one of the oldest
and most beautiful areas of mathematics, is
designed for any student who wants a taste of
mathematics outside the calculus sequence.
Topics include number puzzles, prime numbers,
congruences, quadratic reciprocity, sums of
squares, Diophantine equations, cryptography,
coding theory, and continued fractions. Prerequi-
site: Mathematics 110 or permission of the
instructor.
Game Theory
Mathematics 135
In the 20th century the theory of games gained
prominence due to its application to the social sci-
ences. Game theory is a mathematical approach
to modeling situations of conflict, whether real or
theoretical. Using algebra and some analytical
geometry, students explore the mathematical
foundations of game theory. At the same time,
they encounter a wide range of applications of
the theory of games. Topics include zero-sum
games, nonzero-sum games, pure and mixed strate-
gies, von Neumanns minimax theorem, Nash
equilibria, and cooperative games. Prerequisite:
Mathematics 110 or permission of the instructor.
Mathematics of the Premodern Era
Mathematics 137
This course traces the history of mathematics by
learning and applying methods of mathematics
drawn from various civilizations, such as those of
ancient Egypt, Mesopotamia, China, and India;
the Islamic nations; and the premodern West.
Topics include numeration, computation (includ-
ing root extraction), algebra (including multi-
linear systems and third- and fourth-degree
equations), and geometry. Weekly assignments
make use of algebra, geometry, and precalculus.
Mathematics 263
Prerequisite: Mathematics 110 or permission of
the instructor.
Calculus I
Mathematics 141
An introduction to the basic ideas of differentia-
tion and integration of functions of one variable.
Topics include limits, techniques of differentia-
tion, definite integrals, the fundamental theo-
rem of calculus, and applications. Prerequisite:
Mathematics 110 or the equivalent.
Calculus II
Mathematics 142
This course, a continuation of Calculus I, rein-
forces the fundamental ideas of the derivative
and the definite integral. Topics covered include
LHopitals rule, integration techniques, improper
integrals, volumes, arc length, sequences and
series, power series, continuous random variables,
and separable differential equations. Prerequisite:
Mathematics 141 or the equivalent.
Discrete Mathematics
Mathematics 161
As a complement to calculus, which models
continuous phenomena, this course studies dis-
crete processes and structures. Discrete mathe-
matics provides the mathematical foundation
for many areas of computation and can be
applied to such diverse problems as designing
an optimal phone-switching network and design-
ing a computer circuit. Five core areas are cov-
ered: enumeration and recurrence relations;
fundamentals of logic; sets, relations, and func-
tions; recursion and induction; and basic graph
theory. Other topics include elementary proba-
bility theory, generating functions, discrete opti-
mization, modular arithmetic and finite groups,
and Boolean algebra. A brief introduction to the
methods of mathematical proof is also taught.
Prerequisite: one semester of calculus or permis-
sion of the instructor.
Ordinary Differential Equations
Mathematics 211
This course is organized around methods for
solving ordinary differential equations and incor-
porates many ideas from calculus. Topics include
the classification of differential equations; deter-
mining the existence and uniqueness of ordinary
264 Science, Mathematics, and Computing
differential equations; and solving first- and
second-order differential equations using a vari-
ety of mathematical tools, such as integrating
factors, Laplace transforms, and power series.
Prerequisites: Mathematics 141 and 142 or permis-
sion of the instructor.
Calculus III
Mathematics 212
This course investigates differentiation and
integration of multivariable functions. Topics
covered include vectors, coordinate systems,
vector-valued functions, partial derivatives,
gradients, Lagrange multipliers, multiple inte-
grals, change of variables, line integrals, Greens
theorem, and Stokess theorem. Prerequisites:
Mathematics 141 and 142 or the equivalent.
Elementary Linear Algebra
Mathematics 242
This course covers the basics of linear algebra in
n-dimensional Euclidean space, including vec-
tors, matrices, systems of linear equations, deter-
minants, and eigenvalues and eigenvectors, as
well as applications of these concepts to the nat-
ural, physical, and social sciences. Equal time is
given to computational, applied, and theoretical
aspects of the course material. Prerequisite:
Mathematics 141 or permission of the instructor.
Proofs and Fundamentals
Mathematics 261
An introduction to the methodology of the
mathematical proof. The logic of compound
and quantified statements; mathematical induc-
tion; and basic set theory, including functions
and cardinality, are covered. Topics from foun-
dational mathematics are developed to provide
students with an opportunity to apply proof
techniques. Prerequisite: Mathematics 142 or
permission of the instructor.
Probability and Statistics
Mathematics 275 Economics
Every day we make decisions based on numeri-
cal data in the face of uncertainty. We do so
while reading the latest political polls, playing a
card game, interpreting a medical diagnosis, or
analyzing a scientific experiment. Probabilistic
models and statistical methods help us to think
through such decisions in a precise mathemati-
cal fashion. This course provides a calculus-
based introduction to techniques and applica-
tions of probability and statistics. Among the
topics considered are random variables and
their distributions, central limit theorem,
hypothesis testing, estimation, and linear
regression. Applications are selected from the
natural and social sciences. Prerequisites: Math
142 or the equivalent. For students concentrat-
ing in economics, Math 275 can substitute for
Economics 229.
Enumerative Combinatorics
Mathematics 302
This course develops the basic methods of enu-
meration, which include elementary counting
techniques, the inclusion-exclusion principle,
and generating functions. Students apply these
counting methods to fundamental combinato-
rial structures such as trees and permutations.
Operations Research
Mathematics 322 Economics
Operations research is a scientific approach to
decision making that seeks to determine how
best to design and operate a system, usually
under conditions that require the allocation of
scarce resources. This course introduces students
to the branch of operations research known as
deterministic optimization, which tackles prob-
lems such as how to schedule classes with a lim-
ited number of classrooms, determine a diet that
is both rich in nutrients and low in calories, and
create an investment portfolio that meets your
investment needs. Techniques covered include
integer/combinatorial optimization, linear pro-
gramming, nonlinear programming, and net-
work flows. Emphasis is on the importance of
problem formulation as well as how to apply
algorithms to real-world problems. Prerequisites:
working knowledge of multivariable calculus
and basic linear algebra.
Linear Algebra
Mathematics 331
An introduction to the theory of abstract vector
spaces. The concept of a vector space is often
useful when studying physical phenomena.
Topics include linear independence and depen-
dence, bases and dimension, linear transforma-
tions, eigenvalues, eigenvectors, diagonalization,

inner product spaces, and orthogonality. Pre-
requisite: Mathematics 261 or permission of the
instructor.
Abstract Algebra
Mathematics 332
An introduction to modern abstract algebraic
systems. The structures of groups, rings, and
fields are studied, together with the homo-
morphisms of these objects. Topics studied
include equivalence relations, finite groups, group
actions, integral domains, polynomial rings, and
finite fields. Prerequisite: Mathematics 261 or
permission of the instructor.
Point Set Topology
Mathematics 351
An introduction to point set topology. Topics
include topological spaces, metric spaces, com-
pactness, connectedness, continuity, homomor-
phisms, separation criteria, and, possibly, the
fundamental group. Prerequisite: Mathematics
361 or permission of the instructor.
Real Analysis
Mathematics 361
The fundamental ideas of analysis in one-
dimensional Euclidean space are studied. Topics
covered include the completeness of real num-
bers, sequences, Cauchy sequences, continuity,
uniform continuity, the derivative, and the
Riemann integral. As time permits, other topics
may be considered, such as infinite series of func-
tions or metric spaces. Prerequisite: Mathematics
261 or permission of the instructor.
Complex Analysis
Mathematics 362
This course covers the basic theory of functions
of one complex variable. Topics include the
geometry of complex numbers, holomorphic
and harmonic functions, Cauchys theorem and
its consequences, Taylor and Laurent series, sin-
gularities, residues, elliptic functions, and other
topics as time permits. Prerequisite: Mathematics
361 or permission of the instructor.
Combinatorics
Mathematics 372
Combinatorial mathematics is the study of how
to combine objects into finite arrangements.
Mathematics 265
Topics covered in this course are chosen from
enumeration and generating functions, graph
theory, matching and optimization theory, com-
binatorial designs, ordered sets, and coding
theory. Prerequisite: Mathematics 261 or permis-
sion of the instructor.
Graph Theory
Mathematics 373
Graph theory is a branch of mathematics that has
applications in areas ranging from operations
research to biology. This course is a survey of the
theory and applications of graphs. Topics are cho-
sen from among connectivity, trees, Hamiltonian
and Eulerian paths and cycles; isomorphism and
reconstructability; planarity, coloring, color-
critical graphs, and the four-color theorem; inter-
section graphs and vertex and edge domination;
matchings and network flows; matroids and their
relationship with optimization; and random
graphs. Applications of graph theory are dis-
cussed in depth. Prerequisite: Mathematics 261 or
permission of the instructor.
Mathematical Logic
Mathematics 405
An introduction to mathematical logic. Topics
include first-order logic, completeness and com-
pactness theorems, model theory, nonstandard
analysis, decidability and undecidability, incom-
pleteness, and Turing machines. Prerequisite:
Mathematics 332 or permission of the instructor.
Research Seminar in Computer
Science and Mathematics
Mathematics 408 / Computer Science 408
See Computer Science 408 for a full course
description.
Advanced Algebra
Mathematics 432
A continuation of Mathematics 332. The pri-
mary goal of the course is to develop the Galois
theory of fields. Students explore the theory of
field extensions, including algebraic extensions,
automorphisms of fields, splitting fields, and sep-
arable extensions. As time permits, students
may develop some topics in advanced group the-
ory, such as series of groups and the Sylow theo-
rems. Prerequisites: Mathematics 331 and 332,
or permission of the instructor.
266 Science, Mathematics, and Computing
Topics in Algebra and Combinatorics
Mathematics 434
Covers a selection of topics in algebraic combi-
natorics and computational algebra. Possible
topics include convex polytopes, simplicial
complexes, multivariate splines, hyperplane
arrangements, and Groebner bases. Prerequisite:
Mathematics 331 or 332.
Advanced Topics in Topology
Mathematics 451
The course covers topics in algebraic, geometric,
and differential topology chosen according to
student interest and background. Possible topics
include the fundamental group, covering spaces,
simplicial homology, classification of compact
connected surfaces, topological and smooth
manifolds, critical points of smooth maps, and
vector fields. Prerequisite: Mathematics 351 or
permission of the instructor.
Physics
The Physics Program provides a firm foundation
for work in a variety of areas, including graduate
work in physics and allied fields. A student usu-
ally takes the core courses listed below, although
in some cases the student and faculty may decide
that not all the courses are appropriate because of
advanced preparation or the particular focus of
the students work. The student also chooses a
number of electives according to personal inter-
ests. Students are expected to follow the standard
divisional procedure for Moderation and to fulfill
the collegewide distribution and First-Year Semi-
nar requirements.
Core faculty: Matthew Deady (director), Burton
Brody, Peter D. Skiff
Recent Senior Projects in Physics
Acoustical Robot Design and Construction
An Examination of Critical Opalescence in
Partially Miscible Binary Liquid Systems
Eddy Currents in Bounded Configurations
Induced Magnetic Attraction between Same-
Sign Magnetic Poles
Signal Processing in the Cardiac Cycle
Simulation of the Time Evolution of Quantum
Mechanical Systems in Two Dimensions
Tutorials
Recent tutorials have considered topics in digi-
tal electronics, advanced quantum mechanics,
solid-state physics, and other areas of individual
interest. Most advanced work also involves one-
on-one conferences.
Core Courses
Physics 141, 142, Introduction to Physics I,II
(two semesters, offered every year)
Mathematics 141, 142, Calculus I,II
Mathematics 211, Ordinary Differential Equations
Mathematics 212, Calculus III
Intermediate core courses
(offered in a two-year cycle)
Physics 303, Mechanics
Physics 312, Electricity and Magnetism
Physics 314, Thermal Physics
Physics 321, Modern Physics
Advanced core course
Physics 403, Quantum Mechanics
Elective Courses
Mathematical methods courses
(offered in a two-year cycle)
Physics 323, Methods of Theoretical Physics
Physics 325, Methods of Mathematical Physics
Advanced laboratory courses
(offered every other year)
Physics 210, Introduction to Electronics
Physics 211, Introduction to Digital Electronics
Advanced theoretical course
(offered as needed or as tutorial)
Physics 421, Topics in Contemporary Physics (for
example, solid-state physics, nuclear physics,
particle physics)

Advanced mathematics courses
(offered as needed)
Mathematics 242, Elementary Linear Algebra
Mathematics 331, Linear Algebra, or
Mathematics 332, Abstract Algebra
Mathematics 361, Real Analysis
Other common elective areas
Chemistry
Computer Science
Science, Technology, and Society
Acoustics
Physics 116
This laboratory course provides an introduction
to the phenomena of acoustics, particularly
aspects that are important in the production and
perception of music. The physics of sound is
covered in depth, and characteristics of acoustic
and electronic instruments are discussed. Mathe-
matical and laboratory techniques are introduced
as needed. No specific science or mathematics
background beyond algebra is assumed.
Light and Color
Physics 118
An introduction to light, optical phenomena,
and related devices, including some historical
perspective; classical and modern models of light;
light and color in nature and vision; the geomet-
rical optics of lenses, mirrors, and related devices;
the physical optics of interference and diffraction;
spectroscopy and polarization; color science,
lasers, and holography. Without assuming prior
knowledge of physics or higher mathematics, the
class develops models and explores them in
weekly labs. Prerequisites: high school algebra and
trigonometry (certified at registration).
Introduction to Physics I
Physics 141
A calculus-based survey of physics. The first
semester covers topics in mechanics, heat and
thermodynamics, and wave motion. The course
stresses ideasthe unifying principles and char-
acteristic models of physics. Labs develop the
critical ability to elicit understanding of the
physical world. Corequisite: Mathematics 141.
Physics 267
Introduction to Physics II
Physics 142
This is the second part of a calculus-based survey
course, continuing with electricity and magnet-
ism, light, and basic atomic and modern physics.
Prerequisites: Physics 141 and Mathematics 141.
Introduction to Electronics
Physics 210
This course is a survey of analog electronics,
beginning with Kirchhoffs laws, voltage dividers,
and filters, and proceeding to power supplies,
amplifiers, oscillators, operational amplifiers,
timers, and integrated circuits (ICs). Semi-
conductor diodes, bipolar and field-effect transis-
tors, and ICs are employed. The semester ends
with a brief introduction to digital electronics.
Boolean algebra and some basic digital electronic
functions are explored, along with construction
of a pared down bus-architecture prototype. The
course consists of equal parts lecture and lab.
Corequisites: at least one physics course and one
mathematics course numbered above 140.
Introduction to Digital Electronics
Physics 211
A one-term introduction to the electronics of the
bus architecture and algorithms of digital comput-
ers. The course begins with a quick introduction
and review of current, voltage, and Kirchhoffs
laws; resistors, diodes, and capacitors; filters,
impedance, and voltage dividers; and meters and
oscilloscopes. Study proceeds to number systems,
Boolean algebra, and circuit realizations of com-
binational and sequential logic, preliminary to
elaborating individual bus-architecture minicom-
puters with memory, addressed I/O, etc. No math
beyond algebra and basic trigonometry is required,
but calculus occasionally is used and some prior
familiarity with basic analog concepts is necessary.
Each session begins with a lecture and discussion,
then moves to lab mode; students may also work
in the lab at other times. Although not restricted
to computer science students, this course is
designed to serve them. Prerequisite: analog back-
ground certified by the instructor.
Mechanics
Physics 303
This course in particle kinematics and dynam-
ics in one, two, and three dimensions covers
268 Science, Mathematics, and Computing
conservation laws, coordinate transformations,
and problem-solving techniques in differential
equations, vector calculus, and linear algebra.
Lagrangian and Hamiltonian formulations are
also studied. Prerequisites: Physics 141 and 142
and Mathematics 141 and 142.
Electricity and Magnetism
Physics 312
This course considers electrostatics, conductors,
and dielectrics; Laplaces equation and charac-
teristic fields; magnetostatics, magnetodynamics,
and the magnetic properties of matter; flow of
charge and circuit theory; and Maxwells equa-
tions and the energy-momentum transfer of elec-
tromagnetic radiation. Prerequisites: Physics 141
and 142 and Mathematics 211.
Thermal Physics
Physics 314
An introduction to the elements of thermody-
namics, kinetic theory, and statistical mechan-
ics; equations of state; first and second laws;
distribution functions; the partition function;
and quantum statistics. Prerequisites: Physics
141 and 142 and Mathematics 142.
Modern Physics
Physics 321
This topical course in the development of
modern physics from the theory of relativity to
quantum mechanics covers relativity, the photo-
electric effect, X-ray production and scattering,
nuclear transmutation, alpha and beta radiation
processes, and particles and quasiparticles.
Prerequisites: Physics 141 and 142 and Math-
ematics 141 and 142.
Methods of Theoretical Physics
Physics 323
This course develops mathematical and theoreti-
cal methods for use in advanced physics courses.
Fourier series, vector calculus, power series, and
other techniques are used in constructing math-
ematical models for solving scientific problems.
Corequisite: Mathematics 142 or permission of
the instructor.
Methods of Mathematical Physics
Physics 325
This course develops concepts and techniques of
vector and tensor analysis, line and surface inte-
gration, and complex-function analysis. These
mathematical methods are particularly useful in
thermodynamics and electromagnetism. Prerequi-
site: Mathematics 142.
Quantum Mechanics
Physics 403
Introduces elements of Schrdinger and
Heisenberg formulations of quantum mechanics,
including potential wells, hydrogen atoms, scat-
tering, harmonic oscillators, perturbation theory,
and angular momentum. Prerequisite: Physics 321.
Topics in Contemporary Physics
Physics 421
One or two specific subfields of contemporary
physics are covered in this course, depending on
student and faculty interests. Among the possi-
ble topics are elementary particles, nuclei,
atoms, molecules, condensed states of matter,
superconductivity, astrophysics, and cosmology.
Current research advances are included when-
ever possible. Prerequisite: Physics 321.
Additional Courses
in the Sciences
Courses listed under this heading are introduc-
tory courses in branches of science that do not fit
into the five programs in the Division of Science,
Mathematics, and Computing (biology, chemis-
try, computer science, mathematics, and physics).
Introduction to the Earth Sciences
Science 133 Environmental Studies
Knowledge about the earths physical processes is
necessary for understanding the changing envi-
ronment in which we live. This course presents
many of the broad concepts and fundamental
principles of earth science and their applications
to environmental study. Highlighted topics come
from geologic sciences such as mineralogy, sedi-
mentology, hydrology, volcanology, plate tecton-
ics, and seismology. The latter part of the course
 Historical and Philosophical Courses in the Sciences 269
presents an overview of topics in atmospheric,
oceanic, and planetary studies. The focus is on
introducing students to the scientific principles
that influence our planet and its mountains,
atmosphere, and oceans. Three field trips during
the semester are scheduled on Saturdays.
Astronomy
Science 161
An introduction to astronomy and astrophysics
that covers the current status of knowledge and
theories of the solar system, individual stars,
galaxies, and the interstellar medium. Theories of
particular objects, such as quasars, pulsars, super-
novas, X-ray stars, and black holes are discussed
in terms of models of stellar, galactic, and cosmic
evolution.
Cosmology
Science 162
A descriptive review of the astrophysical theo-
ries of the origin and development of the early
universe. The Big Bang theory is examined in
detail, with attendant evidence and theories of
particles, fields, energy and entropy, and space-
time geometry. Current models of supernovas,
quasars, black and white holes, dark matter,
quantum foam, and recent alternative models of
supersymmetry and superstrings are reviewed.
Historical notions of time, space, matter, and
cause frame the discussions. This course can be
taken for distribution credit in science, but does
not meet the Q requirement or provide labora-
tory experience.
Historical and Philosophical
Courses in the Sciences
The courses listed under this heading approach
the study of science from a historical or philo-
sophical point of view. Additional courses that
examine science and technology from historical,
philosophical, and social perspectives are listed
under the interdivisional program Science,
Technology, and Society.
Schrdingers Cat and All of That
Science History and Philosophy 111
While quantum physics is a successful physical
theory, it includes many philosophical ideas and
experimental results that seem to defy common
sense. Is the electron a particle or a wave? Does
God roll dice? Is Schrdingers cat dead or alive
before we look in the box? This seminar exam-
ines aspects of subatomic phenomena that sci-
entists and others find puzzling. There are no
specific math or science prerequisites, but com-
fort with basic algebra is assumed.
Physical Science before Newton
Science History and Philosophy 222
An introduction to the history and philosophy of
science. T. S. Kuhns model of historical progress
is used to examine selected parts of discourses
involving pre-Socratic philosophy, mythology,
Copernican astronomy, Galileos trial, and
Newtons philosophy. A critique of method intro-
duces modern historiographic and philosophic
controversies. Designed as a core course for stud-
ies in history, philosophy, and sociology of science;
no prior mathematical or technical expertise is
presumed at this level. Readings include excerpts
from the Enuma Elish, the Milesians, Pythagoras,
Heraclitus, Plato, Aristotle, Ptolemy, Copernicus,
Kepler, Galileo, and Newton. Students also read
secondary commentary by Nahm, Butterfield,
Kuhn, Munitz, and others.
History of Science after Newton
Science History and Philosophy 223
STS, Victorian Studies
A survey of major agendas of physical science
since 1750. Characteristic episodes include
Lavoisier and the theory of elements; Maxwell
270 Science, Mathematics, and Computing

and the mathematization of physics; arguments
about light from Newton, Young, Michelson,
and Einstein; 20th-century atomic theory; and
the emergence of big science. Prerequisite:
Science History and Philosophy 222.
and Stegmuller. Prerequisites: Science History
and Philosophy 222 and 223, at least one course
each in Kant and modern philosophy, and per-
mission of the instructor.

Einstein
Science History and Philosophy 225
This course examines Einsteins life and work,
the impact of his work on worldviews, and some
of the many controversies involved therein. It
makes use of biographical and popular descrip-
tions of the relativity theories, atomic theories,
and optical theories and assesses the advantages
of methods of positivism and realism in philoso-
phy and of internalism and externalism in the
history of science. Readings include some pri-
mary sources, as well as Clark, Holton, Pais,
Miller, Reichenbach, and Zukav.

Science and Pseudoscience

Science History and Philosophy 227 STS
The search for a demarcation between science
and pseudoscience has generated many pro-
ductive developments in the academic phil-
osophy of science. These two areas are also
significant in civilian culture as considerable
damage, both civic and psychological, has sur-
rounded adherence to alleged pseudosciences in
both the recent and distant past. This course
examines a number of well-studied 20th-century
incidences of pseudoscience in physical science,
including Blondlots N-rays, Barklas J-rays,
Langmuirs criteria, Ehrenhafts electrons, poly-
water, cold fusion, the fifth force, and other
minimally controversial situations, as well as a
few cases not yet clearly decided. No back-
ground in science or mathematics is required.
Readings include selections from works by
Gardner, Gratzer, Holton, Popper, and others,
as well as journals of history and philosophy
of science.

Philosophy of Science
Science History and Philosophy 304
A historical reconstruction of recent develop-
ments in epistemology, focusing on the emer-
gence of realism and antipositivism in the 1980s.
Readings include Ayer, Feyerabend, Foucault,
Hempel, Lakatos, Laudan, MacIntyre, Popper,
 Interdivisional Programs and
Multidisciplinary Studies
Interdivisional Programs

Africana Studies
Core faculty: Jesse Weaver Shipley (director), Susan Aberth, Chinua Achebe, Christie
Chinwe Achebe, Myra Young Armstead, Thurman Barker, Mario J. A. Bick, Diana De
G. Brown, Tabetha Ewing, Donna Ford Grover, Yuka Suzuki, Dominic A. Taylor

Africana studies is an interdisciplinary program that examines the cultures, histories,

and politics of African peoples on the African continent and throughout the African
diaspora. Students develop a comparative perspective in order to understand the rich
network of linkages, movements, and exchanges among African peoples and the com-
plex geographical and cultural landscapes in which they make their lives. The Africana
Studies Program teaches students to use diverse historical, political, ethnographic, artis-
tic, and literary forms of analysis. Through these interdisciplinary studies, students trace
the historical and cultural connections between Africa and the rest of the world and
explore their importance for African peoples and the nature of modern, global society.

Concentration in Africana studies must be combined with concentration in a tradi-

tional disciplinary program. Ideally, a student will moderate simultaneously in Africana
studies and the other program. Before Moderation, a student is expected to take at least
two Africana studies courses or Africana studies cross-listed courses, including one of
the core courses (Africana Studies 148, African Encounters: Culture, History, and
Politics or Africana Studies 150, African Encounters and Diasporas) or the equivalent.
Before graduation, the student must take three additional Africana studies or cross-
listed courses, including one 300-level seminar and at least one course in the Black
Thought series. The Moderation and Senior Project boards should each include one
Africana studies core faculty member.

Africana Studies Courses

African Encounters: Culture, History, and Politics

Africana Studies 148 Anthropology, GIS, History, Human Rights, SRE
A historical survey of sub-Saharan Africa from 1800 to the present, this course is
designed to introduce the outlines of African history and to cultivate an appreciation
of Africa, its peoples, cultures, expressions, and experiences. Major themes include
271
272 Interdivisional Programs and Multidisciplinary Studies

slavery, African state formation, the Islamic revolutions of the 19th century, colonial
rule, nationalism, and contemporary issues in Africa.

African Encounters and Diasporas

Africana Studies 150 Anthropology, GIS, History, Human Rights, SRE
Students examine modern African diasporas within a global, sociohistorical framework
and explore what it means to be African, culturally, racially, and politically. A focal
point for this study is the independence of many African nation-states in the mid-20th
century. The class also explores ideas of tradition and modernity, representations of
Africa, and recent processes of commodification, as well as various cultural and polit-
ical responses to them. Also considered are bodily practices, aesthetics, and social
movements in the creative production of African modern worlds and their relationship
to contemporary movements of African peoples to the Americas and Europe.
Historical, literary, and ethnographic texts, as well as popular musical and visual forms,
are examined to understand the contemporary and historical dynamics of the conti-
nent and its reach.

Visual Griots: Exploring Africa from 1960 to 2000

Africana Studies 206
Mbaye Cham, African film historian, states, Compared to most of their Western
counterparts, who tend to wield little influence and pressure on the power process,
many contemporary African filmmakers participate actively in the affairs of society at
all levels and are more overtly committed to the challenges of social and political
reconstruction and renewal. This class debates the use of popular culture by examin-
ing social and historical contexts of African society. African filmmakers, such as
Sembne Ousmane, Djibril Diop Mambty, Flores Gomes, Jean-Marie Teno, and
Cheick Oumar Sissoko, intrinsically write social historyor the everyday experiences
of ordinary peopleas they affirm the complexity and humanity of African life.
Students explore themes such as nationalism, gender, the role of the intellectual in
postcolonial society, censorship, International Monetary Fund/World Bank policies,
and government corruption.

Rights, Multiculturalism, and Citizenship

Africana Studies 255 / Sociology 255 Human Rights, SRE
This course is intended to introduce students to current debates and controversies
about the changing boundaries of rights and citizenship in multicultural societies. It
begins with an exploration of the origins and development of ideas about multicultur-
alism and then moves on to consider the implications of multiculturalism for contem-
porary political and policy agendas. Special attention is paid to problems concerning
the implementation and impact of multicultural policies. Drawing on conceptual
debates as well as trends and developments in specific societies (primarily the United
States, the European Union, and South Africa), the course aims to increase apprecia-
tion for the divergent perspectives that have emerged in relation to issues of cultural
diversity in different parts of the world. The course concludes with reflection on the
kinds of agendas needed in the future to deal with the dilemmas of multiculturalism
policy and practice identified throughout the semester.
 Interdivisional Programs 273

Colonialism, Law, and Human Rights in Africa

Africana Studies 262 / Anthropology 262 GIS, Human Rights
This course examines the colonial and missionary legacies in contemporary discourses
of human rights and development. Students take a rigorously critical eye to examining
how, why, and to what effect Western donor agencies, states, and individuals unwit-
tingly draw on centuries-old tropes of poverty, degradation, and helplessness of non-
Western peoples. Specifically, the class uses historical descriptions of the encounters
between Europeans and Africans in West Africa and South Africa to show how
Western assumptions about African societies reveal the contradictions at the root of
liberal discourses of aid and development. Also studied are cases from Ghana, Nigeria,
and post-apartheid South Africa that examine the legacies of human rights and devel-
opment; the dual legacy of British colonial law; and the relationship between custom-
ary law and state courts as a primary site for understanding conflicts over rights,
citizenship, and the role of the individual in society.

Frances West African Empire (18951960)

Africana Studies 3110 French Studies, Historical Studies
This course chronicles the history of lAfrique Occidentale Franaise (AOF), or French
West Africa, from 1895 to 1960. Students first examine the French imperial mission civil-
isatrice, or civilizing mission, paying particular attention to the French colonial objective
of assimilation and association policies that distinguished colonial rule in French African
territories. Students also investigate African interpretations of this relationship between
France and Africa through themes of resistance, literary expression, religion, and the
ambiguities of education. Readings include colonial reports and correspondences as well
as historical monographs (such as Alice Conklin, A Mission to Civilize; Myron Echenberg,
Colonial Conscripts; and Cheikh Amadou Kane, Ambiguous Adventure).

Women in Africa
Africana Studies 366
This course is an introduction to the historical study, both topical and methodologi-
cal, of women in Africa. Students examine themes of slavery, economic participation,
prophetic movements, marriage, and circumcision and discuss changes affecting Africa
such as the growth of trade, religious conversion, colonialism, the market economy,
and the creation of national cultures. The course demonstrates the myriad sources
available for a historical understanding of women in Africa, such as life histories, songs,
films, and novels.
274 Interdivisional Programs and Multidisciplinary Studies

American Studies

Core faculty: Geoffrey Sanborn (director), Amy Ansell, Myra Young Armstead,
Thurman Barker, Yuval Elmelech, Elizabeth Frank, Donna Ford Grover, Mark
Lindeman, Mark Lytle, John Pruitt, Tom Wolf

The American Studies Program offers an interdisciplinary approach to the study of

American culture and history. Students structure their work largely around particular
topics and themes that interest them, while gaining essential theoretical and analytical
perspectives from study within specific disciplines. To acquire breadth of vision, stu-
dents usually do work in at least two disciplines.

American studies majors adopt either humanities or social studies orientations. The
original conception of the program was oriented toward the humanities and empha-
sized the interplay of history and literature, which was considered to include not only lit-
erary works but also writings in such areas as religion, journalism, philosophy, and the
history of science. That concept was later expanded to include the study of fine arts
and popular arts in historical context. A student might study the designs of Frank
Lloyd Wright or the vernacular architecture of roadside commercial strips, the folk
themes of Aaron Copland or the folk music of Woody Guthrie, the novels of William
Styron or Marvel comic books.

The social studies orientation of American studies is concerned with the structures of
society and material culture that are generally covered in the fields of sociology,
anthropology, political studies, psychology, and economics. Students apply the
methodological, theoretical, and topical concerns of those disciplines to subjects
placed in their historical context. For example, a student might explore changing pat-
terns of courtship or child rearing, of political symbolism or party loyalty, of national
or regional character, of ethnicity or race, of advertising or industrial culture.

American studies majors are advised to take (1) one of several major surveys in
American social, cultural, and political history (e.g., History 104, American Bedrock;
Political Studies 122, American Politics), each of which is offered at least once in three
years, and (2) either American Studies 101, Introduction to American Studies, or
American Studies 102, Introduction to American Culture and Values, both of which are
offered every year.

Prior to Moderation a student who has adopted the humanities orientation should have
studied the history of at least one major artistic tradition, have a grounding in a
humanities field, and have some exposure to a social science. A student who has
adopted the social studies orientation should have a firm grounding in at least one
social studies field and exposure to a field in the humanities. In addition, all students
should have taken at least two other courses that are American in their focus, either
explicitly (e.g., History 232, American Urban History) or implicitly (e.g., Music 331,
Jazz: The Freedom Principle), and, ideally, Introduction to American Studies.
 Interdivisional Programs 275

In order to reflect the students interdisciplinary orientation, the Moderation board

should include members of more than one program and more than one division.
Similarly, Senior Project topics should be sufficiently broad that they do not fall within
the normal boundaries of traditional disciplines.
Since each American studies major designs his or her own course of study, and since
more than half of the majors enter after their sophomore year, a typical four-year study
plan does not exist. The outline of a study plan for a first-year student intending to
enter the program might be as follows:

First year: a core American history survey course and an introductory course in at least
one other discipline in the humanities
Second year: several more American history courses and courses with an American
focus in literature, film, art history, sociology, anthropology, economics, or political
studies, including Introduction to American Studies
Third year: a Major Conference with a historical approach, such as The Age of
Roosevelt, Hollywoods Golden Era, or urban or local history; additional work with a
nonhistorical approach, according to the students orientation and interests
Senior year: Senior Project and courses appropriate to the students orientation and
interests

American Studies Courses

Introduction to American Studies

American Studies 101
Rather than a survey of any one aspect or period of American history, literature, or
popular culture, this course is an introduction to the interdisciplinary field of
American studies, a field defined both by the range of materials covered (essays, nov-
els, autobiographies, photographs, films, music, architecture, historical documents,
legal texts) and by the questions asked about them. Those questions include: How
have different Americans imagined what it means to be an American? What ideas
about national history, patriotism, and moral character shape their visions of being
American? How do they draw the boundaries that define who belongs within the
nation and who gets excluded? What uses have been made of the claim to an American
identity, and what is at stake in that claim? How have Americans imagined a national
landscape, a national culture, and to what ends? The course drives toward a consider-
ation of the place that 9/11 has begun to assume in American cultural memory.

Introduction to American Culture and Values

American Studies 102
An introduction to the multidisciplinary study of American culture, this course exam-
ines both the problems and the fruits of a national culture. Weighed down with the
authority of custom, a national culture imposes a sense of obligation to all who belong to
a society, but it affects groups and individuals differently, according to the variables of
gender, race, and class. Students compare and contrast visions of American culture
during the 19th and 20th centuries. Works by Walt Whitman, Ralph Waldo Emerson,
W. E. B. DuBois, Georgia OKeeffe, Ralph Ellison, Elvis Presley, and others are reviewed.
276 Interdivisional Programs and Multidisciplinary Studies

American Popular Culture: 19502000

American Studies 220 GSS, SRE
What do we mean when we talk about popular culture? The postwar development of
American popular culture in media, literature, and advertising has been an arena of
struggle over what constitutes the popular and its moral, ethical, and political mean-
ings, especially since the advent of televisual media and focused marketing capable of
reaching (and presumably influencing) thousands of people simultaneously. This
course explores the development of American popular culture industries and phenom-
ena following World War II. It examines how American pop culture has been and con-
tinues to be shaped by particular social and political forces, how it is diffused both
nationally and internationally, and how it develops and supports particular ideas of
what it means to be American. Specific foci include television, the development of
consumer audiences (in particular, women and racial and sexual minorities), indepen-
dent films, print culture, and advertising.

Topics in Sexual Identity

American Studies 334 GSS, SRE
This course focuses on the emergence and development of lesbian and gay identities in
the United States from World War II to the present. Reading a variety of textual gen-
res (history, sociology, memoir, literature) and screening documentary visual media,
students examine the consolidation of lesbian and gay identities in the years before
1969 (Stonewall), the effect of the Stonewall Rebellion, the divergence of lesbian and
gay male subcultures in the 1970s (with their separatist and hedonistic utopian varia-
tions), the AIDS crisis and racialized lesbian feminisms of the 1980s, and the new
queer activism and subsequent commercialization of gay identity in the 1990s.

Asian Studies
Core faculty: Li-Hua Ying (director), Michiko Baribeau, Sanjib Baruah, Robert J. Culp,
Richard H. Davis, Sanjaya DeSilva, Nara Dillon, Mercedes Dujunco, Patricia Karetzky,
Laura Kunreuther, Kristin Scheible, Yuka Suzuki

The Asian Studies Program offers courses in anthropology, art history, classical studies,
economics, film, gender studies, historical studies, human rights, literature, music, phi-
losophy, political studies, religion, and theater. In consultation with a member of the
program faculty, students select a regional and disciplinary focus in order to create a
coherent program of study. Although the program focuses on China, Japan, and South
Asia, students can investigate bordering regions such as Central Asia, Southeast Asia,
the Himalayas, Korean peninsula, and Pacific Islands. Intellectual emphasis is placed
on comparative perspectives, both within Asia and with other regions.

Students whose area of study involves either China or Japan are usually expected to
take at least two years of language instruction in order to gain basic proficiency. Those
with a focus on South Asia are encouraged to take at least one year of Sanskrit.
 Interdivisional Programs 277

Possibilities for further language study through study abroad and intensive summer lan-
guage programs can be found through the dean of international studies. Bard partici-
pates in an intercollegiate program for study in India and has summer programs in
China and Japan.

Before Moderation, usually by the end of the second year at Bard, students should have
taken 16 credits (four courses) in courses cross-listed with Asian studies. These might
include, for example, 8 credits in courses offered in the Arts or Social Studies Divisions
and 8 credits in the Languages and Literature Division.

To graduate, students are expected to take a minimum of 40 credits in Asian studies.

Of these, 4 credits (one course) must be an Asian studies core course treating an aspect
of Asia in comparative perspective. The Senior Project topic may be specific to a
particular culture, or it may be comparative. Those dealing with China or Japan are
usually expected to incorporate materials involving either language.

Courses offered are subject to change; listed below is a sampling of Asian studies
courses taught in the past few years.

Core Courses
Asian Studies: Economic History of Modern Asia (Economics 218); Imperialism in Asia
(History 3120); Buddhist Thought and Practice (Religion 103); Chinese Calligraphy: Gate
to East Asian Art (Chinese 315)

Other Courses Cross-Listed with Asian Studies:

Division of the Arts

Art History: East Meets West; Arts of China; Arts of India; Arts of Japan; Chinese
Landscape Painting; Chinese Religious Art
Film and Electronic Arts: Chinese Cinema, Japanese Cinema; Cinema of Asia; South
Asian Cinema
Music: Balinese Gamelan Ensemble; World Music Seminar; Music of China; Chinese Music
Ensemble; Popular Musics of the Non-Western World
Theater: Asian Theater Lab; Japanese Classical Theater

Division of Languages and Literature

Chinese: Chinese language courses; Chinese Fantastic Tales; Chinese Diaspora; Modern
Chinese Short Story; Reflections of China in Literature and Film; Classical Chinese Fiction;
Exile in Chinese Literature
Classics: Confucius and Socrates; India and Greece
Japanese: Japanese language courses; Readings in Japanese Culture; Modern Japanese
Literature
Literature: Great Works of East Asia; Indian Fiction
Sanskrit: Sanskrit language courses
Tamil: tutorials
278 Interdivisional Programs and Multidisciplinary Studies

Division of Social Studies

Anthropology: Culture, Politics, and Representations of South Asia; Cultural Politics of the
Raj; South Asia and the Ethnographic Imagination; Japanimation and Culture in Postwar
Japan
Economics: China in Transition; Economics of Developing Countries
Historical Studies: China in the Eyes of the West; China in Revolution; Crisis and Conflict:
Ethnography of China; Gender and Radicalism in Modern China; Introduction to Modern
Japanese History; Imperial Chinese History; Making Modern China; Maos China and
Beyond
Political Studies: International Politics of South Asia; Introduction to Chinese Politics;
United StatesEast Asian Relations; East Asian Politics and Society
Religion: Devotion and Poetry in India; Hindu Religious Traditions; History of Early India;
Japanese Religions; Myth and the Arts of India; Buddha Imagined: Literary and Artistic
Landscape of Buddhism

Classical Studies

Core faculty: Carolyn Dewald (director), Diana H. Minsky, William Mullen, James
Romm, Benjamin Stevens

For the last 200 years, classics has been the study of the ancient Greek and Latin lan-
guages and the histories, literatures, and cultures that produced them. Classics is an
interdisciplinary field of study, approaching the ancient evidence from a variety of per-
spectives: students interested in language, literature, history, anthropology, philosophy,
and art history have traditionally used the tools of these disciplines to understand the
ancient Mediterranean world. In classics courses, Bard students seek to understand that
world both on its own terms and as part of a larger nexus of ancient cultures, in an era
of human history that laid much of the groundwork for what we now call Western civi-
lization. The idea of the city and the role of the individual within a civic context
achieved some of its most important articulations in the ancient classical world.

Students concentrating in classics at Bard follow one of three focuses, depending on

their particular interests.

1. The Philological Focus: A student who loves language (the root meaning of philol-
ogy) may follow a traditional philological course of study, consisting of intensive
work in the ancient languages (Greek, Latin, and Sanskrit). The student also
chooses among elective courses on ancient civilization, history, art history, philoso-
phy, religion, and literature in English translation. Moderation requires having
begun one year of an ancient language and at least two other courses in classics or
related disciplines; majors will study at least one year of a second ancient language
and are also strongly encouraged to take course work in linguistics. The Senior
Project involves close textual work in the original language, translating and inter-
preting relevant ancient texts. The philological focus is especially suited for a stu-
dent interested in keeping open the option of pursuing graduate work in classics.
 Interdivisional Programs 279

A student interested less in language than in the study of ancient history or culture
(reading the ancient texts largely in translation), or who is interested in taking only
one ancient language, follows one of two other focuses, Classical Studies or Ancient
Studies.

2. The Classical Studies Focus: Majors study the civilizations of ancient Greece and
Rome and their influence on later Western culture. Courses are offered in classical
history, philosophy, rhetoric, art history, literature (tragedy, comedy, epic, myth, and
lyric, as well as the prose genres of the ancient novel and historiography), and a
variety of cultural practices in areas such as athletics, religion, and gender. Modera-
tion requires at least four courses in classics or related disciplines. The Senior
Project is written on a literary, historical, or cultural aspect of the Greco-Roman
world, working closely with members of the core classics faculty.

3. The Ancient Studies Focus: Students take courses not just on ancient Greece and
Rome, but also on the ancient Middle East, India, or China. The faculty of this
focus includes members of the core Classics Program and also faculty in art history,
history, literature, philosophy, and religion. A student wishing to moderate in
ancient studies selects a faculty adviser from among the core and affiliated faculty
in ancient studies and designs in consultation with him or her a course of study that
considers cross-cultural ties linking the ancient cultures in one or two specific areas,
leading to the Senior Project.

Though most Bard students come to classics without an overriding career goal in mind,
several recent graduates of the program have gone on to M.A. and Ph.D. programs or
are currently teaching classics. Moreover, because the study of ancient languages and
cultures has a high degree of structure built into it, classics students often find their
training in this field to be an advantage as they pursue careers in law, politics, journal-
ism, and even physics and computer science.

The overall requirements are as follows:

The Philological Focus

1. For Moderation, a student must take a year of either Latin or Greek and two courses
drawn from at least one of the four subject areas listed below (A through D).

2. Moderation into the program follows College-wide requirements (see page 12).

3. For graduation, a student must have completed two other courses in the primary
language and at least two more in a second ancient language; two or more additional
courses, drawn from at least two of the four subject areas listed below (200- and 300-
level work in ancient language counts for [A], Literature/Genre); and a Senior
Project, comprising two semesters of independent research and writing, under the
guidance of his or her adviser.
280 Interdivisional Programs and Multidisciplinary Studies

Students intending graduate work in classics are encouraged in addition to take one
modern European language and, if possible, course work in linguistics.

The Classical Studies Focus

1. For Moderation, a student must have taken or be taking four courses in classics and
related fields, drawn from at least two of the subject areas listed below (A through D).

2. Moderation into the program follows College-wide requirements (see page 12).

3. For graduation, a student must have taken four additional courses from the subject
areas listed below (A through D). Over the whole course of study, the classical stud-
ies major normally is expected to have taken at least one course from each category.
The student also completes a Senior Project, comprising two semesters of indepen-
dent research and writing, under the guidance of his or her adviser.

The Ancient Studies Focus

1. For Moderation, a student must have taken or be taking four courses in the lan-
guages, literature, history, philosophy, art history, or religion of the ancient world.

2. Moderation into the program follows College-wide requirements (see page 12).

3. For graduation, a student must have taken four additional courses, normally drawn
from the subject areas listed below (A through D), at least one of which should be
comparative in nature. The student also completes a Senior Project, comprising two
semesters of independent research and writing, under the guidance of his or her adviser.

Listed here are some of the elective courses that have been taught in the recent past,
by area:

(A) Literature/Genre
Classics/Literature 201, Survey of Linguistics
Classics 223, Comedy and Its Problems
Classics 250, Rhetoric and Public Speaking
Classics/Literature 275, Poetry and Athletics
Literature 204A, Comparative Literature I: Ancient Literature
Literature 2107, Byzantium

(B) History/Culture
Classics/History 100, Ancient History
Classics 103, The Rise and Fall of Ancient Rome
Classics/History 157, The Athenian Century
Classics/History 2191, Gender and Sexuality in the Ancient World
History 201, Alexander the Great and the Problem of Empire
History 2010, The Ancient History of History
History 2110, Early Middle Ages
 Interdivisional Programs 281

(C) Philosophy/Religion/Thought
Classics/Literature 216, Ancient Law and Human Rights
Classics 260, Confucius and Socrates
Classics/Religion 272, India and Greece
Classics 350, Cosmology and Ethics in the Axial Age
Philosophy 103, History of Philosophy
Philosophy 261, The Philosophy of Plato
Philosophy 352, Philosophy of Language
Religion 103, Buddhist Thought and Practice
Religion 117, Hindu Religious Traditions
Religion 123, Religious Foundations of Western Civilization
Religion 140, Sanskrit
Religion 201, Theology of Judaism
Religion 242, Hinduism in the Epics
Religion 259, Liturgy
Religion 267, Sacred Times: Festivals of Christianity
Science History and Philosophy 222, Physical Science before Newton

(D) Art/Architecture
Art History 201, Greek Art and Architecture
Art History 213, The Classical Tradition in Western Architecture
Art History 220, Early Medieval Art and Architecture
Art History 227, Roman Urbanism from Romulus (753 B.C.E.) to Rutelli (2000 C.E.)
Art History 232, Italian Renaissance Architecture
Religion 241, Myth and the Arts of India

French Studies
Core faculty: Marina van Zuylen (director), Odile S. Chilton, Emmanuel Dongala,
Tabetha Ewing, Jean M. French, Justus Rosenberg, Karen Sullivan, Eric Trudel

The objective of the French Studies Program is twofold: to enable students to reach a
high level of competence in the French language and to emphasize in-depth study of
many aspects of French and francophone culture (literature, philosophy, history, cinema,
political science).

The program allows students to choose one of three areas of specialization: civiliza-
tion and history, French and francophone literature, and French language and lin-
guistics. For students beginning the study of French, an accelerated program (one
semester of intensive study followed by four weeks of study in France) is offered in
the spring.

The overall requirements are as follows.

1. Over the four years, 14 courses (56 credits) accredited by the French Studies
Program. These 56 credits include the 8-credit Senior Project.
282 Interdivisional Programs and Multidisciplinary Studies

2. At least six of the 14 courses must be conducted entirely in French.

3. Before Moderation, at least five courses (20 credits) accredited by the French Studies
Program

Gender and Sexuality Studies

Core faculty: Carolyn Dewald and Susan Merriam (directors), Susan Aberth, Myra
Young Armstead, Daniel Berthold, Diana De G. Brown, Deirdre dAlbertis, Michle D.
Dominy, Tabetha Ewing, Donna Ford Grover, Cecile E. Kuznitz, Nancy S. Leonard, Paul
E. Murray, Kristin Scheible, Eric Trudel, Marina van Zuylen

The Gender and Sexuality Studies (GSS) Program embraces the importance of gen-
derthe composite of social, psychological, and cultural meanings constructed for the
sexed bodyas a fundamental category of analysis in all the humanistic and scientific
disciplines and in the theory and practice of the arts. Interdisciplinary in scope, the pro-
gram seeks to emphasize and explore how gender and sexuality are intertwined with
structures of power and inequality. The program is committed to the centrality of the
study of women and to the need for continuous revisionary understanding of the arts
and the disciplinary models of knowledge, using gender as a primary dimension of
inquiry. It also offers courses that consider masculine gender, sexuality, and transgender
issues in relation to other significant analytical frameworks such as race, class, age, and
sexual orientation.

Students moderate into both the GSS Program and a primary discipline. In consulta-
tion with faculty from the GSS Program and their primary discipline, students declare
a concentration in gender and sexuality studies at the time of their Moderation into the
primary program or thereafter at a separate Moderation board meeting. Students must
fulfill the Moderation requirements of both the primary program and the Gender and
Sexuality Studies Program, which requires two courses before Moderation and enrollment
in GSS courses thereafter.

Courses at the 100 or 200 level taught by GSS Program faculty prepare students for fur-
ther disciplinary and interdisciplinary work in the Upper College by introducing them
to disciplinary and cross-disciplinary methodological approaches and presenting appro-
priate content to serve as a foundation specific to gender studies. Gender or sexuality
is the primary component of an analysis that draws upon the traditions of feminist
scholarship.

After Moderation students take at least one advanced gender studies seminar; this can
be a cross-listed 300-level course or tutorial in their primary discipline and should be
taught by GSS Program faculty. This requirement assures that the course or tutorial
serves as preparation for the Senior Project. Over the four years of study, students are
expected to take at least one additional course relevant to gender-based issues, in addi-
tion to the requirements described above.
 Interdivisional Programs 283

The final requirement of the program is a combined Senior Project in a given discipline
and gender and sexuality studies.

Course offerings are subject to change; listed below is a selection of relevant courses
taught in the past few years.

Division of the Arts

Art History: Ideal Bodies: The Modern Nude and Its Dilemmas; Manets Olympia
Film and Electronic Arts: Women and Film
Music: Performing the Music of Women Composers
Photography: Photography and Performance

Division of Languages and Literature

French: African Women Representations by Women Writers from Francophone Africa
Spanish: Women Writing in Latin America
Literature: Jane Austen; The Bronts; Queer Nations; Virginia Woolf; Women and Culture;
African Women Writers; Women Writing the Americas; The Literature of Private Life

Division of Social Studies

Anthropology: Anthropology of Sex and Gender; Language, Culture, and Society; Gender
and Development; Anthropology of Medicine; Theories of Personhood in Melanesia
Economics: Economics of Inequality; Feminist Economics
Historical Studies: A Multicultural History of U.S. Women; Gender, Work, and Leisure;
Ethnicity, Gender, Race, and Class; Female Voices; The Lesbian and Gay Experience in
Modern Western Culture; Beyond Witches, Abbesses, and Queens: Women in Europe,
15001800; European Women since Mary Wollstonecraft; Sexuality in Western Culture;
Hidden Ideas: Intellectual Traditions of Afro American Women; Women and Work in
U.S. History; Women, Identity, and the Erotic; Women in Antiquity
Philosophy: Feminist Philosophy: Approaches to Cultural Constructions of Sexuality and Gender
Psychology: Psychology of Women; Eating Disorders: Clinical and Cultural Considerations
Religion: Feminism and Islam; People of the Body; Sexuality and Spirituality

German Studies

Core faculty: Franz R. Kempf (director), Florian N. Becker, Daniel Berthold, Leon
Botstein, William James Griffith, Garry L. Hagberg, David Kettler, Gregory B.
Moynahan, Justus Rosenberg, Peter D. Skiff, Tom Wolf

The German Studies Program encompasses the language, literature, culture, history,
philosophy, art, and music of the German-speaking countries. The cultural and histor-
ical expressions of Germany can best be understood by interdisciplinary study and by
situating German, Austrian, and Swiss cultures within the larger European context. In
pursuing work in German studies, students are expected to take a range of courses in
the program and to focus in the area of language and literature or history, philosophy,
and politics. All students are strongly encouraged to take advantage of related courses
in art history, music, and film.
284 Interdivisional Programs and Multidisciplinary Studies

The program is interdivisional, with courses drawn primarily from the Division of
Social Studies and the Division of Languages and Literature. A student moderates into
German studies with a focus in a main discipline (such as history, literature, philoso-
phy, or art history). The students adviser is a German Studies Program faculty mem-
ber. At least one faculty member associated with the program is on the students
Moderation board and Senior Project board.

Students majoring in German studies are required to take at least four semesters, or the
equivalent, of German language courses, a survey course in German literature, and at
least one semester of German or European history. The Moderation should demonstrate
that the student is making progress in the primary discipline and is actively pursuing
inquiry into aspects of German studies. The Moderation board and the students adviser
determine whether additional German studies courses are advisable.

Before Moderation, students are urged to participate in the German immersion program,
a semester of intensive language study at Bard followed by a months study at the
Collegium Palatinum in Heidelberg. After Moderation, the student is eligible to study
abroad for a semester. With the approval of the adviser, the student may participate in an
exchange program, ideally in the spring semester of the junior year. Bard offers an
exchange program with Humboldt University in Berlin (see the International Programs
and Study Abroad section).

Global and International Studies

Core faculty: Jonathan Becker (director), Amy Ansell, Sanjib Baruah, Sanjaya DeSilva,
Nara Dillon, Michael Donnelly, Omar G. Encarnacin, Felicia Keesing, Mark Lytle,
Gregory B. Moynahan, Catherine OReilly, Pierre Ostiguy, Jesse Weaver Shipley, Yuka
Suzuki, Elaine Renee Thomas, Michael Tibbetts

The Global and International Studies (GIS) Program is designed for students interested
in engaging with world affairs. Students take GIS in addition to a primary divisional pro-
gram (such as political studies, economics, biology, or literature). The GIS Program is
divided into two tracks, Global and International Affairs (GISGIA) and Global Public
Health (GISGPH). The programs objectives are to outline a clear path for the formal
study of global and international affairs or global public health; provide students with the
opportunity to obtain a formal qualification in the area of global and international affairs;
encourage students to have an international academic experience; and link nonclass-
room experiences, be they internships, lectures, or student programs (such as Model
United Nations), with an academic program that focuses on international issues.

Entrance into the GIS Program takes place parallel to, or following, Moderation in a
major academic concentration. Students moderating into GIS should normally have
taken three GIS courses prior to Moderation. All students must submit the materials
associated with their primary program; each student also is required to submit a plan of
study to the GIS Program director that demonstrates a coherent vision of global and
 Interdivisional Programs 285

international studies within his/her academic program. The plan should include a list of
potential courses the student would take over his or her remaining time at Bard; plans for
possible internships, study abroad, or study at the Bard Program on Globalization and
International Affairs in New York City; and explanation of how the study of different dis-
ciplines would benefit the students research interests.

Some students combine GIS with multidisciplinary studies; under these circumstances,
students moderate into GIS after their program of study has been approved by the
Multidisciplinary Studies Committee. They may wish to consult with the director of GIS
prior to submitting their request.

Program Requirements for the Global and International Affairs Track

Students in the GISGIA track are required to take a total of nine courses: seven from
the areas outlined below and two semesters of Senior Project, in addition to obtaining
language proficiency. Two, excluding the Senior Project, should be at the 300 level.
Students must take courses in the following areas of study: three courses in political stud-
ies or related disciplines (including one each in the areas of international relations the-
ory, theories and practice of globalization, and U.S. foreign policy); two courses in
economics with an international focus; and two courses in different geographic areas
(excluding the United States).

GISGIA students are expected to demonstrate basic proficiency in one language in

addition to English. Proficiency is determined according to the standards of the corre-
sponding language program at Bard. (Such proficiency would normally be achieved
through 12 or 16 credits of study or placement in a 200-level course. For students who
study languages not offered at Bard, 12 credits will suffice.) Students who come to Bard
with basic proficiency in a language other than English are not required to take additional
language study.

Program Requirements for the Global Public Health Track

Students in the GISGPH track are required to take a total of 10 courses: eight from the
areas outlined below and two semesters of Senior Project. Three, excluding the Senior
Project, should be at the 300 level. Students must take courses in the following areas of
study: one course in any social studies discipline that focuses on the social dimensions of
health; three courses in the sciences (including one each in the areas of subcellular biol-
ogy, organismal diversity, and biology of health/disease); two courses in political studies
or related disciplines (specifically, international relations theory, and theories and prac-
tice of globalization); one course in economics with an international focus; and one
course in statistics.

The two-semester Senior Project must address global and international themes and,
while based in a discipline, should incorporate interdisciplinary lessons students have
learned during their GIS course work.
286 Interdivisional Programs and Multidisciplinary Studies

Human Rights

Core faculty: Thomas Keenan (director), Amy Ansell, Roger Berkowitz, Ian Buruma,
Mark Danner, Omar G. Encarnacin, Joel Kovel, Laura Kunreuther, Gregory B.
Moynahan, Jesse Weaver Shipley, Gennady L. Shkliarevsky, Karen Sullivan, Elaine
Renee Thomas, Marina van Zuylen

The Human Rights (HR) Program is a transdisciplinary program involving such diverse
fields as literature, political studies, history, anthropology, economics, film and media,
and art history. It emphasizes integrative historical and conceptual investigations and
offers a rigorous background that can inform meaningful practical engagements. The pro-
gram seeks to orient students in the intellectual tradition of human rights and to give
them the resources with which to appreciate and criticize its contemporary status.

The program encourages students to treat human rights as an intellectual question and,
through their explorations of the field, to understand what is at stake in what they
think and do. Being serious about human rights means challenging the new human
rights orthodoxy, thinking critically about human rights as a profession rather than
merely training for it, and resisting a postCold War triumphalism. It also means refus-
ing to accept the claim that human rights are only matters of law and diplomacy, or a
simple fig leaf for Western imperialism. Instead, the program engages openly with the
history and actuality of the idea, teaching students to explore its trajectory with atten-
tion to the arguments over its meanings, the passions it arouses, and the extent of its
influences and effects.

Claude Lefort wrote, two decades ago, that the great French and American declara-
tions of the rights of man at the end of the 18th century had, by referring the source
of right to the human utterance of right, made an enigma both of humanity and of
right. The Human Rights Program at Bard takes its point of departure from that
enigma, rather than trying to avoid it.

Students concentrating in human rights may moderate into the program alone or in
combination with another program (usually through a joint Moderation), by fulfilling
the other programs requirements and the following HR requirements.

Prior to or concurrent with Moderation, students are required to take at least two of
the core program courses listed below, one additional course in human rights, and two
courses in a traditional disciplinary program, in order to focus and anchor their
approach to human rights. Following Moderation, students take at least three addi-
tional four-credit courses in human rights. At least one of these must be a 300-level
course, so that students obtain a sense of the criticism and the methodology necessary
for more advanced study. Students must also complete their disciplinary focus, taking
two additional courses in the focal field prior to graduation, including one advanced
seminar. The final requirement is completion of a Senior Project related to human
rights, and in the case of joint majors, to the second field of study.

Students are strongly encouraged to undertake a summer internship and participate in

the Bard Program on Globalization and International Affairs, the Colleges exchange
 Interdivisional Programs 287

relationships with overseas institutions such as Smolny College, and the International
Human Rights Exchange summer course.

Core Courses

Human Rights 101, Introduction to Human Rights

Human Rights/Literature 218, Free Speech
Anthropology 261, Anthropology of Violence and Suffering
Anthropology/Africana Studies 262, Colonialism, Law, and Human Rights in Africa
Art History 289, Rights and the Image
History 2702, Liberty, National Rights, and Human Rights
Sociology/Africana Studies 255, Rights, Multiculturalism, and Citizenship

Other courses recently taught include:

Anthropology 256, Race and Ethnicity in Brazil
Anthropology 332, Cultural Technologies of Memory
Anthropology 337, Cultural Politics of Animals
Art History 328, Architecture and War
Classics/Literature 216, Ancient Law and Human Rights
Economics 115, Economic Dimensions of World Issues
Film 231, Documentary Film Workshop
Film 335, Human Rights Video Clinic
History 1001, Revolution
History 190, The Cold War
History 2112, The Invention of Politics
History 2122, The Arab-Israel Conflict
History 2500, From Sun-Tzu to Suicide Bombing
History 2701, The Holocaust
History 3111, Impolitic Speech and the Arts of Diplomacy
Literature 3070, Medieval Human Rights
Literature 3206, Evidence
Philosophy 240, Liberalism and Its Critics
Philosophy 357, Law and Ethics
Photography 247, From Human Documents to the Image World
Political Studies 229, Judgments, Rights, Dissent
Political Studies 248, Women and International Human Rights
Political Studies 311, Immigration and Citizenship
Political Studies 318, Power Politics
Political Studies 320, The Spread of Democracy
Political Studies 360, War Is Hell
Political Studies 376, The Politics of Terror
Religion 160, Narrating the Modern Middle East
Social Studies 318, Constitutional Law
Sociology 242, Historical Sociology of Punishment
Sociology 328, Power and Powerlessness
Spanish 423, Literature of the Conquest
288 Interdivisional Programs and Multidisciplinary Studies

Human Rights Courses

Introduction to Human Rights

Human Rights 101 / Social Studies 101
An intensive introduction to contemporary discussions of human rights in a broad his-
torical and theoretical context. The course examines the philosophical background of
these contested categories, human and rights, and explores the political, social,
cultural, and aesthetic dimensions of claims made in these terms. What are humans
and what count as rights? Where does the idea of human rights come from? Students
consider the foundations of rights claims; the legal and violent ways of advancing,
defending, and enforcing rights; the documents and institutions of the human rights
movement; and the questionable reality of human rights in our world. The course also
explores debates over the universality of rights, humanitarian intervention and war
crimes, terrorism and democracy, links between rights and globalization, and other top-
ics. Using contemporary news media sources, including screenings and the Internet,
students examine difficult cases and troubled places, including the United States.
Readings are drawn from Hannah Arendt, Nuruddin Farah, Michael Ignatieff, Kant,
David Rieff, and Rousseau, as well as publications of Human Rights Watch and the
American Civil Liberties Union.

Terror, Torture, and Truth: Human Rights after 9/11

Human Rights 203 / Political Science 203
When it comes to human rights, there is the world before September 11 and the world
after it. On that date in 2001, America entered upon a new paradigm, in the words
of then White House counsel (now Attorney General) Alberto Gonzalesa major
shift not only in the American way of war and foreign policy but in the governments
attitude toward the protection of human rights at home and abroad. After 9/11,
Americans would take the gloves off in their treatment of prisoners, their policies on
interrogation, and their attitude toward the laws of war. This course examines these
policy changes closely, as well as the decisions government officials made, the docu-
ments they wrote to advance those policies, and, most important, the actions of those
who carried those policies out in Afghanistan, Iraq, and Guantanamo. The class charts
the path America has followed from the attacks of 9/11 to the scandal of Abu Ghraib
and the controversy over the use of extreme interrogation techniqueswhat many
call torture. At the heart of this course is a debate on the fundamental question of
whether or not those human rights embodied in international lawrights that
Americans had come to take for grantedmust give way before the demands of the
War on Terror. Put succinctly, do Americans live in a nation that does not torture or
in a nation that tortures only when it needs to?

The Great Dictators

Human Rights 210
By the end of the 20th century, many dictators had been deposed, had stepped down,
or died: Chairman Mao, the Shah of Iran, Ferdinand Marcos, Baby Doc Duvalier,
Emperor Bokassa, General Pinochet, and more. New ones have been slow to emerge.
This seminar investigates whether these are the last of the great dictators or whether
 Interdivisional Programs 289

others will reemerge, and if so, in what form. Students review the history of great dictators,
starting with the first emperor of China, Qin Shih Huangdi, and ending with the post-
colonial dictators in our own time. Readings in history and literature provide a picture
of what kinds of strongmen ruled in different times and cultures. Also examined are the
reasons why people allowed themselves to be ruled by priest-kings, big daddies, fhrers,
and other types of dictator. By looking at dictators of the past, the seminar also seeks to
offer a sharper sense of contemporary politics. Topics of discussion include how to
defend democratic freedoms, the dangers of media monopolies, and the nature of human
rights in different historical and cultural contexts.

Free Speech
Human Rights 218 / Literature 218
This course explores the intersection of literature and human rights, from the Greeks
to hate speech on the Internet. What is freedom of speech? Where has it come from?
What does it have to do with literature? These questions are examined across a variety
of literary, philosophical, legal, and political texts. Case studies include de Sade,
Madame Bovary, The Satanic Verses, and Rwandan genocide. Readings in contemporary
critical and legal theory include Derrida, Foucault, and Lyotard.

Justice after Dictatorship

Human Rights 238 Asian Studies
This course examines the various ways of cleaning up the mess after dictatorships have
fallen. These include war crimes tribunals, truth commissions, and the political use of
personal files. Students look at the effect tribunals have had on democratic transitions,
especially in Germany and Japan after World War II. Other topics explored are the use
of international laws in sovereign states, the questions of truth-telling and retribution
and of individual and collective guilt, and the use of human rights and international jus-
tice as an assertion of a universalist faith. Readings include Lawrence Wechslers A
Miracle, a Universe; Richard Minears Victors Justice; Telford Taylors Anatomy of the
Nuremberg Trials; Ian Burumas The Wages of Guilt, and John Dowers Embracing Defeat.

Memories of Political Violence and Repression

Human Rights 305 LAIS, Political Studies
The aim of this interdisciplinary course is to present and discuss various approaches to
the study of how different societal actors, in different historical, cultural and national
settings and scenarios, construct meanings and narratives of their past political vio-
lence and intergroup conflicts. It sets the cultural and symbolic construction of diverse
meanings and subjective understandings in the context of quests for justice, truth, and
institutional changes in postdictatorial periods.

New Orleans after the Disaster

Human Rights 320
An interdisciplinary, yearlong seminar that focuses on some of the issues raised by the
destruction of New Orleans after Hurricanes Katrina and Rita. Taught by a rotating
group of expert visiting faculty members, the course examines the transitional city and
rebuilding efforts through the lenses of human rights and urbanism. Topics include the
290 Interdivisional Programs and Multidisciplinary Studies

social, political, economic, and cultural dimensions of a citys formation; how neigh-
borhoods and groups of citizens evolve into recognizable entities; how decisions about
a citys future are made; and how fundamental factors of a citys existence are taken for
granted. Many of the central questions also encompass examples besides New Orleans.
How do cities come into existence and how do they evolve? What areas in a city are
vulnerable to catastrophe and why do citizens live there? How does a natural (or not-
so-natural) disaster redefine notions of community, belonging, and property? What are
the politics of rebuilding? Do people have a right to return, and if so, what happens
when that right meets the demand for environmental sustainability? What roles can
history and memory play in recovering from a catastrophe? The course includes a
January intersession in New Orleans, during which students engage these questions
directly as research assistants to community organizations and/or government projects.

Bhopal
Human Rights 410 Film and Electronic Arts
This intensive seminar uses the Bhopal disaster (a gas leak at a Union Carbide plant
in India in December 1984, which killed 8,000 and permanently injured tens of thou-
sands more) as a case study in human rights research. Working together with Ilan Ziv,
a documentary filmmaker investigating the story, students examine the aftermath of
the event through a variety of questions. What happens when an environmental issue
is recast as a matter of human rights? Why does Bhopal remain a powerful metaphor
and an active legal, ethical, and political issue 20 years after the event? What sort of
tensions and possibilities surface in the encounter between problems of globalization
and corporate responsibility and the language of human rights? What role is there in
cases like this for extra-legal processes such as truth commissions, and how might they
be evaluated? And what is at stake when we study, research, write about, or make films
about disasters like this one? The class studies a variety of original and secondary
material, takes part in making a film, meets with advocates and experts, and reflects on
the meanings and effects of Bhopal today.

Irish and Celtic Studies

Core faculty: Terence F. Dewsnap (director), Deirdre dAlbertis, Michle D. Dominy,

Jean M. French, Benjamin La Farge

The Irish and Celtic Studies Program is interdisciplinary, offering access to three main
areas: Celtic traditions in myth, religion, literature, and art; Anglo-Irish literature from
the 18th through the 20th centuries; and the politics and history of Ireland.

Students moderate into a disciplinary program (e.g., art history, literature, historical stud-
ies) and are responsible for the requirements of that program. Two members of the
Moderation board should be program faculty. Students are advised to take one or two core
courses before Moderation, such as Art History 218, Celtic Art; or Literature 2650, Irish
Fiction. Students are encouraged to study Irish and Celtic literature, history, ethnography,
art history, and mythology in tutorials and electives offered by program faculty.
 Interdivisional Programs 291

Italian Studies

Core faculty: Nina Cannizzaro and Joseph Luzzi (directors), Frederick Hammond

Nearly every area of instruction at Bardincluding the sciencesrecognizes in its

course offerings the central importance of the Italian contribution to civilization.
Italian culture is unique in the extent to which it affects other European and non-
European cultures: the Venetians in overseas trade and the Byzantine Empire; Savoy
with France; Trieste, Venice, and Milan with the Austro-Hungarian Empire; Sicily
with Normandy, Greece, Spain, and the Islamic world. Contemporary aspects of
German and Eastern European historyfascism and the Balkans are obvious exam-
plescannot be considered in isolation from Italian history.

The Italian Studies Program provides the mechanism for assembling and focusing the
curriculum of the undergraduate who has an interest in Italian culture. At the core of
the program lies acquisition of fluency in reading, writing, and translating the Italian
language. This is accomplished through regular courses during the academic year or
through an intensive Italian language class, which includes a month of study in Florence,
Italy, during the January intersession.

The faculty associated with the program cover many different areas related to the study
of the Italian language, Italian culture, and Italys relationships with other cultures.
These include literature and translation, the visual arts (including film), music, drama,
opera, linguistics, European history, the history of science, historical anthropology, and
comparative religion. The student selects an area of specialization and plans, in collab-
oration with a faculty adviser and other program faculty members, an individual, mul-
tidisciplinary, multicultural curriculum.

Before Moderation a student is expected to take three semesters (or the equivalent) of
Italian language courses and two other courses focusing on some aspect of Italian cul-
ture. A student moderates into Italian studies by presenting to the Moderation board
the customary two papers outlining both past academic achievements and a proposed
program of study for the next two years. The Moderation board is composed of members
of the core faculty and of other faculty determined by the students particular interests
and area of specialization. At Moderation a student must present evidence of profi-
ciency in the Italian language and demonstrate in some form (for example, a represen-
tative essay, performances, tapes, artworks) the ability to collect and integrate material
with the skills needed to undertake and complete a significant Senior Project.

After Moderation each student follows an individual plan of study worked out with the
adviser. One two-semester course in the students final year is devoted to the Senior
Project, a major work demonstrating the students mastery of some aspect of the Italian
language and culture. The project is not limited to a written study, but may be a film,
photographic essay, or another form appropriate to the topic.
292 Interdivisional Programs and Multidisciplinary Studies

Jewish Studies

Core faculty: Cecile E. Kuznitz (director), Mario J. A. Bick, Leon Botstein, Hezi Brosh,
Bruce Chilton, Yuval Elmelech, Elizabeth Frank, Norman Manea, Jacob Neusner, Joel
Perlmann, Justus Rosenberg

The Jewish Studies Program takes an interdisciplinary approach to exploring the many
facets of the Jewish experience, with course offerings ranging widely across several mil-
lennia and continents. Students concentrating in Jewish Studies also moderate into a
divisional program such as history, religion, literature, or sociology. Students may focus,
for example, on the classic texts of rabbinic Judaism; the new forms of Jewish identity
and culture to emerge in the modern era; Hebrew language and literature; or the
dynamics of contemporary Jewish life in Israel or the United States.

Moderation follows the procedure for the primary program. The board consists of the
students adviser, who is a member of the Jewish Studies Program, and two faculty
members from the divisional program into which the student is moderating. The
Moderation should demonstrate that the student is making progress in both Jewish
studies and his or her divisional program. Senior Projects are directed by a member of
the Jewish studies faculty. The Senior Project board should include at least one mem-
ber of the divisional program into which the student moderated.

Students are required to take a minimum of five courses (20 credits) in the program,
which shall include:

a core curriculum in Jewish studies, either Jewish Studies 101, Introduction to Jewish
Studies, or one approved course from history and one from religion, typically
History 181, Jews in the Modern World, and Religion 104, Introduction to Judaism
at least four credits of instruction in a Jewish language, typically Hebrew. Students
who choose not to enroll in Hebrew 101 may arrange for a tutorial to meet once a
week over the course of a year at 2 credits per semester.

Students should bear in mind the following guidelines when choosing their Jewish
studies electives:

at least one course must be outside the division of the primary program into which
the student moderates
one course must be an Upper College conference or seminar
two Jewish studies courses should be taken prior to Moderation
two semesters of Hebrew at the 200 level will count as one elective
 Interdivisional Programs 293

Jewish Studies Courses

Introduction to Jewish Studies

Jewish Studies 101 Historical Studies, Religion
This interdisciplinary course introduces students to major themes in the field of Jewish
studies. The primary focus is on the history of the Jewish people and on Judaism as a
religion, but students also examine topics in Jewish literature, society, and politics. The
course treats selected themes from the biblical period to the present, but with a greater
emphasis on the medieval and especially the modern period. Among the issues
explored: What role has the land of Israel played in Jewish life, and how have Jews
responded to their nearly 2,000-year experience of exile and diaspora? How have they
negotiated both the push of anti-Semitism and the pull of assimilation to maintain
distinct forms of community and identity? What roles have various types of texts
played in Jewish culture, and what is their relationship to lived Jewish experience?
Finally, what are the implications of such momentous recent events as the Holocaust,
the establishment of the state of Israel, and the rise of the American Jewish community?

Foundations of Jewish Studies: The Medieval Jewish Experience

Jewish Studies 110
This course is an interdisciplinary examination of medieval Jewish civilization, with
emphasis placed on introducing (1) methods of studying the Jewish people (through his-
tory, religion, literature, and philosophy); (2) the concept of traditional Jewish society;
and (3) the features of Sephardic and Ashkenazic Jewries. After an overview of the
development of Judaism through the rabbinic period, the course focuses on the Jewish
experience from the rise of Islam through the Spanish expulsion. It addresses both the
internal life of medieval Jews (self-government, religious culture, philosophical move-
ments, gender roles) and political, economic, and cultural interactions between Jews and
non-Jews in Muslim and Christian lands. Class sessions explore the ways in which
medieval Jews worshiped; studied; organized communities; developed professions; related
to governing powers; responded to crises; and alternatively resisted, drew from, and con-
tributed to surrounding cultures. Close readings of primary source materials, from rab-
binic commentaries and womens prayers to poetry and philosophic tracts, introduce
students to the variety of sources through which to explore the Jewish experience and to
critical skills of scholarly analysis.

Jewishness beyond Religion: Defining Secular Jewish Culture

Jewish Studies 120 / History 120
In the premodern world, Jewish identity was centered on religion but was expressed as
well in how one made a living, what clothes one wore, and what language one spoke. In
modern times, Jewish culture became more voluntary and more fractured. While some
focused on Judaism only as a religion, the most radical and the most typical way in which
Jewishness was redefined was in secular terms. This course explores the intellectual,
social, and political movements that led to new secular definitions of Jewish culture and
identity in the modern period. Examples are drawn from Western and Eastern Europe, as
well as from American and Israeli societies. Topics include the Haskalah (Jewish enlight-
enment); acculturation and assimilation; modern Jewish politics, including Zionism; and
Jewish literature in Hebrew, Yiddish, and European languages.
294 Interdivisional Programs and Multidisciplinary Studies

From Brighton Beach to Broadway: American Jewish Culture in the 20th Century
Jewish Studies 150 American Studies, Historical Studies, SRE
From film to literature, classical music to musical comedy, Jews left an indelible imprint
on 20th-century American culture. Do these contributions constitute a distinctive
American Jewish culture? Is there such a thing? Focusing on Jewish writers (Antin,
Bellow, Roth), filmmakers from the Warner brothers to Woody Allen, performers
(Brice, Jolson), composers and lyricists (Gershwin, Hammerstein), and public intellec-
tuals (Howe, Ozick), this course seeks to understand if there is something identifiably
Jewish about the work of diverse artists and thinkers and what their work says about
the nature of ethnic culture in America. Special attention is paid to the representation
of race and ethnicity in film and theater and the manner in which such representations
reflect Jewish values and anxieties in America. Discussion includes scholarly debates
about Jewish culture specifically and American ethnic culture generally.

Beyond the Shtetl: The History of East European Jewry, 17721939

Jewish Studies 215 Historical Studies
This course surveys the history of the Jews of Eastern Europe from the partitions of
Poland until the Holocaust. It goes beyond the shtetl (small town), first by consider-
ing nostalgic stereotypes of East European Jewish life in American popular culture and
comparing them to the realities of traditional Jewish society. It then looks at how that
society underwent profound changes in the modern period, creating radically new
forms of Jewish community, culture, and political organization that went far beyond
the traditional values of the shtetl. Topics include the rise of Hasidism and Haskalah
(enlightenment); pogroms and Russian government policy toward the Jews; modern
Jewish political movements such as Zionism and the socialist Jewish Labor Bund; lit-
erature in Hebrew and Yiddish; urbanization and emigration; and Polish and Soviet
Jewries in the interwar period. Course materials include both primary and secondary
historical sources, as well as literature and film of the period under study.

The Culture of Yiddish

Jewish Studies 315 / History 315 Historical Studies
For nearly one thousand years Yiddish was the primary language of European Jewry and
its emigrant communities. This class explores the role of Yiddish in Jewish life and the
rich culture produced in the language. Topics include the sociolinguistic basis of Jewish
vernacular languages; medieval popular literature for a primarily female audience; the
role of Yiddish in the spread of Haskalah (the Jewish enlightenment); attempts to for-
mulate a secular Jewish identity around the Yiddish language; the flourishing of mod-
ern Yiddish press, literature, and theater and their intersection with European
modernism; contemporary Hasidic (ultra-orthodox) culture; and the ongoing debate
over the alleged death of Yiddish. All readings will be in English translation.
Familiarity with the Hebrew alphabet and/or Jewish history helpful but not required.
 Interdivisional Programs 295

Latin American and Iberian Studies

Core faculty: Melanie Nicholson (director), Susan Aberth, Mario J. A. Bick, Diana De
G. Brown, Gabriela Carrin, Nicole Caso, Omar G. Encarnacin, Rebecca Cole
Heinowitz, Susan Merriam, Pierre Ostiguy

Latin American and Iberian Studies (LAIS) is a multidisciplinary program incorporat-

ing such diverse disciplines as literature, political studies, anthropology, history, eco-
nomics, art history, and dance. It provides an academic setting for the study of two
regions inextricably bound together by historical, cultural, linguistic, economic, and
political ties. Students who enter the LAIS Program emerge with the linguistic and
analytical preparation necessary to understand the literatures and cultures of Latin
American and Iberian countries; the history of Latin America in the pre-Columbian,
colonial, and national periods; the formation of social and economic structures
throughout the Hispanic world; the history and ethnography of Mesoamerica and the
Andes; contemporary Latin American and Iberian politics; and the Hispanic experi-
ence in the United States.

LAIS majors moderate both into a primary divisional program and into LAIS, usually
through a concurrent Moderation, by fulfilling the primary programs requirements and
the following LAIS requirements. Prior to or at the time of Moderation, students are
required to take at least two designated LAIS core courses, which are listed below.
After Moderation, students are expected to take two additional elective courses and
one 300-level seminar; these courses may be listed primarily in another discipline and
cross-listed with LAIS. At least one and preferably two of the five required LAIS
courses should be taken outside the students home division (e.g., majors in the Social
Studies or Arts Divisions must take a course in the Division of Languages and
Literature, and vice versa). The final requirement is the successful completion of a
Senior Project in a primary divisional program and LAIS. This project must have a
geographical, linguistic, or conceptual link with Latin America, Spain, or Portugal and
have at least one LAIS faculty member on the program board.

Core Courses

Latin America from Discovery to Nationhood

Modern Latin American History
Introduction to Spanish Literature
Introduction to Latin American Literature
Latin American Politics and Society
Survey of Latin American Art
296 Interdivisional Programs and Multidisciplinary Studies

Electives from Recent Years

Division of the Arts

Religious Imagery in Latin American Art
Crossroads of Civilization: The Art and Architecture of Medieval Spain
El Greco to Goya: Spanish Art and Architecture, 15501850
Revolution, Social Change, and Art in Latin America

Division of Languages and Literature

Spanish Literary Translation
Cervantes Don Quijote
The Hispanic Presence in the United States
Testimonies of Latin America: Perspectives from the Margins
Between the Acts: Spains Teatro Breve
Latin American Surrealism
Rewriting Conquest: Latin America and the Anglo-American Imagination

Division of Social Studies

Populism and Popular Culture in Latin America
Promoting Democracy Abroad
United StatesLatin American Relations
Gender and Sexuality in Brazil
Race and Ethnicity in Brazil

LAIS Courses

Latin American History to 1910: Empires, Colonies, Nations

LAIS 101
This course is an introduction to the major issues in the historical and anthropologi-
cal study of Middle America, the Caribbean, and South America, from the early 1300s
until the early 20th century. It begins with an overview of two influential pre-
Columbian statesthe Mexica and the Incaand an examination of the Christian
reconquista in the Iberian Peninsula. It examines the consolidation of Spanish and
Portuguese political and economic domination in the 16th and 17th centuries; the
spiritual conquest of native Americans; the institution of slavery in the New World;
and the legal, social, and economic organization of colonial indigenous communities.
Boundaries of class, ethnicity, and gender in colonial society are analyzed, as are the
dynamics of social and military conflicts between colonial subjects and their rulers.
The independence movements that swept the Americas in the early 19th century are
studied, along with the various dynamics of nation-building and the economic and
political influence of foreign powers on Latin American nations before the Mexican
Revolution of 1910.
 Interdivisional Programs 297

Nationalism, Imperialism, and Identities in Latin America

LAIS 105 Historical Studies, SRE
Collective identities in Latin America have traditionally been regarded as the product
of an epochal clash between European and indigenous cultures and as the result of
geopolitical and cultural confrontations with the U.S. and European hegemonic inter-
ests. But the emergence of regional and national identities has not been a simple oper-
ation of drawing boundaries; the diverse regional and ethnic identities in Latin
America have alternately resisted and embraced centralized nation-building projects
and interpretations of their collective past, generating an existential confusion that has
informed military and sociopolitical confrontations. This course examines the devel-
opment of political and sociocultural notions of collective identity in Latin America
from late colonial times until the present, the impact of U.S. and European political
and economic domination in these processes, and the multitude of discourses on
national identity. Case studies include the U.S. and French wars of intervention in
Mexico, the Cuban wars of independence, and foreign intervention and nationalist
responses throughout the Americas.

Latinos in the U.S.A.: Film, Memoir, Fiction

LAIS 140 / Social Studies 140
See Social Studies 140 for description.

Writing, Power, and Resistance in Indigenous Latin America

LAIS 201 / Anthropology 201
This course examines the changing rapports among political authority, social status,
and the use of pictographic and alphabetic writing in indigenous societies in pre-
Columbian, colonial, and national Latin America. It explores the appropriation of
alphabetical writing by preexisting historical and ritual genres, traces the emergence of
novel colonial genreslegal records, annals, devotional writings, etc.and considers
the social and political aims that these native genres served. The course also addresses
the intellectual and ethnographic context of production and the reception of these
texts, as well as the social life and the political impact of influential works and genres.
Readings include translations of recent works in Nahuatl, Quechua, Yucatec Maya,
Quich, Zapotec, and Spanish.

Modern Latin American History

LAIS 203
This course is a survey of the social, political, and intellectual history of Latin America
from the independence period until the transition to democratic regimes in South
America in the 1980s. It considers nationhood and citizenship projects in the early inde-
pendence period, examines the causes of political instability and civil wars in the 19th
century, and assesses interventionist attempts by U.S. and European powers. The course
explores the recurrent problems of transition to modernity from the late 19th century
onward: social and economic inequality, conflicts between native peoples and the state,
the tensions between popular Christianity and secular nationhood projects, and populist
and nationalist movements. Emphasis is placed on the transition from rural to urban and
industrial modes of production, revolution, and armed insurrection movements as well
298 Interdivisional Programs and Multidisciplinary Studies

as the emergence of militaristic and socialist regimes during the latter half of the 20th
century. Lectures and readings are complemented by a selection of films.

Latin American Revolutions

LAIS 206
From the 1720s until the early 20th century, hundreds of regional rebellions shook the
countryside in Latin America, threatening the stability of colonial and national gov-
ernments. This course considers the relationships among spontaneous armed rebel-
lions, political ideology, and organized insurrection in contemporary Latin America.
Case studies include the Mexican revolution (1910), Bolivian revolution (1952),
Cuban revolution (1959), Nicaraguan revolution (1979), and the ongoing symbolic
duel between the Zapatista National Liberation Army (EZLN) and the Mexican state,
which began in 1994. Through historical data, testimonies, and postmortem analyses,
the course considers some basic questions: Are there significant structural similarities
in the emergence and outcome of the various revolutionary movements? What is the
relationship between the formation of revolutionary ideologies and the pragmatic out-
come of insurrection? What is the role of civil society in these social processes? How
are collective and national identities refashioned by revolutionary ideologies?

The Inquisition and the Extirpation in Spanish America

LAIS 311
This course explores the procedures, methods, and institutional history of both the
Inquisition and the Extirpation (the episcopal campaigns to uproot native ritual prac-
tices) in colonial Spanish America. It analyzes the diversity and dynamics of the
responses of indigenous peoples, Jews, women, Africans, mestizos, and Spanish men to
inquisitorial investigations and punishment. Studies cover inquisitorial efforts in 16th-
century Spain and Italy, the early development of such efforts in Mexico and the
Andes, the emergence of Inquisition tribunals in Mexico and Peru after 1571, and var-
ious trends in the prosecution of Jews, Protestants, and illuminated men and women
in the 17th and 18th centuries.

Medieval Studies

Core faculty: Karen Sullivan (director), Jean M. French, Mark Lambert, Nancy S.
Leonard, Alice Stroup

The Medieval Studies Program exposes students to the medieval civilizations of Europe
and the Middle East through a range of disciplines including art history, history, litera-
ture, religion, philosophy, and music. A broad approach is particularly appropriate to the
study of medieval culture because the national and disciplinary boundaries to which the
university has become habituated in recent centuries did not exist during that era. For
example, French was spoken in England, Provenal in Italy, Arabic in Spain, and Latin
everywhere. The dominant political organizations in Western Europethe Church and
the Holy Roman Empirewere transnational by definition. Fields now considered as
self-evidently separate as literature and history, astronomy and medicine, and religion
 Interdivisional Programs 299

and philosophy were not considered distinct at that time. Through the Medieval
Studies Program, students are encouraged to appreciate connections such as those
between the Crusades and epic, the Cistercian movement and monastic architecture,
and the development of polyphony and troubadour poetry, so that they may come to
appreciate medieval culture as it actually was experienced.

In the Lower College students take at least two semesters of a survey course (such as
History 2110, Early Middle Ages, and 3117, High Middle Ages; Art History 220, Early
Medieval Art and Architecture; and Literature 204A, Comparative Literature I, and 250,
English Literature I) to obtain a framework for further work in the field. As students are
required to have a reading knowledge of a foreign language by their senior year, they
are encouraged to begin or continue work in languages as soon as possible. Students
may choose to specialize in one discipline in their approach to medieval studies, but
they are also expected to become familiar with a variety of fields so that they may gain
some understanding of the many facets of medieval civilization and the relations
among them.

Students may moderate into the Medieval Studies Program itself and earn a degree in
arts, languages and literature, or social studies, depending on the subject of their Senior
Project, or moderate into both medieval studies and a divisional program such as
literature, history, or art history. In the latter case, they are expected to fulfill the require-
ments for both the divisional program and the Medieval Studies Program, though they
ultimately write only one Senior Project, combining work in both fields.

For Moderation, students submit two short papers, one in which they depict their
intellectual past and one in which they discuss their intellectual future. They also sub-
mit a 10-page critical paper relevant to medieval studies. At least two members of the
Moderation board must be affiliated with the Medieval Studies Program.

In the Upper College, students turn to more specialized work, taking at least three addi-
tional four-credit courses in medieval studies. At least one of those must be a 300-level
course so that students obtain a sense of the criticism and methodology necessary for
more advanced study. Students are expected to continue their language study. Before
undertaking research for the Senior Project, students must demonstrate reading knowl-
edge of at least one appropriate language, either medieval or modern. A student work-
ing on an art history project may be asked to learn French or German in order to have
access to the necessary scholarly works; a student concentrating on historical materials
may be encouraged to learn Latin; a student working on a literary topic may be urged to
become familiar with the relevant medieval language, such as Old English, Old French,
or Old Provenal, through a tutorial. A Senior Project emerging from this study plan is
grounded in a breadth of knowledge acquired in the Lower College and the more
advanced skills obtained in the Upper College.

In the final year, students complete a Senior Project. At least two members of the
Senior Project board must be affiliated with the Medieval Studies Program.
300 Interdivisional Programs and Multidisciplinary Studies

Core Courses (offered every one or two years)

Art History: Early Medieval Art and Architecture; The Gothic Cathedral and the Gothic
Revival
Historical Studies: Early Middle Ages; High Middle Ages; The Land of the Golden
Cockerel: Introduction to Russian Civilization
Literature: Comparative Literature I; English Literature I; Medieval Theology; The Heroic
Age; Chaucers Canterbury Tales; History of the English Language; Dante
Religion: History of Islamic Society

Elective Courses (offered at least once every three years)

Art History: The Medieval Manuscript: Painting from the Fourth through Fifteenth
Centuries; The Animal Style in Art; Romanesque and Gothic Art; Crossroads of
Civilization: The Art of Medieval Spain
Music: Medieval Music
Literature: Byzantium; The Renaissance of the 12th Century; Middle English Literature;
Heresy and Inquisition in the Middle Ages; Life in the Medieval Church; Middle English
Mystics; Medieval Dream Visions
Religion: Muhammad and the Politics of Biography

Elective Courses (offered sporadically)

Art History: The European World, 10501250

Historical Studies: Medieval Science, Religion, and Society; From Household to Family
Music: The History of Western Music to 1750

Tutorials
The following is a sampling of tutorials in recent years:

Old English
Old French
Old Provenal
Medieval Latin

Middle Eastern Studies

Core faculty: Joel Perlmann (director), Hezi Brosh, Yuval Elmelech, Youseff Yacoubi

The multidisciplinary Middle Eastern Studies (MES) Program promotes the intellec-
tual exploration and analytic study of the formation and evolution of the historical and
contemporary Middle East, spanning from North Africa to Afghanistan and from cen-
tral Asia to Yemen. This geographical conception of the Middle East has its roots in
the 19th century, when British strategic forces were considering how to manage the
 Interdivisional Programs 301

decline of the Ottoman Empire in Turkish- and Arab-speaking regions and how to
maintain influence in the Qajar Empire in Iran. The British military first employed the
term Middle East during World War II to designate Egypt as the Middle Eastern
Supply Station. Yet, over the past two centuries, the concept and the term has been
used to identify a vast region of diverse cultures, languages, histories, religions, and
institutions.

The main objective of MES is to meet the academic and professional needs of students
interested in the histories, societies, and politics of the region. Regional issues include,
but are not limited to, topics such as refugee affairs, human rights, politics of oil indus-
tries, authoritarian and religious governances, the rise of religious identity, and the
Arab-Israeli conflict. In order to provide disciplinary breadth about the region, stu-
dents must moderate into a primary divisional program along with MES. Electives also
incorporate various disciplines, such as anthropology, art history, literature, history,
political studies, religious studies, and sociology.

Students concentrating in MES must meet the following requirements before

Moderation: 1. enroll in Narrating the Modern Middle East, a core course that provides
a historical introduction to the regions major political, social, and cultural themes
(4 credits); 2. obtain one year language proficiency in Arabic or Hebrew (8 credits).
At Moderation, usually held concurrently with the primary program, students must
submit papers on past experience and projected work, as well as an academic paper
about the Middle East, written in one of their core or elective MES classes. At least
one member of the Moderation board should be a faculty member affiliated with the
MES Program.

After Moderation, students must meet the following requirements: 1. enroll in four
other electives to broaden understanding of the region and its study. One of the four
elective courses should be a 300-level seminar in which students research and write a
seminar paper on some topic pertaining to the Middle East (16 credits); 2. successfully
complete a Senior Project that addresses aspects of the contemporary Middle East and
incorporates themes that students have learned during their MES course work. While
the two-semester Senior Project is based in a primary program, the Senior Project
board must include at least one faculty member affiliated with MES.

Core Courses
Arabic 101-102, Beginning Arabic
Hebrew 101-102, Beginning Hebrew
Religion 160, Narrating the Modern Middle East

Selection of Recent Elective Courses

Division of the Arts

Art History 140, Survey of Islamic Art
Art History 323, Crossroads of Civilization: The Art of Medieval Spain
302 Interdivisional Programs and Multidisciplinary Studies

Division of Languages and Literature

Arabic 201-202, Intermediate Arabic
Arabic 205, Twentieth-Century Egypt: From Colonialism to Socialism
Arabic 420, Arabic Literature
Hebrew 201, Intermediate Hebrew

Division of Social Studies

History 138, The Mediterranean World
History 2122, The Arab-Israel Conflict
History 3101, Modern Israeli and Palestinian Societies
Political Studies 346, Democrats, Theocrats, and Tyrants
Political Studies 360, War is Hell: The Use of Force in International Relations
Political Studies 376, The Politics of Terror
Religion 104, Introduction to Judaism
Religion 106, Introduction to Islam
Religion 130, History of Islamic Society
Religion 268, Quran: Listening, Reading, Viewing
Religion 282, America and the Muslim World
Religion 321, Seminar in Islamic Law

Russian and Eurasian Studies

Core faculty: Marina Kostalevsky (director), Jonathan Becker, Jennifer Day, Gennady
L. Shkliarevsky

The Russian and Eurasian Studies Program (RES) focuses on the language, literature,
history, and culture of Russia, the Soviet Union and the now-independent states that
once were a part of it, and East and East-Central Europe. RES provides a wide range
of interdisciplinary contexts, theoretical perspectives, and analytical approaches to
students interested in the area and its culture. Both Lower and Upper College courses
draw upon faculty expertise in history, literature, politics, economics, art, music, cul-
ture, and religious studies as they relate to Russia and Eurasia, either separately or in a
comparative context. Proficiency in the Russian language is a key component of the
RES major, with course offerings from beginning to advanced at Bard and opportuni-
ties for study in Russia at the Bard-affiliated Smolny College in St. Petersburg. Within
RES, students may choose to specialize in a literature track or a social science track,
or may combine Russian and Eurasian Studies with a different program of study.

Moderation requirements:
At least 12 credits of Russian language (native speakers of Russian should consult
with their adviser in Russian studies to determine how this requirement will be
applied)
At least one course in Russian literature
 Interdivisional Programs 303

At least one course from the social science division in Russian/Eurasian studies (i.e.,
history, politics, economics, religion)

Graduation requirements:
Students should demonstrate proficiency equivalent at least to the third-year level.
For most students this means taking the second-year Russian sequence, plus at least
one third-year Russian course. Native speakers of Russian should consult with their
adviser in Russian studies to determine what courses will fulfill this requirement.
At least 12 additional credits (3 courses) in Russian studies of the students major
track (either literature or social science). At least one of these courses must be
300-level or above (a major seminar with a substantial research paper). Since the
RES Program strives for balance and breadth in its curriculum, it is also recom-
mended that at least one of these courses treat Russia, Eastern Europe, or Eurasia in
a comparative context. Students should consult with their advisers to plan their cur-
riculum in this regard.
At least 4 credits (1 additional course) in Russian studies of the other track (either
literature or social science)
Senior Project

Students who major in RES are strongly encouraged to participate in Bards study
abroad program at Smolny College, a joint initiative of Bard College and Saint
Petersburg State University, in St. Petersburg, Russia.

Students may enroll in summer intensive Russian-language courses and/or semester

or academic-year programs at Smolny College. At Smolny, Bard students combine a
liberal arts curriculum with linguistic and cultural immersion by taking classes side by
side with Russian students, in Russian.

Science, Technology, and Society

Core faculty: Gregory B. Moynahan and Peter D. Skiff (directors), Noga A. Arikha,
Bob Bielecki, Diana De G. Brown, Laurie Dahlberg, Sanjaya DeSilva, Jacqueline Goss,
Felicia Keesing, Alice Stroup

The interrelation of scientific and technological systems with social and political life has
become perhaps the most pressing concern of modern society. The Science, Technology,
and Society (STS) Program provides a foundation in the technical and social fields
needed to study this crucial area in conjunction with a primary divisional program such
as biology, anthropology, or music. STS allows for study in a number of fields that span
the academic divisionssuch as nonfiction science writing, history and philosophy of
science, or developmental economics and technologyand promotes scholarship that
critically confronts the key issues raised by science and technology in our time.
304 Interdivisional Programs and Multidisciplinary Studies

Students in STS follow, in conjunction with their primary program requirements, a

challenging curriculum that includes: one two-course sequence in a basic science and
two additional courses in the Division of Science, Mathematics, and Computing; two
STS core courses, along with two more STS cross-listed courses; and one methodology
course, usually in policy analysis or statistics. Reading competence in a foreign lan-
guage or further science, mathematics, or computing course work is strongly recom-
mended. The Senior Project should address the relation of science, technology, and
society, as defined in consultation with the project adviser.

STS is establishing paired science and technology courses. These classes are linked by
a common theme, anchored by an introductory science class. An example might be an
introductory course in epidemiology, paired with a course in the history or anthropol-
ogy of disease. These paired courses can be substituted for STS cross-listed courses in
the curricular requirements.

Students moderating into STS should have taken two courses in the Division of
Science, Mathematics, and Computing (AP science courses may count toward this
requirement) and one core course in STS and should present a written description at
Moderation of a specific plan of study in the Upper College.

Core Courses

History 161, Introduction to the History of Technology and Sociotechnical Systems

History 172, The History of Medicine and Psychiatry
History 251, Knowledge and Society in the Scientific Revolution
Economics 265, Development from the Ground Up
Science History and Philosophy 222, Physical Science before Newton
Science History and Philosophy 223, History of Science after Newton
Science History and Philosophy 304, Philosophy of Science

Social Policy

Core faculty: Dimitri B. Papadimitriou (director), Sanjaya DeSilva, Nara Dillon,

Michael Donnelly, Yuval Elmelech, Kris Feder, Tamar Khitarishvili, Mark Lindeman,
Andrew Pearlman, Joel Perlmann, Elaine Renee Thomas, Tsu-Yu Tsao

Many Bard students are strongly imbued with a desire to help make their society more
just and humane. The purpose of the Social Policy Program is to introduce students to
one important way in which they can act on this desire, namely through the analysis of
social policy optionsanalysis of questions such as: what social interventions have been
proposed to deal with social ills, which interventions have worked, and why have they
worked? The program provides the student with a basic introduction to domestic social
problems, analysis of policy choices, and actual experience with policy changeto
improve, for example, schooling, police work, prisons, health care systems, social secu-
 Interdivisional Programs 305

rity, income inequality, job satisfaction and security, employment growth, or support for
the arts in society. Students also are introduced to the techniques that policy analysts
use in assessing social programs. A crucial component of the program is a research
apprenticeship, in which students are involved in the actual analysis of one or more
social programs, under the guidance of faculty and other experienced policy analysts.

The following list is illustrative of recent offerings.

Economics 115, Economic Dimensions of World Issues

Economics 202, Intermediate Macroeconomics
Economics 237, Economics of the Public Sector
Economics 323, Topics in International Trade and Finance
Environmental Studies 399/400, Environmental Studies Research Seminar
History/Sociology 214, American Immigration
History 280B, American Environmental History I: Conservation Era to the Present
History 371, The Civil Rights Movement
Philosophy 256, Environmental Ethics
Political Studies 260, Environmental Politics in the United States
Sociology 205, Introduction to Research Methods

Studies in Race and Ethnicity

Core faculty: Amy Ansell (director), Myra Young Armstead, Mario J. A. Bick, Geoffrey
Sanborn, Jesse Weaver Shipley, Yuka Suzuki, Elaine Renee Thomas

Although it is possible today to celebrate the existence of a postracial world, many

would concur that it is a world still in the making. Race continues to affect the social
world and the people who inhabit it in multiple ways: from the continuing legacies of
the racist past, to racial consciousness in the form of ethnic cleansing or celebratory
forms of identity formation and cultural/artistic expression, to a racial imaginary that
underlies a range of current cultural and policy controversies surrounding issues such
as immigration, education, welfare, crime, and public art. Finally, race is intertwined,
in the post9/11 world, with the nationalisms, ethnic animosities, and religious funda-
mentalisms generated by globalization in ways that need to be carefully scrutinized.

Studies in Race and Ethnicity (SRE) aims to expose students to the broad diversity of
scholarship in the field and convey the excitement and challenge of the enterprise. It
focuses on critical analyses of such subjects as ethnic conflict, racism, multiculturalism,
immigration, and visual, cinematic, literary, and aesthetic representation. Following
the SRE course of study, students should be able to appreciate how the study of race
and ethnicity is situated within its own historical and intellectual context; recognize
the diversity of issues that characterize the study of race and ethnicity in the United
States and also in other national contexts; and critically evaluate the impact of poli-
cies pertaining to race and ethnicity, as well as debates about their futures.
306 Interdivisional Programs and Multidisciplinary Studies

The program is a secondary concentration, meaning that students must moderate into
SRE in combination with a primary program concentration. Moderation requirements
include taking two (or more) SRE courses, one of which must be the core course; writ-
ing an academic paper that relates to SRE; and having at least one SRE-affiliated mem-
ber on the Moderation board. Graduation requirements include two (or more)
additional SRE courses, one of which must be a 300-level seminar. The Senior Project
board must include at least one SRE-affiliated member, and course work must include
one SRE course in social studies and one from another academic division.

Theology

Core faculty: Bruce Chilton (director), Daniel Berthold, Richard H. Davis, Robert
Kelly, Nancy S. Leonard, Paul E. Murray, Jacob Neusner, Kristin Scheible, Peter D.
Skiff, Karen Sullivan

The Theology Program enables its participants to explore new directions of the subject
that have emerged since the removal of theology as a dogmatic discipline from most lib-
eral arts curricula. In place of dogma, which survives in some places as the only basis on
which theology is taught, the programs focus is directed along the lines of how the
divine or ultimate is conceived. There are two principal approaches to that issue, which
may be combined. The first approach is referential; it begins with the evaluation of
texts, works of art, or other aspects of human production, which claim to express the
meaning and purpose of experience. The second approach is constructive; it involves the
investigator in an analysis aimed at evaluating or contributing to religious discourse.

Theology can be an elusive term, and the task is to (re)define it. Although literally
referring to a theistic study, it has come to signify an epistemological approach to the
study of religion, whether that tradition is theistic or not. Theology is both a way of
knowing and a way of reflecting upon knowing. What it seeks to know are answers
to questions about human meaning and purpose asked routinely within many religious
(and nonreligious) perspectives. While the critical study of religion is designed to
describe and analyze religious systems within their historical settings, theologys pur-
pose is to engage what these systems claim to refer to.

Theology explores the intellectual self-knowing of religions. For this reason, issues of cos-
mologyand of the relationship of cosmologies to their cultural settingsare often of
theological concern. Theology is a discipline that recognizes the relationship between a
religion and its application and that seeks to appreciate how the ultimate is experienced.

The principal issues of theology demand competence in several disciplines. For that
reason, the program of theology involves courses from every division in the College
and competence (in the form of Moderation) in one discipline or another. By the time
of Moderation, a student should have pursued three courses in theology. Moderation
in theology is to be associated with Moderation in another discipline or disciplines
within the College, to honor theologys interdisciplinary character. By the time the
 Interdivisional Programs 307

Senior Project is submitted, courses of theology from at least two divisions are required.
The board for Moderation and the Senior Project shall include at least one member of
the Theology Program faculty, who serves as an adviser on behalf of the program,
together with representation from the other discipline or disciplines involved. During
the semester of Moderation, students who wish to major are to participate in a semi-
nar, which the director of the program arranges. Students in the Theology Program
propose appropriate tasks of inquiry in consultation with their advisers. The form in
which the students theological investigation might be integrated within Moderation
and the Senior Project is a matter for consultation with each adviser and the boards
involved. In that way, students deal with properly theological questions in a critical
manner and in an overtly pluralistic setting. The result reinvents theology in a plural-
istic, self-consciously secular institution.

Victorian Studies

Core faculty: Deirdre dAlbertis and Terence F. Dewsnap (directors), Laurie Dahlberg,
Mark Lambert, Peter D. Skiff

The interdisciplinary Victorian Studies Program guides students in their exploration of

the politics, culture, and society of Britain and the United States in the 19th century,
a period during which both countries were undergoing massive expansion and change.
Characteristics of the Victorian era remain distinctive features of the contemporary
political and social landscape. Grounded in the significant relationship between his-
tory and literature, this interdivisional program is structured so as to enable majors to
plan a course of study around specific topics in these areas and in such diverse fields as
economics, history of science, anthropology, art history, and photography.

A typical plan of study might include a course on 19th-century literature in the first year
and one of the 200-level survey courses on British history and literature in the second year.
Several elective courses in literature, history, anthropology, art history, and the history of
science are cross-listed with Victorian studies each semester. Before Moderation, a
Victorian studies major should successfully complete two cross-listed courses. It is recom-
mended that one of those courses be part of the history and literature sequence offered.

Students in Victorian studies moderate jointly into the Victorian Studies Program and
a divisional program (for example, literature or historical studies) and are responsible
for meeting the requirements of both programs. Faculty from the divisional program
and the Victorian Studies Program sit on the Moderation board.

Before writing a Senior Project, students are advised to take at least two Upper College
seminars in Victorian studies. Victorian studies majors are encouraged to approach pro-
gram faculty to arrange tutorials or independent study projects on topics of special
interest, in preparation for the Senior Project. Two faculty members from the program
must be included on the Senior Project board.
308 Interdivisional Programs and Multidisciplinary Studies

Multidisciplinary Studies
The Multidisciplinary Studies Program allows a student to select an area of study or
develop an individual approach to an area and then design a program that integrates
material from different programs and divisions in order to pursue that study.

In order to concentrate in the Multidisciplinary Studies Program, a student must sub-

mit a proposal to the Executive Committee requesting approval for such a concentra-
tion. The ideal time for the proposal is in the second semester of the sophomore year,
as a substitute for Moderation into an existing program during that semester. Proposals
at other times will be considered, although proposals submitted after the first semester
of the junior year will be accepted only in extraordinary circumstances. If a multidisci-
plinary studies proposal is approved by the Executive Committee, the Moderation
Board must meet with the student no later than the following semester, and must con-
duct a Moderation in the same format as Moderations into regular programs.

Students interested in the Multidisciplinary Studies Program should consult with the
dean of studies for information on the application process and for guidance in formu-
lating the proposal.

A proposal to concentrate in the Multidisciplinary Studies Program must contain the

following:

A. The name of the adviser, and the other two (or more) members of the Moderation
board
B. An intellectual rationale for the proposed plan of study
C. An explanation of why the proposed plan of study cannot be fulfilled in any of the
existing programs at Bard
D. A list of courses taken up until that point that would be part of the plan of study
and a proposed list of courses that would be taken subsequently
E. A demonstration of how the student will fulfill the collegewide graduation require-
ments
F. A signed statement from the adviser in support of the proposal

For a proposal to be approved, the following must hold:

A. The student must have a cumulative grade point average of 3.0 or higher
B. The proposed list of courses must include in-depth study in two or more disciplines
C. The proposed adviser and Moderation Board members must have the expertise to
supervise the proposed plan of study
 The Bard College
Conservatory of Music
The Bard College Conservatory of Music opened in the fall of 2005, continuing
Bards spirit of innovation in arts and education. In a unique five-year program, all
Conservatory students pursue a simultaneous dual degree, a bachelor of music and a
bachelor of arts in a field other than music. In this way promising young musicians pur-
sue all of their interests at one institution, taught by expert professionals in each field.

The curriculum for the B.A. degree is the same as for any Bard undergraduate, includ-
ing the Workshop in Language and Thinking, First-Year Seminar, fulfillment of distri-
bution requirements, Moderation, and a Senior Project. Conservatory students have
access to the resources of the Bard Music Program, including faculty, libraries, courses of
instruction, and facilities. For more information on the Music Program, see page 218.

The Conservatory accepts applications from students of composition and the follow-
ing instruments: piano, violin, viola, cello, bass, flute, oboe, clarinet, bassoon, French
horn, trumpet, trombone, and tuba. A graduate program in vocal arts began in 2006,
and a graduate program in conducting continues as part of the Conservatory. At full
strength the Conservatory will have approximately 140 undergraduate students.

Curriculum
The crafting of each students double-degree program is an individual matter, devel-
oped through careful consultation between student and faculty. As a general rule, the
program requires five years (10 semesters) of work to complete. All composition stu-
dents are required to study an instrument. All violinists have at least one semester of
instruction on viola.

Courses and workshops prepare students to work successfully in the music world after
graduation. Emphasis is also placed on students involvement with music of the world,
beyond the Western classical tradition. All courses in the Bard College Music Program,
including those in electronic music, jazz, and world music, are open to students in the
Conservatory.

Conservatory experience comprises the following five dimensions, which are designed
to integrate with the students work in the College.

309
310 The Bard College Conservatory of Music

Studio Instruction
Bard retains one of the key components of a traditional conservatory education: the
opportunity for students to develop mentoring relationships with master artists. As an
important center of professional musical activity in the greater New York City region,
Bard attracts world-class faculty who believe strongly in the mission of its Conser-
vatory. Visiting performers and composers present master classes and concerts at the
Conservatory, for the entire Bard community.

Ensemble and Chamber Music

The growth gained by rehearsing and performing music with peers is an irreplaceable part
of any musicians education. Bard places considerable emphasis on this dimension of the
conservatory experience, with eight semesters of ensemble and six semesters of chamber
music required of all students. The Richard B. Fisher Center for the Performing Arts at
Bard College is the performance home of the Bard Conservatory Orchestra.

Chamber music plays a particularly important role at the Conservatory. Working

closely with the Conservatorys Composition Program, student chamber music ensem-
bles perform works of the late 20th and the 21st centuries, as well as works written ear-
lier. Whenever possible, faculty members participate in ensembles with students, in
addition to offering coaching sessions. Guest artist groups visit the Conservatory fre-
quently for chamber music master classes and concerts. Students may elect to play in
the contemporary ensemble as an alternative to the Conservatory Orchestra.

The Conservatory Seminar (Integrated Theory, Aural Skills, and History)

The Conservatory Seminar is a unique four-semester course that integrates music the-
ory, aural skills, and music history. The seminar is based on the works being studied;
each week students perform from among these works in class to illustrate the topics
under discussion. The course material is taught on a need-to-know basis, emphasiz-
ing its relevance to the students work as performers. In the third semester, students
compose in a variety of styles; the fourth semester is devoted to free composition. In
addition to the Conservatory Seminar, a two-semester music history sequence is
required. Certain areas of concentration (the area in which studio instruction is taken)
require a limited amount of additional course work.

Senior Recital

A solo recital at the close of undergraduate music study is a rite of passage. At Bard,
the options for fulfilling this requirement remain flexible and responsive to the special
strengths and goals of each student. Composition students arrange a program of their
works that includes performances by the Da Capo Chamber Players, Conservatory stu-
dents and faculty members, and others.
 Requirements 311

Summary of Requirements
Dual bachelor of music and bachelor of arts degree

Conservatory Requirements
Studio Instruction (4 credits per semester) 40 credits
Ensemble (eight semesters)
Chamber Music (six semesters)
Conservatory Seminar (four semesters) 16 credits
Music History Sequence (two semesters) 8 credits
Senior Recital
Subtotal 64 credits

Limited additional requirements related to specific areas of concentration may be necessary.

College Program Requirements

(see individual program descriptions for more information)

Program Courses 40 to 56 credits

Moderation
Senior Project 8 credits
Subtotal 48 to 64 credits

General College Requirements

Workshop in Language and Thinking

(first-year students only: three weeks, beginning in August)
First-Year Seminar 8 credits
Distribution Requirements 24 credits
Subtotal 32 credits

Degree candidates must accumulate at least 156 semester hours of academic credit.

Advanced standing or college credit for College Board Advanced Placement courses is
given for the grade of 5. Students who wish to request credit or advanced standing must
submit the appropriate record of their grade to the Office of the Registrar.

The following international diplomas may be accepted for advanced standing: Inter-
national Baccalaureate, French Baccalaureate, Swiss Maturity, and German Abitur.

A student may be allowed to accelerate for up to 32 credits (a normal full year) at the
time of Moderation if the Moderation board so recommends. Students who have
earned A-level passes may enter with advanced standing.
312 The Bard College Conservatory of Music

There are nine distribution requirements (each a 4-credit course). Two can be fulfilled
in the Conservatory (Practicing Arts and Analysis of Arts) and at least one (possibly
two) within the College major.

Studio instruction is required in every semester of enrollment.

Sample Five-Year Plan

The following sample plan is for a student at the Conservatory who has chosen to moder-
ate into the Biology Program (specializing in biochemistry). In this sample program the
student earns no credit for Advanced Placement courses and no academic credit during
January intersession or the summer (though credit is possible in all three categories).

Year OneFall Year OneSpring

Studio Instruction 4 Studio Instruction 4
First-Year Seminar 4 First-Year Seminar 4
Biology 141 4 Biology 142 4
Chemistry 141 4 Chemistry 142 4

Year TwoFall Year TwoSpring

Studio Instruction 4 Studio Instruction 4
Conservatory Seminar I 4 Conservatory Seminar II 4
Biology 201 4 Biology 202 4
Chemistry 201 4 Chemistry 202 4

Year ThreeFall Year ThreeSpring

Studio Instruction 4 Studio Instruction 4
Conservatory Seminar III 4 Conservatory Seminar IV 4
Music History I 4 Music History II 4
Biology 144 (Biostatistics) 4 Biology Elective 1 4

Year FourFall Year FourSpring

Studio Instruction 4 Studio Instruction 4
Biology Elective 2 4 Biology Elective 3 4
Distribution Requirement 1 4 Distribution Requirement 2 4
Elective 4 Distribution Requirement3 4

Year FiveFall Year FiveSpring

Studio Instruction 4 Studio Instruction 4
Distribution Requirement 4 4 Distribution Requirement 5 4
Biology Elective 4 4 Biology Elective 5 4
Senior Project I 4 Senior Project II 4
 Conservatory Graduate Programs 313

Admission
In addition to applying to Bard College, candidates for admission to the Bard Conser-
vatory must send a CD of their playing and a brief musical autobiography, and they
must appear for an audition, if selected. Applicants in composition must send at least
two scores with recordings. For details, visit www.bard.edu/conservatory/admission.

Fees and Expenses

The annual tuition and fees for the Bard Conservatory are the same as for Bard
College. Note, however, that the Conservatory program will usually require five years
rather than four, and students may choose to enroll in summer and January interses-
sion programs, which involve additional costs.

For information on fees, expenses, and financial aid, see the Finances chapter in this
catalogue, on page 373.

Graduate Programs
In 2006 The Bard College Conservatory of Music opened a program in vocal arts that
leads to the M.Music degree. Eight students per year are enrolled in a two-year curricu-
lum that includes a specially created four-semester Core Seminar, a singer/composer
workshop, and extensive performance opportunities in The Richard B. Fisher Center
for the Performing Arts at Bard College.

The Conservatory is now home to The Conductors Institute at Bard, which continues
its program leading to the M.F.A. degree in conducting. Further descripton of this cur-
riculum can be found in the Graduate Programs chapter of this catalogue.
 International Programs and
Study Abroad
Globalization creates new opportunities for dialogue and understanding, as well as
occasions for turmoil and conflict. In the age of the Internet and e-mail, satellite com-
munications and high-speed travel, it is increasingly possible to work and learn with
and fromnot just aboutpeople throughout the world. Bard College is an established
leader in international education. Its global outlook starts on campus, where the stu-
dents represent some 50 countries and the faculty is similarly diverse, and extends to
an array of offeringsstudy-abroad programs, virtual classrooms, internships, research
ventures, and collaborations with other institutionsthat bring the world to Bards
doorstep and Bards students to the world.

The College, which benefited immeasurably from the influx of emigr scholars in the
1940s and 1950s, assumed its internationalist perspective long before the current wave of
globalization. As early as 1948, when Eleanor Roosevelt was a member of the Board of
Trustees, Bard played host to an annual conference of foreign students. Today, Bard is
strongly committed to an international education that introduces students to other cul-
tures and global issues both intellectually and experientially, through interaction with a
large, talented group of international students and numerous foreign visitors and through
the Colleges involvement in innovative collaborations with institutions abroad.

Bard offers numerous opportunities for students to engage with the world outside of the
Annandale campus. Nearly 50 percent of Bard students participate in at least one
global or international program during their time at Bard. Some spend a year, a term,
or a summer studying abroad. Others spend time abroad participating in internships
with leading international organizations or working on community service projects.
Many students combine these various programs.

Bard students who wish to study abroad are encouraged to seek out programs that allow
them to attend classes within foreign universities, as opposed to those offering courses
attended solely by Americans. Bard offers such integrated programs at universities in
Germany, Hungary, Russia, and South Africa and participates in several exchanges,
consortiums, and other special programs that can facilitate study abroad
(www.bard.edu/globalstudy/). Bard also runs intensive language programs in China,
France, Germany, Hungary, Israel, Italy, Japan, Mexico, Morocco, and Russia. In addi-
tion to Bard-sponsored programs, Bard students can receive credit for participating in
study-abroad programs offered by other American colleges and universities and can
also matriculate directly at foreign institutions, provided their participation in these

314
 International Programs and Study Abroad 315

programs is approved by Bard. Students studying abroad for a semester must have a
grade point average of 3.0 or higher. Students participating in programs not sponsored
by Bard are subject to a fee of $300 per semester. (Note: Students participating in the
Program in International Education, described below, are not eligible to participate in
study-abroad programs.)

Bards international programs and initiatives include the following.

American School of Classical Studies at Athens Bard students and faculty who wish
to study Greek culture and archaeology may apply to the American School of Classical
Studies at Athens for participation in academic programs and visits to museums, mon-
uments, and archaeological sites. The school also serves as a center to assist researchers
in Greek civilization. A six-week summer session is open to undergraduates, who are
advised that the program is extremely rigorous.

Bard in China This program of events and exchanges works closely with Asian studies
faculty and students as well as with faculty and students from China. China-related pub-
lic presentations and lectures have featured renowned speakers and performers in the
fields of literature, social science, and the arts. In addition to helping with arrangements
to bring exchange students and teachers from China, the program assists in fund-raising
and administration for faculty and student travel to and within Asia.

Central European University in Budapest Central European University is an inter-

nationally recognized institution of postgraduate education in the social sciences and
humanities that seeks to contribute to the development of open societies in Central
and Eastern Europe and the former Soviet Union. Faculty members from nearly 30
countries teach courses in English at CEU, which attracts approximately 1,100 stu-
dents each year from more than 60 nations. Administered through the College, the
program allows students from Bard and other undergraduate schools to take courses for
credit at CEU. They may also participate in an internship program sponsored by CEU,
in cooperation with the Bard Program on Globalization and International Affairs.
Upon completion of their undergraduate studies, students who qualify may have the
option of matriculating in one of CEUs masters degree programs in the social sciences
or humanities. For additional information, log on to http://ceu.bard.edu.

Humboldt University in Berlin Taking advantage of its location at the center of the
new Europe, Humboldt University has developed an active international program and a
strong interest in university reform. The universitys enrollment of 36,000 includes more
than 4,000 foreign students, many from Eastern Europe. Bard students from all disciplines
are encouraged to apply. Bard students at Humboldt enroll in courses throughout the uni-
versity and typically attend its German language courses. To be eligible, students must
have completed two years of German and have moderated. Humboldt offers some courses
in English. Students participating in the exchange pay Bard tuition. Intensive German
classes are available prior to the beginning of the Humboldt semester.

Institute for International Liberal Education At a time in which globalization

has become a catchword for the spread of free-market mechanisms and modern
316 International Programs and Study Abroad

communications technologies in the postCold War era, insufficient thought has been
given to the potential of international liberal education at the undergraduate level to con-
tribute to international understanding and lay the foundation for solving worldwide prob-
lems. Bards Institute for International Liberal Education, founded in 1998, seeks to redress
this deficit in two ways: by expanding Bards own international programs and projects, and
by stimulating new thinking and initiatives in international education and culture.

Projects initiated by the Institute are based on the principles of mutuality and equality
and seek to realize the best features of American liberal arts education, including its
capacity to emancipate individuals by enabling them to think critically and act crea-
tively based on a knowledge and understanding of human history, society, and the arts.
The Institutes programmatic focus is on joint ventures and long-term collaborative
relationships with leading educational institutions in other countries. Geographically,
it is especially interested in parts of the world that are working to expand democracy
and increase individual freedom.

The Institute has a faculty advisory committee and a board of advisers.

Intensive and Immersion Foreign Language Most foreign languages taught at Bard can
be studied in an intensive format that offers both an accelerated pace of learning and a
one- or two-month summer or winter program in the country of the language under study.
Current sites for these summer programs are Qingdao, China; Tours, France; Heidelberg,
Germany; Haifa, Israel; Florence, Italy; Kyoto, Japan; Oaxaca, Mexico; Fez, Morocco; and
St. Petersburg, Russia. The intensive format allows students to complete the equivalent of
two years of language study in a few months. The immersion format, currently offered in
German, is even more accelerated than the intensive format. (For a more detailed descrip-
tion of intensive and immersion foreign language courses, see the Foreign Languages,
Cultures, and Literatures Program description elsewhere in this catalogue.)

International Human Rights Exchange In 2000 Bard initiated a program through

which students from South African and Zimbabwean universities and American lib-
eral arts colleges came together during the summer for an intensive, multidisciplinary
study of human rights.

In 2007 Bard expanded the International Human Rights Exchange (IHRE) to a full
semester, in partnership with the University of the Witwatersrand in Johannesburg,
South Africa. IHRE seeks to promote a critical understanding of human rights as part
of a broad intellectual and social movement, not simply as a code or set of laws, but as
a discourse in transformation, often contested, extending to the humanities, social sci-
ences, arts, and sciences. It is offered every fall semester and runs from mid-July to the
end of November to correspond to the Witwatersrand semester. The IHRE interna-
tional student body consists of approximately equal numbers of North American and
African students, though typically many other nationalities are also included.

Students participating in the IHRE program take a survey course on human rights,
elective courses on topics of human rights, and a core seminar focusing on engagement
in human rights. A total of 16 credits are earned during the semester.
 International Programs and Study Abroad 317

The International Human Rights Exchange is partially funded by a grant from The
Andrew W. Mellon Foundation.

Lingnan University Founded in 1967, Lingnan University, the only liberal arts uni-
versity in Hong Kong, has a relatively small student body and is committed to main-
taining a close faculty and student relationship. The campus, located in Tuen Mun in
the New Territories, has won several architectural awards and is an embodiment of
Eastern and Western architectural styles. The university offers undergraduate studies in
Chinese, contemporary English studies, cultural studies, history, philosophy, transla-
tion, business administration, and social sciences, as well as graduate programs. Bard
students need not speak Chinese to spend a semester at Lingnan. Bard graduates may
apply to be English language tutors.

Program in International Education (PIE) Responding to the end of the Cold War,
Bard developed the Program in International Education, whose mission is to promote
friendship and democratic thinking among future leaders from the United States and
from regions of the world that are undergoing a transition to more democratic forms of
government. Originally limited to the countries of Eastern and Central Europe, Russia,
and the former Yugoslavia, PIE has since expanded to include the countries of southern
Africa and central Asia. Since 1991 PIE has brought more than 200 students to Bard
from 23 countries. These students spend one year at Bard, then return to their home
institutions to complete their studies. While at Bard, each student participates with
American students in two core seminars on aspects of democratization.

Smolny College at Saint Petersburg State University In 1996 Bard and Saint
Petersburg State University formed a partnership to establish Russias first liberal arts
college. Smolny College is located in one of Russias culturally richest cities, the his-
toric nexus of cultural encounters between Russia and the West. This first project to
introduce liberal arts teaching and learning at a major university is a significant step
forward in higher education reform in Russia.

The structure of Smolnys four-year B.A. curriculum resembles Bards. Students attend
First-Year Seminar, pass Moderation, and complete Senior Projects. At the same time,
Smolnys programs of concentration and courses have different emphases and strengths,
reflecting Russian cultural and intellectual traditions and the interests of contemporary
Russian faculty and students. Major programs of concentration are art history and
architecture; cognitive studies; complex systems; economics; history of civilizations;
international relations, political science, and human rights; literature; music; philoso-
phy; sociology and anthropology; and visual arts. Programs of minor concentration
include American studies, French studies, Russian studies, gender studies, oriental
studies, and religious studies.

Smolny College opened in October 1999 with 78 students and now enrolls 450. The
great majority of students are Russian. Graduates receive a dual B.A. in liberal arts and
sciences from Bard College and Smolny College of Saint Petersburg State University.
318 International Programs and Study Abroad

Smolny is in the process of renovating the 18th-century Bobrinskiy Palace in St.

Petersburg as its future campus. In a city of many palaces, the Bobrinskiy stands out by
virtue of its park, courtyard, and charming, intimate interiors. Three wings of the
palace, constructed more recently than the original structure, offer ample space for
classrooms, faculty offices, and the faculty and student exchanges and activities that
are important for liberal education. All wings are scheduled to be renovated and open
by June 2008.

The languages of instruction at Smolny are Russian and English. Courses in Russian as
a second language are offered at the intermediate and advanced levels. In 2005,
Smolny and Bard launched a Russian language summer intensive for students who may
need to improve their skills in Russian before enrolling.

Bard students with sufficient knowledge of Russian, including Russian and Eurasian
studies majors, are encouraged to spend a semester or more at Smolny. Students from
Bard and other U.S. colleges who attend Smolny for a semester or a year earn Bard
College credit; Bard students attending Smolny pay Bard tuition. For additional infor-
mation, log on to www.smolny.org.

State Academy of Design in Karlsruhe, Germany The State Academy of Design

Karlsruhe (Staatliche Hochschule fr Gestaltung, or HfG) is a new university with the
mission of extending the teaching of traditional art and design to include new media.
Painting, film, sculpture, video, photography, animation, etc., become media for free
artistic expression by the academys 1,800 students and distinguished faculty. The cre-
ative process in the applied field is supported by digital media, changing the way infor-
mation is presented and conveyed. The HfG is housed with the Centre for Art and
Media (ZKM), giving its students access to the German contemporary art world. Bard
students at HfG attend from March through June. Students intending to participate in
arts courses require knowledge of intermediate German; those interested in theory
need advanced language. German language instruction is available before the begin-
ning of the semester and at nearby Karlsruhe University.

University of the Witwatersrand in Johannesburg Bard students may study as

directly enrolled exchange students at the University of the Witwatersrand (Wits) in
Johannesburg, South Africa. Separate from the International Human Rights Exchange
(also at Wits), this Bard-Wits program enables Bard students to study courses in
African history, arts, anthropology, international relations, languages, literature, phi-
losophy, political science, and sociology. Language instruction is available in all of
South Africas major languages, including Afrikaans, Sestho, SiSwati, Xhosa, and Zulu.
Bard students earn credit for study at Wits.

Wits is home to over 25,000 undergraduate and graduate students. It is renowned for
its intellectual leadership and its commitment to nurturing critical thinkers, creative
innovators, and problem posers and solvers. Students at Wits are exposed to a compre-
hensive academic program, participate in leading research programs across the curricu-
lum, and constantly engage in current developments in South Africa, the rest of
Africa, and the world.
 Additional Opportunities
to Learn
Bard offers a number of opportunities for learning outside the formal curriculum and
course structure. Students planning professional careers can concentrate in a liberal
arts field and at the same time arrange their program to meet the requirements for
admission to graduate professional school. In some professional areas, students may
choose a program in which they combine liberal arts study at Bard with professional
graduate work at another institution. Pathways for independent work include special
study and internship programs, study at another academic institution in the United
States or outside it (see International Programs and Study Abroad), and individual
and group study projects. Bards progressive approach encourages a wide range of
individual programs. For further information about the following programs, e-mail
admission@bard.edu.

Specialized Undergraduate Programs

Bard Program on Globalization and International Affairs (BGIA)

The Bard Program in Globalization and International Affairs, located in the heart of
New York City, brings together university students and recent graduates from around the
world to undertake specialized study with leading practitioners and scholars in interna-
tional affairs. Topics in the curriculum include political risk analysis, human rights law,
civil society development, ethics, humanitarian action, terrorism, issues in global pub-
lic health, trends in terrorism and counterterrorism, and writing on international
affairs. Students are required to complete highly competitive internships at interna-
tional organizations throughout New York City. Internships and tutorials are tailored
to the students particular field of study. Students in the program publish a journal,
BardPolitik, examining new ideas about globalization and world politics. All classes and
living facilities are in Bard Hall, 410 West 58th Street, near Columbus Circle.

Bard-Rockefeller Program

In 2000, Bard College and The Rockefeller University in New York City established a
collaborative program in science education. Rockefeller faculty offer courses to Bard
students on subjects at the intersection of biology and medicine and reserve places for
319
320 Additional Opportunities to Learn

them in the Summer Undergraduate Research Fellowship program, which allows col-
lege students to work in Rockefeller research laboratories. Bard faculty may obtain
adjunct status at Rockefeller, which enables them to participate in research projects in
the universitys laboratories. The Bard-Rockefeller Semester in Science began in the
spring of 2007. A companion program to BGIA, it centers on competitive internships
in Rockefeller research laboratories.

Immediate Science Research Opportunity Program (ISROP)

A research assistantship program open to first- and second-year students, ISROP estab-
lishes a research community in molecular biology, biochemistry, and neurobiology.
Students work in a mentor relationship with the ISROP director and members of the
science faculty.

Professional Education
In Bards view, the liberal arts curriculum provides the best preparation for a professional
education, which is usually acquired in postgraduate study. Most graduate and professional
schools know that an enhanced command of language and capacity to reason developed
in the undergraduate years increases the students level of achievement in postgraduate
work. Certain programs at Bard, such as those described below, combine professional edu-
cation with the undergraduate curriculum. A variety of early admission and combined
study plans is available to Bard students who qualify to pursue particular professional
careers. The combined plans allow Bard to focus attention and resources on the basic sci-
ence and liberal arts education and the associated schools on specialized areas.

Prelaw Undergraduate Program

Admission to law school is governed by the students college record, especially the
grade point average, and results of the Law School Admission Test (LSAT). No stan-
dard prescribed curriculum of undergraduate study specifically prepares students for a
law career or is required by law schools, although most consider a broad liberal arts
program desirable. For further information, contact the Career Development Office.

Premedical Undergraduate Program

Realistic planning and early self-evaluation are critical for students applying to health
professional schools. Admission to medical school is governed by several factors: the
college record, results of the Medical College Admission Test (MCAT), recommenda-
tions, and an interview. Most important, however, is the grade point average. Students
accepted to medical schools in recent years had a nationwide average GPA of 3.5 to
3.6. Early preparation and planning are important in order to do well on the MCAT
 Professional Education 321

and to fulfill health professional school requirements. Minimum requirements are

introductory chemistry, organic chemistry, and one year each of physics, mathematics,
biology, and English. Early in their academic careers, interested students should discuss
their plans with the health professions adviser.

Professional Option: Joint Professional Degree Programs

The professional option allows exceptionally qualified students to combine undergrad-

uate study at Bard with graduate or professional work in an approved participating pro-
gram and, through the option, to qualify for a Bard B.A. degree and a degree from the
other program. Students wishing to apply for admission to a joint professional degree
program must first obtain a faculty recommendation from the division in which they are
majoring. Those accepted into a participating program complete three or four years of
study at Bard (according to the terms of the program) and then do further work at the
other institution. To qualify for the Bard B.A., students must successfully complete their
distribution requirements at Bard and the degree requirements of the other institution;
a Senior Project is not required of students who are not at Bard for their senior year.

Engineering In affiliation with the Schools of Engineering at Columbia University,

Washington University in St. Louis, and Dartmouth College, Bard offers programs of
study leading to degrees in engineering. Under the 3-2 program, a student transfers to
the school of engineering at the end of the junior year at Bard and, upon completing
that two-year program, qualifies for both a B.A. degree from Bard and a B.S. degree in
engineering from the other school. A Senior Project is not required for either of these
programs. Under the alternative 2-1-1-1 program at Dartmouth (two years at Bard,
then one at Dartmouth, one at Bard, and one at Dartmouth), the student spends the
senior year at Bard, and therefore does a Senior Project. There are two 4-2 programs:
the student completes the entire four-year program at Bard and after two years at the
other school qualifies for the Bard B.A. and either B.S. or M.S. degrees. Admission to
any of these programs is contingent on fulfillment of Bard major and distribution
requirements; the specific course prerequisites for each engineering program; achieve-
ment of a grade point average of 3.0 or higher, both overall and in the sciences; and
recommendation of two Bard faculty members and the Bard faculty liaison, Professor
Burton Brody. Applicants need not be science majors. Interested students should con-
sult with Professor Brody early in their Bard careers.

Environmental Policy The Bard Center for Environmental Policy (BCEP) offers one-
and two-year programs leading to a master of science degree or a professional certificate.
This innovative science-based program prepares graduates to enter government, busi-
ness, or nonprofit organizations as skilled mediators between the world of science and the
political, legal, economic, and cultural processes that shape environmental policy. (See
Graduate Programs chapter for further details.) This professional program is designed to
provide a broad background in natural sciences, social sciences, and decision-making and
communication skills. The Center offers qualified Bard undergraduates a 3-2 option that
allows them to proceed directly from three years of undergraduate study at Bard to the
two-year masters degree program. The BCEP graduate program includes a full-time
322 Additional Opportunities to Learn

professional internship designed to facilitate entry into the job market. Graduates of the
3-2 program receive both the B.A. and M.S. degrees. BCEP also offers dual degree
options with Pace University Law School (M.S. and J.D.) and the Master of Arts in
Teaching Program at Bard College (M.S. and M.A.T.), as well as a Masters International
(M.I.) program with the Peace Corps. Interested students should consult with program
advisers and the BCEP assistant director for graduate admissions and student affairs.

Forestry and Environmental Studies Another option for Bard students is the
3-2 program with Duke Universitys masters programs in forestry and environmental
management. To plan appropriate course work for the program, interested students
should consult with Professor William Maple of the Biology Program early in their Bard
careers.

Teaching The Master of Arts in Teaching (MAT) Preparation Program offers Bard
undergraduates a five-year combined program leading to the bachelor of arts and mas-
ter of arts in teaching degrees. Bard students who wish to enter the MAT Program upon
completion of the bachelors degree through a preferred admissions process should
notify their advisers as early as possible, preferably by November 1 of the sophomore
year, that they plan to pursue a fifth year of study in the MAT Program. To plan appro-
priate course work, interested students should contact the MAT office.

Independent Work

Independent Study Projects

Regular Bard academic credit may be awarded for successful completion of an
independent study project outside the Colleges regular course structure, provided the
project has demonstrated academic value. After a proposed project has been approved
by a faculty sponsor and the head of the relevant division or program, the student
submits it for final approval to the Executive Committee, which consists of the dean
of the college, the registrar (serving ex officio), and the chairs of the divisions.

An independent study project may be undertaken in the fall or spring semester (for 4
credits) as part of the normal course load or during the January intersession or the sum-
mer (for 2 credits).

Archaeology Field School For a month in the summer, students in the Archaeology
Field School earn 4 credits for archaeological excavation in pursuit of knowledge about
events and activities that took place at specific local sites. The field school emphasizes
basic excavating techniques (digging, taking field notes, mapmaking, and photogra-
phy), the first steps in laboratory analysis; counting and cataloguing the artifacts and
ecofacts uncovered; and preparing a summary statement of the finds. This work pro-
vides training in the technical skills of cultural resource management. Participants seek
to determine how discoveries contribute to an understanding of cultural ecosystems in
the Hudson Valley and the eastern woodlands of North America.
 Independent Work 323

According to archival research, the community of Guinea, located in a rural area of

what is now Hyde Park, was home to a population of fugitive and freed slaves from the
late 18th through the mid-19th centuries. Preliminary above-ground archaeology has
revealed cellar holes and extensive refuse deposits. The Dutchess County Historical
Society, the Town of Hyde Park, and Bard College are collaborating to preserve this
endangered site and, through archaeological and historical research, to develop educa-
tional programs for students and the general public.

Past Archaeology Field School sites have included the prehistoric Grouse Bluff camp-
site on the shore of the Hudson River and the foundation of the A. J. Davisdesigned
Gardeners Lodge.

Distinguished Scientist Scholars Summer Research Students in the Distin-

guished Scientist Scholars Program are eligible for a stipend of up to $2,000 for sum-
mer research projects following the sophomore and junior years.

January Intersession The January intersession begins at the end of the winter holi-
day vacation and extends through the month of January. Students can gain academic
or work experience or earn academic credit during this period in the following ways:

Independent study project A reading, research, or creative project for academic

credit. The project must be planned with a faculty member and approved by the
Executive Committee by the end of the fall semester. (See Independent Study
Projects, above.)
Work project or internship Paid or volunteer employment or an internship at a news-
paper or in a hospital, law office, theater, museum, or other institution. Although
work, on or off campus, does not usually carry academic credit, students who think
a particular work experience or internship is worthy of academic credit may apply
for it. (See Independent Study Projects, previous page.)
Enrollment in a midyear course at another college or university Many colleges and uni-
versities with a one-month January intersession offer courses for credit that are
open to students from other institutions.

Junior Fellowship Actual experience is invaluable in helping students to discover

whether they enjoy working in a particular field and what is needed to succeed in it.
The Junior Fellowship Program offers qualified Bard students the opportunity to explore
potential career fields. The program provides seven juniors a stipend of up to $2,000
each to finance a summer career internship. Fellowships are awarded on the basis of stu-
dent proposals and need (including the receipt of any outside funding). Recent fellow-
ships have allowed students to test the waters of a career in social work, anthropology,
music, journalism, business, and science in many parts of this country and abroad.

Trustee Leader Scholar Program In keeping with Bards ethos of encouraging ini-
tiative at all levels of campus life, students in the Trustee Leader Scholar (TLS) pro-
gram design and implement service projects based on their own passionate interests.
Student leaders receive stipends in exchange for their participation in the program,
324 Additional Opportunities to Learn

and most projects run for multiple years. Examples of recent TLS projects include
building a school in Ghana, helping inmates in local prisons prepare for the GED
exam, organizing work trips to New Orleans after Hurricane Katrina to support the
recovery of low-income housing and the reemergence of public school education, and
running ESL programs for migrant laborers in the Hudson Valley.

Every Bard student is eligible to apply for TLS status. Applications are accepted on a
rolling basis, and acceptance is based primarily on the students willingness and capac-
ity to direct a large-scale project. Most TLS students remain active in the program
throughout their college experience. They meet one-on-one with the program director
and assistant; take part in skill-building workshops; and write formal project proposals,
budgets, and evaluations. They are offered hands-on opportunities to acquire skills in
grant writing, lesson planning, and group facilitation.

Washington Center Internships Based in the nations capital, the Washington

Center offers supervised, semester-long internships. Bard students accepted into its
program earn academic credit for work at a government department or agency, a lob-
bying group, or other organization active in the public sector. Past participants have
held internships with congressional committees, the U.S. Securities and Exchange
Commission, the U.S. Department of Justice, Amnesty International, the Overseas
Development Council, the U.S.-Asia Institute, and the National Organization for
Women. Students in the internship program participate in evening seminars held in
association with American University. In addition, they may complete an independent
research project supervised by a Bard faculty member.

Study at Another Academic Institution

in the United States
Academic credit may be awarded to a student who successfully completes courses at
another college or university in the United States. Students who wish to obtain full
credit must submit an application to the Office of the Registrar before taking such
courses. For courses taken during the summer or the January intersession, the applica-
tion must be signed by the students adviser and divisional chairperson. For those taken
during the fall or spring semesters, the student must also obtain approval from the
Executive Committee for a leave of absence.

Human Rights Project

The Human Rights Project enables students to learn about, and engage in, the contem-
porary human rights movement. The Project is interdisciplinary and humanities based.
It focuses on the philosophical foundations and political mechanisms of human rights
and maintains a special interest in freedom of expression, the public sphere, and media.
The Projects main emphasis is on forging links between the human rights movement
 Bard Prison Initiative 325

and the academic world, including activists, faculty, and those undergraduates who oth-
erwise might not find ways to develop and apply their interest in human rights.

In 2002 Bard inaugurated the first full major in human rights at a U.S. college. The
Human Rights Program offers a series of core and specialized courses in human rights
across the undergraduate curriculum. In addition, a number of existing courses have
been reshaped to emphasize questions of human rights. The College also created a new
faculty chair, the Henry R. Luce Professor of Human Rights and Journalism.

Since 2001 the Project has supported more than 50 student internships at organizations
such as Human Rights Watch, the International Center for Transitional Justice,
Memorial (Kiev), the Center for Law and Justice (Albany), Cambodia Daily, the
Committee for Rehabilitation Aid to Afghanistan (Peshawar), the UNs International
Criminal Tribunal for the former Yugoslavia, the International Solidarity Movement
(West Bank), Public Interest Law Initiative (Budapest), and Zena Zenama (Women to
Women) in Sarajevo.

The Human Rights Project also sponsors individual students who are pursuing research
abroad and at home. It has supported research in Turkey; Chihuahua City, Mexico;
The Hague; Belgrade, Serbia; and the Dominican Republic; as well as in Washington,
D.C., and other areas of the United States.

The Human Rights Project serves as the anchor for a number of special projects,
including the Bard Prison Initiative (see below) and the following:

The Migrant Labor Project, which seeks to improve conditions for migrant laborers
and their families in New York State, particularly the Hudson Valley, through
community and campus education, service, research, and advocacy work.
An extensive and very active lecture and film series on campus, with presentations
by producers, directors, scholars, and activists from around the world.
A complete online video archive and broadcast-quality digital videotape archive
of the trial of Slobodan Milosevic at the International Criminal Tribunal in The
Hague, created together with the International Center for Transitional Justice,
beginning in 2002.

More details about the Human Rights Project and related initiatives can be found at
www.bard.edu/hrp.

Bard Prison Initiative

The Bard Prison Initiative (BPI) is restoring higher education to the prisons of New
York State. For more than 20 years, college-in-prison programs had slashed rates of
reincarceration from 60 percent to less than 15 percent. They spread higher education
among the most isolated communities and were the most cost-effective form of public
326 Additional Opportunities to Learn

correctional spending. Despite these facts, funding for prison colleges was eliminated
in 1995, at the peak of the tough on crime frenzy in American electoral politics.
Within that year some 350 such programs closed nationwide, ending the presence of
one of the most affordable and transformative programs in American criminal justice.

Americas prison population has increased exponentially over the past 20 years, draining
precious resources from other social institutions. Hardest hit have been state and com-
munity colleges. New Yorks prison budget now exceeds its budget for higher education.
These trends have had the gravest impact on those communities most entangled in the
criminal justice system and most isolated from educational opportunity. Nationwide,
there are now more African American men held in prison than enrolled in college.

BPI runs college programs inside two long-term, maximum-security prisons and two
transitional, medium-security prisons. Between these four prison campuses the
Initiative now enrolls more than 100 full-time incarcerated studentswomen and
menin a rigorous and diverse liberal arts curriculum, offering both associate and
bachelor degrees.

The existence of the Bard Prison Initiative also has a profound effect on the intellec-
tual life of the Bard College campus. Each week, roughly 40 campus students visit
regional prisons as volunteers. They facilitate a wide variety of precollege opportuni-
ties from GED mentoring to courses in theology and workshops in the arts. These on-
campus students can also enroll in a range of classes related to their experiences with
BPI. A number of Bard/BPI alumni have gone on to organize similar volunteer pro-
grams across the country. The Initiative integrates student volunteerism with the study
of Americas social and civic institutions.

Established after the demise of publicly supported prison education in 1995, BPI is one
of only a handful of existing programs of its kind left in the United States. For more
information, see www.bard.edu/bpi.

Rift Valley Institute

The Rift Valley Institute (RVI) is an independent research and educational association
based in Kenya and the United Kingdom. In 2006, RVI established a U.S. office on the
Bard College campus. The aim of the Institute, which has been working in East Africa
since 2001, is to connect local knowledge with global information networks; disseminate
information about the region; and address such issues as human rights, political economy,
and environmental conservation through its action-oriented research initiatives. John
Ryle, Legrand Ramsey Professor of Anthropology at the College, is cochair of the
Institute (www.riftvalley.net).

RVI works with educational institutions in Kenya and Sudan, overseeing, among other
projects, training courses on Sudan for aid workers, diplomats, peacekeepers, and
 Returning to College Program 327

researchers. It has also created the Sudan Open Archive, a free database of historical and
contemporary documents about the region, with a linked guide to Internet resources.
Bard students have the opportunity to assist with expanding the database, which is avail-
able online (www.sudanarchive.net/) and in freestanding CD and DVD formats. The first
phase of the archive involved digitizing several hundred reports on aid and development,
from the start of Operation Lifeline Sudan in 1989 through the present. Reports on local
peace processes are currently being added; ethnographic and historical literature and
grammars and dictionaries of Sudanese languages are planned.

The Bard College office of RVI also organizes informational events on campus. Public
lectures have covered topics such as Chinas complicity in events in Darfur, contempo-
rary slavery, and counterterrorism challenges facing the next U.S. administration.

Returning to College Program

A cornerstone of Bard Colleges mission is a commitment to the transformative nature
of a liberal arts education and the role of the liberally educated student in a democratic
society. This power to transform extends to students beyond traditional college age
and, for this reason, the College has historically been committed to programs that serve
this population. For more than 30 years, it has done so under the aegis of the
Continuing Studies Program. Beginning in the fall of 2007, the program has been
redesigned as the Returning to College Program (RTCP).

RTCP resists the separation of adult degree students and regular undergraduates. The
program is founded on the premise that returning students benefit from participating
in the regular undergraduate curriculum, taking their places at the seminar table, the
lab bench, and the barre, and learning from and with their younger colleagues. Within
the liberal arts curriculum at Bard, RTCP students engage in a rigorous encounter with
their courses of study. It is through this process of engagement that the liberal arts
enrich our lives and empower us to affect change in the world, and this is true for adult
learners no less than their traditionally aged peers.

At the same time, Bard recognizes the real world difficulties in asking adult students for
this level of engagement. Many returning students have jobs, families, and other com-
mitments that interfere with their ability to join fully the life of the College. To this end,
Bard is committed to making the return to college more cost effective than a traditional
undergraduate program and to providing academic and other support to students enrolled
through this program. The Returning to College Program is for students who are at least
25 years of age and who have successfully completed some accredited college work.
328 Additional Opportunities to Learn

Nonmatriculated Students and Auditors

A nonmatriculated student is enrolled in a course or courses for credit, but is not a
degree candidate. There are three categories of nonmatriculated student:

1. Current high school students. Students currently enrolled in a local high school may
take up to two Bard courses per semester, in addition to their high school work.
Their participation is subject to the availability of space and requires written per-
mission from their high school, their parent or guardian, and the instructor.
Students pay a registration fee of $175 and a tuition fee of $175 per course. The
refund schedule is as follows. Prior to the first week of classes, 100% of fees is
refundable. During the first week of classes, there is a 100% refund on tuition, but
no refund of the registration fee; during the second week of classes, the tuition
refund is 50% with no refund of the registration fee. No refunds are given after the
second week of classes.

Application for enrollment is through the Office of the Registrar, which maintains
a record of grades and credits earned and provides transcripts as required.

2. Recent high school graduates residing in the Hudson Valley region. Students who grad-
uated from high school the previous semester and currently reside in the Hudson
Valley region may take up to two courses for credit per semester. Students must
meet Bard admission requirements and comply with admission procedures: tran-
scripts, essays, interview, application form. A tuition fee of $1,066 per credit is
charged for each course taken; some students may be eligible for the Hudson
Valley Scholarship Program (see Bard College Assistance Programs, under
Financial Aid). Application for enrollment is through the Office of Admission;
there is no application fee.

3. Other nonmatriculated students. Other students over the age of 24 who wish to take
courses for credit may register for up to four courses per semester. Application for
enrollment is through the Returning to College Program.

Students who wish to take courses without credit may attend classes as auditors; they
receive neither credits nor grades. Registration is subject to the instructors permission
and the availability of space. Application for enrollment is through the Returning to
College Program.

Lifetime Learning Institute

Sponsored by Bard College, the Lifetime Learning Institute provides opportunities for
actively retired persons to share their love of learning in a setting that fosters the
exchange of ideas and experiences. The Institute is affiliated with the Elderhostel
Institute Network and offers noncredit, noncompetitive courses taught by volunteers
 Bard College at Simons Rock: The Early College 329

on the Bard College campus. Classes are held during the spring and fall semesters and
a January minisession. Special events include lecture programs, cultural trips, and mod-
erated panels. In addition to study and discussion, members are encouraged to partici-
pate actively in all aspects of the operation of the Institute. Membership is open to all
adults of retirement age residing in Dutchess, Ulster, and Columbia Counties of New
York State. The Lifetime Learning Institute can be reached through its office at Bard.

Bard High School Early College

In response to the crisis in American secondary education, in 2001 Bard College and
the New York City Board of Education created Bard High School Early College
(BHSEC), a trailblazing alternative to traditional high school. The school offers moti-
vated young people an opportunity to embark on serious college work at age 16. In four
years BHSEC students can progress from ninth grade through the first two years of col-
lege, graduating with both a New York State Regents diploma and an associate in arts
(A.A.) degree from Bard College. Located in Manhattan, BHSEC enrolls approxi-
mately 500 students from diverse backgrounds.

BHSEC is open to all New York City residents. Admission is based on a transcript review,
teacher recommendation, writing and mathematics assessment, and interview. The pro-
gram offers a core curriculum in general educationliterature, history, mathematics, sci-
ence, foreign language, the arts, and, in the final two years, a required, four-semester
humanities seminarsupplemented by electives. Graduates are eligible to transfer
BHSEC credits to four-year programs at colleges and universities throughout the United
States. BHSEC students who complete the A.A. degree with a cumulative grade point
average of 3.0 or higher are eligible to participate in the preferred-transfer process to Bard
College or to Bard College at Simons Rock: The Early College, in Great Barrington,
Massachusetts.

Bard College at Simons Rock: The Early College

Established in 1966 and a unit of Bard College since 1979, Simons Rock is the nations
only four-year college of the liberal arts and sciences that is designed to serve younger
students. It was founded on the idea that many bright, highly motivated people are
ready to undertake serious college work at the age of 15 or 16. Most students enter
Simons Rock after completing the 10th or 11th grade and pursue a program of study
leading to the associate of arts degree in two years and the bachelor of arts degree in
four. In 2001, Simons Rocks 35 years of experience inspired and helped shape Bard
High School Early College.
330 Additional Opportunities to Learn

Bard College Clemente Course in the Humanities

An innovative response to the need for access to postsecondary education among low-
income and minority populations, the Bard College Clemente Course in the
Humanities provides college-level instruction, for college credit, to economically dis-
advantaged individuals between the ages of 17 and 45, a population that typically does
not have the opportunity to study the humanities.

The two major goals of the program are to promote the intellectual growth of Course
members, thereby preparing them for fuller participation in the cultural, economic, and
political life of our society; and to create a bridge to enrollment in all forms of higher edu-
cation. The program, the only one of its kind in the country, is based on the belief that
by studying the humanities, participants acquire the cultural capital, conceptual skills,
and appreciation for reasoned discourse necessary to improve their societal situation.

Students in the Clemente Course receive 110 hours of instruction in five humanistic
disciplines and explore some of the great works of literature, art history, moral philos-
ophy, and American history. Instruction in critical thinking and writing is also offered.
Classes meet two evenings a week over an eight-month period at a community host
site. The program removes many of the financial barriers to higher education that low-
income individuals face: books, carfare, and child care are provided, and tuition is free.
Bard grants a certificate of achievement to any student completing the Clemente
Course and 6 college credits to those completing it at a high level of academic perfor-
mance. Bard also provides informational sessions on applying to colleges.

Begun as a pilot project on the Lower East Side of Manhattan, the Clemente Course is
currently in its 13th year of operation. In 200607, approximately 300 students matricu-
lated at 14 sites around the country. In its first 12 years, the program has enrolled about
2,700 students, of whom 1,700 completed the full course of study; 1,600 earned college
credit; and 1,300 transferred to four-year colleges and universities or planned to do so.
Several graduates have gone on to complete their bachelors degrees at Bard College.
Each Clemente Course is carefully supervised by the College through the national
director of the program. Bard is responsible for the academic program, while also pro-
viding technical and fund-raising assistance.

Sequel to the Clemente Course Based on its experience with the Clemente Course, Bard
established a sequel in New York Citya two-semester, 8-credit program for Clemente
Course graduates who desire to continue their education but are unable to transfer
immediately into a regular college degree program. The Clemente Course sequel is based
on Bards First-Year Seminar. It is designed to help students learn to read college-level
material in a close and careful way. The success of this Clemente sequel in New York City
has led to the establishment of second-year courses in Chicago and Boston. There are cur-
rently plans for similar programs for Clemente graduates in other communities.

Collaboration with Other Colleges and Universities In recognition of the educa-

tional value and social significance of the Clemente Course, the U.S. Department of
 Bard College Clemente Course in the Humanities 331

Education Fund for the Improvement of Postsecondary Education (FIPSE) awarded the
College a second major grant in September 2000 for dissemination of the Clemente
Course concept to other colleges and universities. In this project, Bard assisted five
partner institutionsNortheastern University; the University of Wisconsin, Milwaukee;
and Trinity, Bloomfield, and Reed Collegesin establishing their own versions of the
Course. The national staff of the Bard Clemente Course continues in its advisory role
with these institutions, while assisting other colleges in the creation of their own courses.

Collaboration with State Humanities Councils In 1998 the first Clemente Course
outside the New York area was established in Seattle through a partnership between
Bard College and the Washington Commission for the Humanities, forging the begin-
nings of the Clemente Course as a national program. Since then, state humanities
councils have proven to be ideal partners in the expansion of courses throughout the
country. Councils in Alaska, Florida, Georgia, Illinois, Massachusetts, and New Jersey
have funded local Clemente Courses. Going beyond financial support, the councils in
Illinois and Massachusetts have become affiliates of the national Clemente Course
program, taking a lead role in the expansion of the course within their states by adopt-
ing it as a regular council offering.

Meetings and Symposia Each summer, Bard hosts a meeting of Course directors, fac-
ulty, officials of state humanities councils, and other interested individuals from around
the country in order to share experiences and address issues of common concern, such
as student retention, curriculum, pedagogical techniques, and fund-raising. During the
summer of 2003, Bard additionally sponsored a major conference dealing with the phi-
losophy and goals of the Clemente Course. The conference brought together leaders in
the movement to offer humanities courses in low-income communities throughout the
United States, Mexico, and Canada. The response was extremely positive, and addi-
tional conferences are planned for the future.

Bard plans to develop additional innovative educational experiences for the educa-
tionally and economically disadvantaged, as well as programs that serve special con-
stituencies, including senior citizens, the homeless, and recent immigrants. Through
the creation of humanities courses, Bard College, in collaboration with community
organizations and educational institutions nationwide, will transform the lives of thou-
sands of individuals who now live in poverty and, in so doing, bring our nation closer
to the ideals of equality and democracy on which it was founded.
 College Life

As a residential college, Bard provides a setting in which students can pursue their
academic interests inside and outside the classroom and enjoy a rich social life that is
interwoven with their cultural and intellectual pursuits. This chapter describes the
facilities for various fields of study, student activities, the residential program, and
services available to students.

Bards campus covers more than 500 acres of fields and forested land bordering the
Hudson River. The beauty of the Catskill Mountains across the river can be viewed
from many student residences and from the grounds and gardens of Blithewood (the
mansion that houses The Levy Economics Institute of Bard College). Walking trails
crisscross the campus through wooded areas, along the Sawkill, past the Bard College
Field Station, and down to the river. This beautiful country setting offers an atmosphere
for work, recreation, relaxation, and reflection throughout the year. The entire campus
has been dedicated as the Bard Landscape and Arboretum, with trail maps available of
historic and specimen trees. The campus is also a center from which to explore the rich
natural and cultural life of the Hudson Valley, from New York City to the Adirondack
Mountains.

Many of the Colleges facilities are clustered at the center of campus: Kline Commons,
with its main student dining hall and meeting places for students and faculty; classrooms;
libraries; the computer centers; science labs; art studios; and the gymnasium. The
Bertelsmann Campus Center provides a spacious setting for social and intellectual
exchange among members of the Bard community. Several residence halls are located in
the central campus area, while others are within easy walking or bicycling distance.

Campus Facilities: Libraries

Charles P. Stevenson Jr. Library,

Hoffman Library, and Kellogg Library

The librarys mission is to support the goals of the College and to improve the quality
of learning and teaching by providing information services and collections in a
variety of formats that serve the needs of its users. In support of this mission the library
332
 Campus Facilities 333

seeks to (1) sustain and improve its collections and the services and pathways that give
access to them; (2) clarify user needs and develop programs that help students to become
more independent, more confident, and more resourceful; (3) create an information gate-
way through the thoughtful use of technology; (4) promote staff learning through collab-
orative planning, teamwork, and continuing education; and (5) ensure that library
facilities are safe, inviting, and well maintained. The library staff is committed to helping
students become more resourceful, more independent, and more productive scholars.

As a result of a generous gift from trustee Charles P. Stevenson Jr., Bards library com-
plex consists of the Charles P. Stevenson Jr. Library, designed by the architectural firm
of Robert Venturi, a winner of the Pritzker Prize, and the Hoffman and Kellogg
Libraries. The Stevenson addition, which opened in 1993, more than doubled the size
of the former library, providing a total of 54,000 square feet of space. The addition con-
tains the Nesuhi Ertegun Music Listening Rooms, which were constructed and fur-
nished through the generosity of Warner Music International, Inc. The larger of these
two music rooms is equipped with desks and headphones; the smaller is designed for
ambient listening, so that students and faculty can discuss what they hear. The rooms
contain a growing collection of CDs, audiotapes, and records, as well as facilities for
group study and for viewing videos, slides, videodiscs, and microforms. Among the
other facilities of the Stevenson wing are the Robert F. Maguire III Family Reading
Area, the Stewart and Lynda Resnick Reference Desk, the Carter and Belmont Towbin
Reading Room, the Robert and Patricia Ross Weis Reading Room, and the main cir-
culation desk, given by trustee James H. Ottaway Jr.

The resources of the Stevenson Library and satellite libraries in the Levy Economics
Institute, Center for Curatorial Studies, and Bard Graduate Center for Studies in the
Decorative Arts, Design, and Culture include 400,000 volumes and more than 14,000
journals available in print or online via the librarys website, www.bard.edu/library. In
addition, Bard has joined ConnectNY, a resource-sharing consortium of 14 regional
libraries. This relationship makes online direct ordering available for all students from
library collections totalling more than five million volumes, with three-day delivery to
the Annandale campus. Online databases central to all the disciplines in Bards curricu-
lum provide access to indexes and abstracts. Users may consult these and online newspa-
pers, texts, encyclopedias, and dictionaries from the librarys more than 50 computer
stations, any public lab, most dormitory rooms, and off campus anywhere in the world. A
writing and instruction lab funded by the Andrew W. Mellon Foundation makes avail-
able both Macintosh and Windows-based PCs equipped with Microsoft Office Suite and
other applications. ReserveWeb, an online service, makes the full text of many course
reserve readings available 24 hours a day, seven days a week, from any location.

In addition to the collections supporting the academic programs, the library houses
several special collections: the personal library of the late Hannah Arendt, political
theorist and philosopher (a growing collection of digital resources related to Arendt is
available at www.bard.edu/arendtcollection); a digital archive of Arendts husband, the
334 College Life

late Heinrich Bluecher, who taught philosophy for many years at the College; the Bard
family papers, which are housed with the Colleges archives; and the Senior Project
collection, which consists of the culminating work of Bard seniors since 1938. College
archives and special collections are available at www.bard.edu/archives. The library has
received substantial collections from the estates of Marius Bewley, a noted literary
critic, and Olin Dows, a painter in the Federal Art Project.

Campus Facilities: Academic

Milton and Sally Avery Arts Center

The newly renovated Avery Arts complex houses the Center for Film, Electronic Arts,
and Music and the Edith C. Blum Institute, home to the Music Program and the Bard
College Conservatory of Music.

Music facilities at the Center include a practice space for students and staff, faculty
offices, classrooms, a listening library, a fully equipped soundproof recording studio,
editing studio, computer music studio, composition studio, jazz band room, and jazz
percussion studio. Students have access to grand and upright Steinway and Yamaha
pianos, donated to the College by the manufacturers.

The Center for Film, Electronic Arts, and Music at Avery houses a 110-seat theater
equipped with 16- and 35-millimeter film projection and state-of-the-art video projec-
tion; multimedia presentation and performance space; two screening/seminar rooms; a
video installation gallery; a multimedia video lab; a shooting studio with control room;
printing and processing labs; a sound lab; an animation studio; 20 individual film and
video editing suites; faculty offices; and a video library. The facilities are used in part-
nership with the Integrated Arts and Human Rights Programs; SummerScape, Bards
summer festival of international performing arts and film; and the Center for
Curatorial Studies.

Bard College Exhibition Center (UBS Gallery)

The Exhibition Center is a renovated 16,000-square-foot gallery and studio space in
the nearby village of Red Hook. The off-campus exhibition and studio space, formerly
the Universal Builders Supply building (UBS), provides a professional-level space for
exhibitions by graduating seniors and master of fine arts candidates in the Milton
Avery Graduate School of the Arts.
 Campus Facilities 335

Bard College Field Station and Hudsonia Ltd.

The Bard College Field Station, built in 1971, is on the Hudson River near Tivoli
South Bay and the mouth of the Sawkill. Its location affords research and teaching
access to freshwater tidal marshes, swamps and shallows, perennial and intermittent
streams, young and old deciduous and coniferous forests, old and mowed fields, and
other habitats. A library, herbarium, laboratories, classroom, and offices are open to
undergraduate and graduate students, faculty, and environmental researchers by prior
arrangement. Also based at the field station are the Hudson River National Estuarine
Research Reserve of the New York State Department of Environmental Conservation
and Hudsonia Ltd., a research institute. The field station is owned by the College and
operated with support from the Research Reserve, Hudsonia, and other public and pri-
vate funding sources.

Hudsonia Ltd. is an independent, not-for-profit, tax-exempt institute for environmen-

tal research and education. Funding for Hudsonia projects comes from government
agencies, foundations, conservation and citizens groups, businesses, and individuals.
Hudsonia focuses on wetland ecology, the Hudson River, biodiversity assessment, con-
servation biology of rare species and habitats, and ecology and management of inva-
sive plants. Most projects are in New York and neighboring states, but activities have
ranged afield to Maryland, South America, and Canada. Student interns and employ-
ees assist in project work.

Bard Hall

Bard Hall is the Colleges original academic building, erected in 1852. It is used by the
Music Program and other programs for lectures, recitals, rehearsals, and classes. It was
completely restored in 1986 with generous assistance from the late John H. Steinway
39, who had been a trustee of the College.

Blithewood

Blithewood is the home of The Levy Economics Institute of Bard College. The
Blithewood mansion, built in 1900, and its site, originally designed by the renowned
landscape architect A. J. Downing, were renovated with a gift from the family of Leon
Levy. Undergraduates have access to the Institutes library in person by appointment
and through the campus electronic network, and some undergraduate courses are
taught there.

Edith C. Blum Institute

Located in the Avery Arts Center, the Edith C. Blum Institute is the home of the
Music Program and the Bard College Conservatory of Music. For a description of the
Centers music facilities, see previous page.
336 College Life

John Cage Trust

The John Cage Trust, created to oversee the use of the published and unpublished work
of one of the 20th centurys most important composers, writers, and artists, is now
housed at Bard College. The John Cage Trust at Bard College, located in the Griffiths
House near the campus, provides access to these holdings through courses, workshops,
and concerts, as well as other programs.

Center for Curatorial Studies and Art in Contemporary Culture

The Center for Curatorial Studies (CCS) is a 38,000-square-foot exhibition, research,

and study facility that was completed in 1991 through the generosity of Marieluise
Hessel and Richard Black. It is the home of Bards graduate program in curatorial stud-
ies. The Center conducts a varied exhibition program exploring aspects of the presen-
tation of contemporary visual arts. Center graduates have curated more than 85
exhibitions, featuring the work of 300 artists, as part of their final masters degree pro-
jects. The exhibitions may use works of art from the Centers permanent collection,
particularly the Marieluise Hessel Collection, comprising more than 1,700 works dat-
ing from the mid-1960s to the present. The Centers library has an exceptional collec-
tion of exhibition catalogues and reference works, an archive of materials on the
contemporary visual arts, and a slide collection. Curators, museum professionals, schol-
ars, and artists regularly take part in lectures and conferences that are open to under-
graduates and the public.

The Hessel Museum of Art, a new 17,000-square-foot exhibition space, opened in

November 2006. The museum houses the Marieluise Hessel Collection, on permanent
loan to the Center. The libary wing has also undergone renovations to allow for growth
in the Centers library and research collections. James Goettsch and Nada Andric, archi-
tects of the original CCS facilities, oversaw the new construction and renovated spaces.

The Richard B. Fisher Center for the Performing Arts at

Bard College
Designed by internationally acclaimed architect Frank Gehry, the 110,000-square-foot
Richard B. Fisher Center for the Performing Arts at Bard College opened in April
2003. The Fisher Center houses two theaters, rehearsal studios for dance and theater,
and professional support facilities. The Sosnoff Theater, an intimate 900-seat theater
with an orchestra, parterre, and two balcony sections, features an orchestra pit for
opera and an acoustic shell designed by Yasuhisa Toyota that turns the theater into a
first-class concert hall for performances of chamber and symphonic music. The Center
also houses Bards Theater and Dance Programs and includes Theater Two, a flexible
black box theater. The Fisher Center is the home of the Bard Music Festival, which
entered its 18th season in August 2007; plays host to companies from the United
States and abroad during Bard SummerScape, an annual festival of opera, theater, film,
and dance; and showcases a variety of performances throughout the year.
 Campus Facilities 337

The Richard B. Fisher and Emily H. Fisher Studio Arts Building

The Richard B. Fisher and Emily H. Fisher Studio Arts Building, which includes the
Procter Art Center, houses the facilities of the Studio Arts Program. The complex
includes large studios for painting and drawing, printmaking, cybergraphics, sculpture,
and woodworking. It also contains a welding shop, a forge, individual studios for stu-
dents working on their Senior Projects, a large exhibition area for student shows, meet-
ing areas, and faculty offices.

Hegeman Science Hall and the David Rose Science Laboratories

With the fall 2007 opening of The Gabrielle H. Reem and Herbert J. Kayden Center
for Science and Computation (see page 339), Hegeman Hall is slated to house the
Chemistry, Mathematics, and Physics Programs, and will be the likely future home of
the quantitative social sciences.

The Rose laboratories provide a wide range of equipment used for advanced science
classes and faculty and student research. The Physics Program has a broad array of
research electronics and optics equipment and nuclear-detection devices. The Chemistry
Programs equipment includes UV/Vis and FT-IR spectrometers, a 300-MHz multinu-
clear FT-NMR, and a gas chromatographmass spectrometer. Divisional computing
facilities include microcomputers for data acquisition and analysis and a network of
RISC stations for advanced computing.

Henderson Computer Resources Center and

Henderson Technology Laboratories
Academic computing at Bard College has experienced rapid growth since its origins in
the mid-1980s, with hundreds of public-area computers distributed throughout the
campus. These machines and related information technology services are managed
from the Henderson Computer Resources Center (HCRC) and the Henderson
Technology Laboratories, the campuss central computing facilities.

The HCRC houses approximately 90 computers of different types and capabilities,

including Macintosh and Windows-based PCs; specialized multimedia workstations;
IBM RS/6000, Sun, and Linux workstations; X-station equipment; and an extensive
software library. The Henderson Technology Laboratories building features a large,
mixed Macintosh and Windows-based PC public computing lab, which is open 24 hours
a day, seven days a week, and a PC-based computer classroom and video conference
facility. A gigabit fiber-optic backbone network and 100Mb switched Ethernet link the
Colleges various facilities and provide students and faculty with unlimited access to the
Internet, e-mail, and the World Wide Web. Wireless networking zones (WiFi hotspots)
are located in many places on campus, including residence halls, the library,
Bertelsmann Campus Center, Fisher Center for the Performing Arts, and Gabrielle H.
Reem and Herbert J. Kayden Center for Science and Computation.
338 College Life

The HCRC operates a help desk and tech support service in the Henderson Technology
Laboratories building. It also offers training sessions, open to all students, staff, and
faculty, on productivity applications; the Internet/Web; 2D and 3D graphics; and
video, audio, and multimedia applications and development.

The HCRC was established in 1981 with a gift from Ernest F. Henderson III and his
family. Their continuing generosity has made possible ongoing expansion to accommo-
date the growing role of computing in higher education. Henderson family gifts have
resulted in the creation of several specialized computing spaces, including a model
multimedia networked classroom, resource rooms for special technology projects, and
a faculty multimedia and curriculum development lab. The Henderson Technology
Laboratories opened in 2001.

Grants from the Andrew W. Mellon Foundation have also helped the College assume a
leadership role in investigating the application of emerging technologies to learning and
teaching. Recent projects have involved video conferencing, digital imaging, nonlinear
video editing, digital audio recording, the development of Internet-based courseware and
an online digital resources library, student-designed websites, and an online writing lab.
In 1999, with the foundations support, a technology lab was established for research
instruction, staff training, and student writing. The lab provides projection capabilities
and seminar space as well as computers.

Franklin W. Olin Humanities Building

The Franklin W. Olin Humanities Building, constructed with a grant from the F. W. Olin
Foundation and completed in 1987, is the main facility for anthropology, history,
philosophy, religion, literature, creative writing, foreign languages, art history, and
music history classes. The building contains a 370-seat auditorium for concerts, lec-
tures, and conferences. It also includes small lecture rooms, seminar rooms, an art his-
tory room with projection equipment, a music history room with demonstration
facilities, a poetry room with a library of poetry on tape, study and lounge areas, and
an interior court and exterior terrace used for special receptions.

F. W. Olin Language Center

The two-story F. W. Olin Language Center was added to the Olin Humanities Building
in 1995 through a special grant from the F. W. Olin Foundation. The facility features
classrooms, seminar rooms, a lecture hall, and the state-of-the-art Center for Foreign
Languages and Cultures (CFLC), which has undergone extensive renovation. The
CFLC offers the Bard community a wide range of tools for foreign-language learning
and teaching, as well as for collaboration across curricular, linguistic, geographic, and
cultural borders, including more than 5,000 foreign-language titles in DVD, videotape,
audio CD, book, and other media formats. Its smart seminar space consists of 20 mul-
timedia computer stations that provide access to multilingual word processing and a
wide variety of foreign language audio, video, and software programs via the Sony
 Campus Facilities 339

Virtuoso/Soloist learning system and an integrated audio-video media server. All lan-
guage center classrooms are linked to this network. Internet, video, audio, and inter-
national TV are available in all classrooms and can be projected. Broadcasts from more
than 20 foreign language channels, including TV5 (France), Telemundo (Latin
America), RAI (Italy), NTV (Russia), and Al-Jazeera (Middle East), as well as
Chinese, German, Israeli, and Japanese networks, are available for viewing in all Olin
teaching spaces; recording, editing, and digital archiving of these programs is available
in the CFLC. The Center, which has an international staff of 25, also has various tutor-
ing spaces, a writing lab, a multimedia development room, and a reception area.

Jim and Mary Ottaway Gatehouse for International Study

Home to the Institute for International Liberal Education and the Human Rights
Project, the historic, hexagonal gatehouse to the Blithewood Estate is one of the old-
est buildings on campus. Designed by noted architect Alexander Jackson Davis in 1841
and constructed in 1842, the building is a designated state and federal historical land-
mark. Over the years it has housed Bards University Without Walls, Muriel DeGr
Center and lending library, Admission Office, and Publications Office. In May 2004,
dedication ceremonies were held to rename the gatehouse for James Haller Ottaway Jr.
and Mary Hyde Ottaway, who have generously supported Bards international programs
and students since 1988.

The Gabrielle H. Reem and Herbert J. Kayden Center for Science

and Computation

This new state-of-the-art, 49,000-square-foot science facility, located alongside Sottery

Hall, is scheduled to open in the fall of 2007. Designed by Rafael Violy Architects, a
New York City firm, the dramatic, two-story building includes nearly 10,000 square
feet of laboratory space, including areas of specialized research such as a robotics lab,
zebrafish facility, and cognitive systems lab. In addition to classroom space, the building
features an auditorium capable of seating 65 people; three smart classrooms that are
set up for multimedia sound and computer projections and videoconferencing; faculty
offices; and a series of open spaces for studying, computer work, and informal meetings.
The Gabrielle H. Reem and Herbert J. Kayden Center will be the home of the compu-
tational and biological sciences.

Shafer House

Shafer House, the longtime residence of the late Frederick Q. Shafer, professor of reli-
gion at the College, and Margaret Creal Shafer, has been renovated to accommodate
the offices of the Master of Arts in Teaching Program. The midcentury modern facil-
ity has offices for faculty and staff and a seminar room that seats up to 15 people.
340 College Life

Woods Studio

Woods Studio houses the classroom, labs, studio, offices, and exhibition gallery of the
Photography Program. The programs facilities include two black-and-white group
darkrooms; color facilities, including nine 4 x 5 enlargers and two processors for
20 x 24 prints; private darkrooms for seniors, equipped with color and black-and-white
enlargers for negatives up to 8 x 10; and a mural printing room. A 5,000-square-foot
addition to Woods Studio houses an exhibition gallery, classroom, 900-square-foot stu-
dio, and advanced digital imaging lab. A basic digital lab, with 12 workstations and
printer capable of handling widths of up to 44 inches, is located in the basement of the
nearby Brook House residence hall.

Campus Facilities: Social and Recreational

Heinz O. and Elizabeth C. Bertelsmann Campus Center

The Bertelsmann Campus Center, which opened in 1999, houses several facilities and is
a central meeting place on campus. The centers 30,000 square feet contain the college
bookstore and post office; the Career Development, Trustee Leader Scholar Program,
Multicultural Affairs, and Student Activities Offices; Down the Road Caf; a 100-seat
cinema; lounge areas; public e-mail terminals; multipurpose and conference rooms; a stu-
dent computer lab; meeting rooms for student clubs and organizations; and art gallery
space for members of the community to show their work. The signature exterior feature
is a spacious second-floor deck on the buildings south side. The center is named for
Heinz Bertelsmann, professor of international relations at Bard from 1947 to 1977, and
Elizabeth Lilo Bertelsmann, a teacher of German and noted photographer, whose gen-
erous gift funded construction of the center.

Finberg House

Finberg House, located on the east side of Route 9G opposite the main entrance to the
campus, provides overnight accommodations for distinguished guests of the College. It
has been named in honor of Alan R. Finberg, a longtime trustee of the College and
husband of the late Barbara D. Finberg, a close friend and member of the board of the
Bard Music Festival.

Kline Commons

Kline Commons is the main dining facility on campus. It contains a large main dining
room, three smaller alcove dining rooms, meeting rooms, and a faculty dining area.
 Campus Facilities 341

The servery provides multiple stations and a variety of cuisines. Through a continuous
service plan, students on the meal plan enjoy the flexibility of dining at the hour of
their choice. Information is available at www.dineoncampus.com/bard.

The Green Onion Grocer, which serves as the campus market, is also located in Kline
Commons. A variety of produce, dairy, and staple items are available for students to
purchase using Bard bucks or cash. The Green Onion Grocer is open Sunday through
Friday, from 1:00 p.m. to 7:00 p.m.

Manor House Caf

Opened in January 2004, the Manor House Caf is steps away from the Richard B.
Fisher Center for the Performing Arts and features two dining rooms with views of the
Catskill Mountains and an outdoor dining terrace. The caf is open weekdays from
8:30 a.m. to 7:30 p.m. for breakfast, lunch, and dinner. Resident students may use their
meal plan at Manor House Caf as a meal exchange. Bard bucks are also accepted.

Stevenson Gymnasium

The Stevenson Gymnasium is an athletic and recreational complex made possible by

a gift from Charles P. Stevenson Jr., chair of the Bard College Board of Trustees. The
59,000-square-foot complex has a 25-yard, six-lane swimming pool, squash courts, a
cardiovascular center, a weight room, an aerobics studio, and 12,500 square feet of
gymnasium space.

The cardiovascular center contains aerobic machines ranging from treadmills to ellip-
tical trainers. The weight room includes a full strength-training circuit, free weights,
and lifting areas.The aerobics studio is used for exercise classes and for regimens such
as various forms of martial arts, kickboxing, and yoga. The gym space includes basket-
ball and volleyball courts, fencing strips, badminton courts, and seating for 700 spec-
tators. Table tennis is offered in the leisure areas. The locker room areas include
general-use lockers, varsity team rooms, full showers, bathrooms, and saunas.

Outdoor facilities include six lighted hard-surface tennis courts, a lighted platform tennis
court, miles of cross-country running and Nordic skiing trails, the Stefano Ferrari
Soccer Complex, Seth Goldfine Memorial Practice Rugby Field, and adjacent multi-
purpose fields.

Staff offices for the Department of Athletics and Recreation and a full-service athletic
training room are also housed in the gymnasium.
342 College Life

Student Activities and Services

Dean of Students Office

The Dean of Students Office (DOSO) is concerned with the quality of college life. It
seeks to enhance the value of the undergraduate experience by encouraging students
to participate actively in the community, be concerned about their peers, and explore
personal matters that affect their individual pursuits and the community.

The office strives to promote an atmosphere wherein students can develop an idea of
themselves as academics and individuals. In service to that goal, it works to protect the
campus environment and encourage students exploration of intellectual, artistic, and
ethical interests. The dean of students oversees the programmatic plans of the student
services staff (thus reinforcing the Colleges academic philosophy) and identifies and
addresses specific needs of the individual student, residential community, and student ser-
vices staff within the context of the campus community. The deans office serves as an
information service for nonacademic matters and tries to accommodate individual cir-
cumstances to ensure that all students are successful in their adjustment to college life.

The Dean of Students Office supervises the efforts of the student services staff. Two
assistant deans oversee two different components of student life while helping the dean
of students follow up on individual student concerns. The assistant dean of
students/director of first-year students addresses issues that may arise during the transi-
tion from high school to college, and the assistant dean of students/director of multicul-
tural affairs acts as the primary contact for students, staff, and faculty regarding
multicultural issues. The director of residence life oversees residence directors and a staff
of student peer counselors who support and coordinate student life in residence halls,
including the organization of hall councils and planning of residence hall programming.
In collaboration with the director of campus center/director of student activities,
DOSO works with the student government and student clubs to organize events and
create long-range plans to enhance student life and leadership opportunities.

Academic Resources Center

The Bard Academic Resources Center (BARC) provides academic support for all stu-
dents. Peer tutoring, staff consultations, and courses in grammar and writing are offered
each semester.

In addition to credit-bearing courses in writing and grammar, the Center offers one-on-
one peer tutoring in all academic subjects. Writing tutors are available for drop-in con-
sultation five nights per week. Students may also meet with staff members for more
focused assistance on writing, study skills, and time management. Special programs on
writing the Senior Project are offered as part of the Senior Salon Series. Individualized
review sessions in quantitative skills assist students in passing the Q Exam, which is
 Student Activities and Services 343

required of all students before they can enroll in courses that satisfy the mathematics
and computing distribution requirement.

Services for students with disabilities (see page 346) include academic coaching and
study skills, and time management training. A variety of assistive technology equip-
ment is also available for student use.

The BARC website (http://inside.bard.edu/academicresources) features extensive links

to writers resources, including style guides, grammar help, foreign language dictionar-
ies, and resources for students with learning disabilities.

Athletics and Recreation

The Department of Athletics and Recreation offers a wide range of programs to meet
the needs of a variety of lifestyles and sporting interests, from traditional intercollegiate
competition to intramural sports and recreational pursuits. The College sponsors inter-
collegiate programs for men and women in soccer, cross-country, volleyball, tennis, and
basketball. Men also compete in squash. Athletic teams compete under the auspices of
the National Collegiate Athletic Association (NCAA Division III). Bard is also a
member of various sports conferences, including the Skyline Conference, Eastern
Collegiate Athletic Conference, North East Collegiate Volleyball Association,
College Squash Association, and National Intramural and Recreational Sports
Association.

The Stevenson Gymnasium and playing fields provide the setting for a range of intra-
mural and recreational offerings. Intramural programs are organized throughout the
college year in soccer, basketball, floor hockey, bowling, tennis, volleyball, softball,
kickball, badminton, and squash. At the club level Bard offers swimming, cycling, rugby,
fencing, equestrian events, ultimate Frisbee, baseball, skiing, and snowboarding.
Tournaments and other events in squash, basketball, fitness, table tennis, running, and
aquatics are also offered.

Classes are offered to enhance lifetime pursuits such as yoga, tai chi chuan, fitness, kick-
boxing, karate, belly dancing, swimming, shotokan, Scottish country dancing, and
Tahitian dance. Aerobics classes are available in various forms, including step, cardio
kickboxing, low impact, and tae bo. Certification courses in CPR/AED and lifesaving are
also available. In addition, the Colleges rural setting makes it easy to engage in many
popular outdoor activities, such as running, cross-country and downhill skiing, snow-
boarding, hiking, cycling, mountain biking, rock climbing, and ice skating. There are
also facilities for golf, bowling, and horseback riding near the campus.
344 College Life

BRAVE

Bard Response to Rape and Associated Violence Education (BRAVE) is a professionally

directed student-service organization whose members provide crisis intervention, sup-
portive counseling, advocacy, and ongoing education to the Bard community. Although
BRAVE staff members receive particular training in issues relating to sexual assault, sex-
ual harassment, relationship violence, and sexuality, the organizations crisis assistance
is not limited to those areas. BRAVE services are available on a 24-hour basis.

Career Development Office

The mission of Bards Career Development Office (CDO) is to help students under-
stand and manage the delicate balance of honoring academic interests and focusing
on realistic career goals. CDO is dedicated to empowering students with employment
and self-knowledge, and enabling them to transfer a liberal arts education into the
professional world. Bard students are encouraged to visit the office for advice on
career planning and typically seek assistance in preparing a resum, searching for a
summer job or internship, and sorting out career goals. Students are served in the fol-
lowing areas: career counseling, fellowship and scholarship advising, graduate/profes-
sional school advising, and job and internship counseling. Special events, informal
talks, career-specific panels, and formal symposia are held throughout the year to help
students learn about various professions and connect with alumni/ae and employers.
The Career Development Office hosts a website at www.collegecentral.com/bard,
enabling students, alumni/ae, mentors, and employers to connect electronically.
This online board lists jobs, internships, volunteer opportunities, career-related
announcements, and a mentoring network. The inside.bard.edu/career site presents
the entire gamut of CDO services, from graduate school and scholarship information
to the Bard Basic Job Guide, which includes sample resumes and tips for the job
search. Students and alumni/ae are always welcome to use the CDO office and to
seek assistance at any point in exploring their career options and lifes work.

Chaplaincy

The chaplaincy at Bard is committed to helping students, staff, and faculty explore and
develop their spiritual identities. Various academic programs shed light on how the
major religious perspectives contribute to peoples understanding of who they are; the
chaplaincy provides an opportunity to practice and experiment with different tradi-
tions of religion. The College belongs to the Colleges and Universities of the Anglican
Communion, but that membership is not taken to limit the scope of religious interests.
Rather, the chaplains understand that one of the greatest opportunities of learning is
to see oneself and the world from the diverse perspectives of Buddhism, Christianity,
Hinduism, Islam, and Judaism. At Bard, these great systems of religion are not only
studied, but practiced.
 Student Activities and Services 345

The chaplaincy has on staff two Episcopal priests, a Catholic priest, an imam, and a
rabbi. All of the chaplains are available for pastoral care with students, administration,
staff, and faculty. The clergy offer study on a formal and informal basis.

The chaplaincy supports and advises the Jewish Students Organization, Muslim
Students Organization, Christian Fellowship, Buddhist Meditation group, Sanskrit
group, and Catholic community. It helps these students organize and celebrate regular
holy observances and develops programming for the campus at large. Worship services
for the various faith traditions take place weekly.

While the Bard chaplaincy is deeply committed to the development of individual spir-
itual identity, it is equally committed to fostering a ceremonial tradition that is cele-
brated and shared throughout the College to bear witness to the life of the community.

The chaplaincy believes that this communal life finds its roots in the cycle of nature.
In addition, then, to denominational activities, the chaplaincy coordinates and
participates in a series of ecumenical events during the school year. These vary accord-
ing to season and interest. Examples of past events are a Festival of Lights in early
December, the building and burning of a labyrinth at the spring equinox, and a May
Day celebration.

Institute of Advanced Theology Founded at Bard in 1996, the Institute of

Advanced Theology is designed to create the kind of critical understanding that will
make real pluralism possible.Through an interdisciplinary program of research, educa-
tion, and public outreach, Institute faculty and fellows seek to achieve a deeper under-
standing of biblical history, the New Testament, and other important religious
documents. The Institute is not interested in general assertions of the necessity for reli-
gious tolerance. Although these imperatives are well-meaning and useful, they do not
address the heart of the challenge of religious diversitythe need to go beyond civility
and toward mutual understanding.

Events

Events and activities on campus reflect academic, social, artistic, athletic, recreational,
and purely casual pursuits.

Distinguished scholars, artists, and performers visit Bard each year as featured guests in the
Leon Levy Lecture, John Bard Lecture Series, and The Bard Centers Distinguished
Scientist Lecture Series and Lecture and Performance Series. The frequent conferences
and lectures sponsored by the Levy Economics Institute and the Center for Curatorial
Studies are open to undergraduates, as are the concerts of the Bard Music Festival, which
coincide with the Workshop in Language and Thinking in August. Staff, faculty, and stu-
dents also bring to the campus a variety of speakers and artists, arrange showings of movies
every night of the week, and present their own work in drama and dance concerts, recitals,
346 College Life

musical theater, art shows, poetry and fiction readings, lectures, and films. Working with
the Office of Student Activities or with allocated funds, students generate various other
forms of entertainment, such as hikes, ski trips, excursions to New York City, dances, par-
ties, comedy nights, coffeehouses, and athletic events. The Office of Student Activities
offers substance-free entertainment alternatives throughout the year and serves as a
resource for any student or student organization wishing to set up activities or events.

Miscellaneous Services
College Bookstore The bookstore carries texts and other books, newspapers, maga-
zines, art supplies, stationery, toilet articles, food items, and novelties. Students may
put money into a bookstore account via Student Accounts to make purchases with
their student ID card. Regular charge cards and Barnes & Noble gift cards in any
denomination may also be used for purchases.

E-mail and Internet Services The College issues to all students computer network
user accounts that provide access to Internet, e-mail, web, library, and file services.
Software, installation assistance, and general support are provided free of charge through
the Henderson Computer Resources Centers help desk. A high-speed (100Mb)
Ethernet connection to the campus computing network and, through that, to the
Internet, is provided free of charge to all students living in Bard residence halls.

Mail Service Each student has a mailbox at the Annandale-on-Hudson Post Office,
located in the Bertelsmann Campus Center. The post office provides all the usual
postal services and accepts UPS and private express-mail deliveries. UPS shipments
can be sent through the Buildings and Grounds Office on campus. The general mail-
ing address for the College is Bard College, PO Box 5000, Annandale-on-Hudson, NY
12504-5000.

Telephone Service The switchboard number for all calls to students, faculty, and
administrative offices is 845-758-6822. Emergency calls should be made to the Office
of the Dean of Students (845-758-7454) during the day on weekdays and to the Safety
and Security Office (845-758-7460) at night and on weekends. Fee-for-service tele-
phone plans are available in the residence halls, allowing students to place and receive
direct calls within the campus and the local calling area.

Services for Students with Disabilities

In compliance with Section 504 of the Rehabilitation Act of 1973 and the Americans
with Disabilities Act of 1990, Bard College is committed to providing equal access to
the Colleges academic courses, programs, and activities for all students. Students with
physical or psychological disabilities should register with the academic support special-
ist in the Academic Resources Center (see page 342) in order to receive necessary
accommodations. Forms are available online at www.bard.edu/admission/forms/pdfs/
disability.pdf.
 Student Activities and Services 347

Student Counseling Services

The Counseling Service is staffed by clinical social workers, two consulting psychia-
trists, and a consulting eating-disorder specialist. Staff members provide short-range,
problem-focused treatment; crisis intervention; and referrals to local physicians,
psychiatrists, and psychotherapists. Appointments with the counseling service are on
a first-come, first-served basis. The staff may make off-campus referrals for any students
who cannot be accommodated during the course of the semester. Incoming students
who are currently taking medications for an emotional condition, mood stabilization,
or attention deficit disorder should make arrangements to have the medication moni-
tored by the prescribing physician at home or should transfer their care to an off-
campus physician in the Bard area. Likewise, students who have been in psychotherapy
and anticipate continuing long-term therapy while at college should seek such care off
campus; the Counseling Service can provide a list of psychiatrists and/or psychothera-
pists in the area. A student who is seeing an off-campus therapist is responsible for all
arrangements, including appointments, transportation, and fees. The College health
insurance policy provides limited coverage for psychotherapy with a private, off-
campus clinician.

Student Government and Clubs

All students are members of the Bard College Student Association, a democratic forum
with three main functions: to raise issues and take action on those issues or recommend
action by the College, to provide student representation on administrative and faculty
committees in all matters of concern to the College community, and to administer
allocated funds for student-run organizations.

The Educational Policies Committee of the Student Association makes recommenda-

tions to appropriate faculty committees and to the dean of the college. The associa-
tions Student Judiciary Board deals with violations of the Colleges regulations
regarding behavior. The Student Life Committee meets with the staff of the Dean of
Students Office, College administrators, health services personnel, and other student
services offices in order to obtain information and represent the Student Association
in all policies that concern student life. Two major administrative and faculty commit-
tees on which student representatives serve are the College Grievance Committee and
the Committee on Vacancies. The students are also represented at the Board of
Trustees and the Board of Governors meetings by two elected students.

The Student Association Planning Committee is directly responsible for the allocation
and disbursement of convocation funds. A large portion of the funds goes to the
Entertainment Committee, which provides extracurricular campus events such as
concerts and other musical activities. The Planning Committee also allocates funds to
about 70 clubs and organizations, such as the Dance Club, Art Co-op, WXBC radio
station, International Students Organization, Queer Straight Alliance, Black Students
Organization, Latin American Students Organization, Asian American Students
Organization, Student Action Collective, Bard Observer and Bard Free Press (newspapers),
348 College Life

Film Committee, and several magazines of literature and criticism. Students form new
clubs every semester, depending on interest.

Student Health Service

The College maintains an on-campus outpatient health center. The Student Health
Service is staffed by four nurse practitioners, a registered nurse, and a part-time physi-
cian, under the supervision of the director of health services. The center is located in
Robbins House, on the North Campus. While the College is in session, the center is
open Monday through Friday from 9:00 a.m. to 5:00 p.m. There is an evening clinic
on Thursdays from 4:00 p.m. to 7:00 p.m. For illness requiring emergency care, the ser-
vices of Northern Dutchess Hospital in nearby Rhinebeck are available.

All new students must submit a medical report, including health history; record of an
examination by a physician, physicians assistant, or nurse practitioner; and an immuniza-
tion record. New York State law requires that all students born after January 1, 1957,
must provide proof of immunization against measles, mumps, and rubella. Students must
also provide proof of meningitis vaccination or a written statement declining vaccina-
tion. The students health service fee covers most care provided by the health center.
Medications prescribed by the College physician or nurse practitioners and dispensed at
the health center are billed monthly to the students account. A mandatory Accident
and Sickness Insurance Program is included in the health service fee to defray the cost of
services provided at off-campus facilities and/or physician offices. Details of the insurance
program are sent to parents annually.

Residence Life Program

On-Campus Housing

Bards more than 40 residence halls vary considerably in architectural style, social style,
and size. For example, Ward Manor is a 19th-century mansion; Gahagan is a small,
cozy house; and the newer Village Dormitories offer suite-style living arrangements.
Most of the residence halls are coed, and more than half of the rooms are for single
occupancy. Additionally, many residence halls have lounge/study areas, kitchens, and
laundry facilities. All rooms are equipped with extensions for telephone and Internet.

Room Assignment for New Students Using the information provided by each new
students Housing Profile form, the Office of Residence Life, in consultation with the
Dean of Students Office, assigns rooms and roommates. Ultimately, all housing assign-
ments are subject to the discretion of the director of residence life. All first-year stu-
dents are required to live on campus with at least one roommate. The only first-year
students permitted to live off campus either: have a permanent residence within 50
miles of Bard College, are married, are veterans, or are over 21 years of age.
 Residence Life Program 349

Room Draw Students who decide to live on campus after their first year select their
rooms by lottery, according to class seniority, in early May.

Summer and Other Vacations Many of the residence halls are used for conferences
and workshops when classes are not in session. Others are designated as student on-
campus housing during the summer and January intersession. Students who wish to live
on campus at these times must obtain permission from the Office of Residence Life.
The College does not make any accommodation for storage purposes at any time.

Board Students living in the residence halls are required to be on the meal plan. The
food service caters to vegans, vegetarians, and nonvegetarians.

Married Students There is no on-campus housing for married students.

Graduate Students There are a limited number of graduate accommodations in

Bards newest residence hall, New Robbins. They are typically assigned on a first-come,
first-served basis. Each room has its own private bathroom.

Off-Campus Housing

All unmoderated students who wish to live off campus must receive permission from
the Office of Residence Life. Moderated students who wish to live off campus must
inform the Office of Residence Life in writing by the stipulated deadline. Resident stu-
dents are not allowed to move off campus at midyear. Students receiving financial aid
are advised to find out how moving off campus may affect their financial aid package.

Policies and Regulations

The College expects each student to behave in a conscientious and responsible man-
ner with due regard for the welfare and sensibilities of others. These expectations are
elaborated more thoroughly in Bards Community Standards of Behavior, published in
the Student Handbook. Please consult the Student Handbook for a complete listing of
policies and regulations.

Residence Directors and Peer Counselors

Residence directors assist in the management of residence halls and provide support to
residents and peer counselors through counseling and referrals. The residence directors
are full-time, professional staff members who live in the residence halls; they organize
events and assist students in a variety of ways, including on-call crisis management. Peer
counselors are students trained and supervised by the Office of Residence Life. They live
in the residence halls and provide assistance and support to both new and returning stu-
dents; organize social, educational, and cultural events; and make recommendations for
350 College Life

residence hall improvements. Peer counselors also serve as liaisons between students
and the faculty and administration.

Safety and Security

Bard College provides round-the-clock, year-round safety and security coverage. The
Department of Safety and Security consists of a director, an assistant director, and 15
officers. In addition, a professional dispatching staff coordinates all security communi-
cations. All safety and security officers are highly trained, registered New York State
security personnel. Their main mission is to be a positive presence on campus and thus
encourage the Bard community and its many visitors to follow the rules and guidelines
established by the College. The officers are uniformed and equipped with keys and
radios and have civilian powers of arrest. In the event that a difficult situation arises
on campus that requires a higher level of professional training, the Safety and Security
Department maintains close working relations with the Dutchess County Sheriffs
Department and the New York State Police.

Other campus safety measures include a student foot patrol that provides after-dark
walking escorts to other students upon request and a bike patrol that serves as extra
eyes and ears for the Safety and Security Department. A student-operated emergency
medical team of trained first responders to emergency medical conditions is on call 24
hours a day, seven days a week while school is in session. The College also maintains
an extensive shuttle bus system that provides students with transportation to sites on
and off campus, from early morning to late evening.

Although Bard College is situated in a rural, rather idyllic setting, crimes sometimes
occur on campus that require the attention of Bards security force and the police. The
College publishes annually a list of crimes that occurred during the previous year and
categorizes them according to standards established by the U.S. Department of
Education. This list is available to the public upon request.
 Graduate Programs

In addition to its undergraduate curriculum, Bard College has nine graduate programs,
offered at seven distinct schools. Each graduate program has an interdisciplinary focus
and utilizes the expertise of the Bard College faculty and of renowned artists, scholars,
and specialists to create a dynamic, rigorous learning environment. Catalogues for each
of the graduate schools are available from their offices and from the office of the dean
of graduate studies.

Milton Avery Graduate School of the Arts

The Milton Avery Graduate School of the Arts, founded in 1981, offers an interdisci-
plinary program leading to the master of fine arts degree. For three intensive summer
sessions, artists from a variety of fields live and work on the Bard campus in an envi-
ronment that encourages proficiency in their work and recognizes the importance of
engaged discussion to the artistic process. During the eight-week summer sessions-in-
residence, the day-to-day focus is on each students process and work in progress as he
or she confronts the conceptual and practical questions that are at the core of all artis-
tic production. Work is carried out by the artist individually, in conferences with fac-
ulty and visiting artists, in caucuses within the artists discipline, and in seminars and
critiques with the community as a whole.

In addition to the three summer sessions, work toward the M.F.A. degree continues in
two independent study sessions during the intervening winters. Avery students include
active, midcareer artists, teachers, and professionals in other fields as well as recent grad-
uates. The faculty is composed of working artists who are concerned with nurturing
student artists and with the theory and practice of their own art.

International Center of PhotographyBard Program in

Advanced Photographic Studies
The International Center of PhotographyBard Program in Advanced Photographic
Studies, founded in 2003, awards an M.F.A. degree in photography, in collaboration
with the Milton Avery Graduate School of the Arts. The two-year program, which is
based at the ICP facilities in Manhattan, offers a rigorous exploration of all aspects of

351
352 Graduate Programs

photography through an integrated curriculum of four components: studio practice, a

seminar in which students integrate what they are learning into their own creative
work; professional practice, through which internships are an integral part of the pro-
gram; critical study, in which students focus on theoretical and critical issues in the his-
tory of photography; and master classes with distinguished photographers. The
curriculum integrates the resources of ICPs curatorial team and museum collection.
With faculty from Bard and ICP, accomplished artists, and active connections to the
field, the program offers students guidance from some of the most accomplished and
challenging professionals at work today. The goal is to equip aspiring photographers
with the skills they will need to participate professionally in all aspects of the field, crit-
ical and professional.

Center for Curatorial Studies and

Art in Contemporary Culture
The Center for Curatorial Studies and Art in Contemporary Culture (CCS) was
founded in 1990 by Marieluise Hessel and Richard Black, who wished to support the
creation of a new exhibition and research center dedicated to the study of late 20th-
century art. The Center initiated its graduate program in curatorial studies in 1994.
The curriculum is designed to deepen students understanding of the intellectual and
practical tasks of curating exhibitions of contemporary art, particularly in the complex
social and cultural situations of present-day urban arts institutions. A recent expansion
of the Centers facility enlarged the library and created a 17,000-square-foot wing for the
Hessel Museum of Art, which houses the Marieluise Hessel Collection, 1,700 works on
permanent loan to the Center for Curatorial Studies. With its gallery space, extensive
library and curatorial archive, and access to the remarkable Marieluise Hessel
Collection, CCS Bard offers students an intellectual grounding and actual experience
within a museum.

The Bard Graduate Center for

Studies in the Decorative Arts, Design, and Culture
The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture
(BGC), founded in 1993, is an international study and exhibition center in New York
City devoted to the interdisciplinary study of the decorative arts of all cultures. The
Center offers advanced training in the history of the decorative arts and design, cultural
history, museum history and practice, and garden history and landscape studies. Students
enrolled in the Centers M.A. and Ph.D. programs work closely with a dynamic and dis-
tinguished faculty to explore the complex interrelationships found among the arts, crafts,
design, ideas, places, and social and cultural life, in courses ranging in period from the
ancient world to the 21st century. BGC graduates are prepared to make important con-
 Bard Center for Environmental Policy 353

tributions to decorative arts scholarship and bring a new perspective to academia,

museums, commercial galleries, auction houses, libraries, nonprofit organizations, gov-
ernment agencies, and art-related publications.

The Centers facilities include a 40,000-volume research library with an extensive collec-
tion of books, periodicals, slides, and videotapes on the decorative arts and related
disciplines. The Center also publishes a semiannual journal, Studies in the Decorative
Arts, and in its galleries presents exhibitions and offers a broad range of public pro-
grams. Behind its educational initiatives lie the larger objectives of elevating the level
of thinking and writing about the cultural significance of the decorative arts, land-
scape, and design.

Bard Center for Environmental Policy

The Bard Center for Environmental Policy (BCEP) was founded in 1999 to foster edu-
cation, research, and public discussion on critical environmental issues. Through its
academic and public programs BCEP addresses local, national, and global policy issues
pertaining to the natural and built environments.

At the core of the Centers activities is the graduate program that leads to a master of
science degree or a professional certificate in environmental policy. This rigorous,
interdisciplinary curriculum, based at Bards Annandale-on-Hudson campus, prepares
graduates to enter government, business, or nonprofit organizations as skilled media-
tors between the world of science and the political, economic, legal, and social forces
that shape environmental policy. Students follow a uniquely designed, modular cur-
riculum that places emphasis on risk assessment, problem solving, and good communi-
cation skills. Distinguished faculty from diverse fields share knowledge gained from
academic research and practical experience in government, business, and nongovern-
mental organizations. A full-time, professional internship is an integral part of the
training during the second year.

In conjunction with Bards Master of Arts in Teaching Program, BCEP offers a two-
year, dual-degree program leading to the master of science and master of arts in teach-
ing degrees. A joint program with Pace University Law School gives students the
opportunity to complete an M.S. degree in environmental policy and a J.D. degree in
environmental law. The Masters International program enables qualified applicants to
combine the hands-on experience of Peace Corps service with the intensive curricu-
lum of the BCEP masters degree program.
354 Graduate Programs

The Master of Arts in Teaching Program

The Master of Arts in Teaching (MAT) Program at Bard College was founded in 2003.
The core of this yearlong program is an integrated curriculum leading to a master of
arts in teaching degree and a teaching certificate for grades 712 in one of four areas:
literature, mathematics, biology, or history. Having completed an undergraduate degree
in their chosen field, incoming students continue their studies in that field while they
take education courses that challenge them to apply the results of research and peda-
gogical analysis to the actual work of teaching. Combined with student-teaching expe-
riences spread over the full academic year and the active participation of mentor
teachers and MAT faculty advisers, the programs instructionally innovative courses
provide the basis for critical reflection on educational practice.

Fellowships from the Carroll and Milton Petrie Foundation and Newton Fellowships
from Math for America are available to students committed to teaching in New York
City public schools.

In conjunction with the Bard Center for Environmental Policy, the MAT Program
offers a dual-degree curriculum leading to the master of arts in teaching and master of
science degrees.

The Master of Arts in Teaching Preparation Program offers Bard undergraduates a five-
year combined program leading to the bachelor of arts and master of arts in teaching
degrees. Bard students who wish to enter the MAT program upon completion of the
bachelors degree through a preferred admissions process should notify their advisers as
early as possible, preferably by November 1 of the sophomore year, that they plan to
pursue a fifth year of study in the MAT Program. In addition to fulfilling the require-
ments of the Bard academic program related to the discipline they plan to teach,
undergraduates are expected to complete an internship requiring teaching or tutoring
in a school setting. To plan appropriate course work for the MAT Program, interested
students should consult with their advisers and obtain a list of course requirements and
a Master of Arts in Teaching Preparation Program application from the MAT office.
 The Bard College Conservatory of Music 355

The Bard College Conservatory of Music

In 2006 The Bard College Conservatory of Music opened a graduate program in vocal
arts that leads to the M.Music degree. Eight students per year are enrolled in a two-year
curriculum that includes a specially created four-semester Core Seminar, a singer-
composer workshop, and extensive performance opportunities in The Richard B.
Fisher Center for the Performing Arts at Bard College. For more information on the
Conservatory, see page 309.

The Bard Conservatory became the home of The Conductors Institute at Bard in 2006.

The Conductors Institute at Bard

Since 2000 The Conductors Institute at Bard has offered a master of fine arts degree in
conducting. The 32-year-old Institute, now in its ninth year at Bard, has as its mission
the promotion of technical clarity and precision in baton movement and the support
of a learning process in which conductors assist one another and are encouraged to be
advocates of American composers. The annual, nondegree Conductors Institute takes
place on the Bard campus during six weeks each summer and offers a variety of study
combinations that allow students to tailor their own programs (see page 369).

The M.F.A. degree in conducting is conferred upon students who successfully complete
an intensive, 15-month graduate program consisting of two summer institutes and an
academic year at Bard College. Students take classes in composition, basic orchestra
repertoire, languages, a second instrument (string or piano), and solfge. In addition
to regular sessions with the Institute String Quintet, podium time includes conducting
opportunities with orchestra and chorus and a completion concert with the Institute
Orchestra. The graduate program faculty is drawn from Bard College faculty.
 The Levy Economics Institute
of Bard College
In 1986 the Board of Trustees of Bard College established The Levy Economics
Institute of Bard College as an autonomously governed part of the College. Housed in
Blithewood Manor on the Bard campus, the Levy Institute is a nonprofit, nonpartisan,
public policy research organization. It is independent of any political or other affilia-
tion and encourages a diversity of opinion in the examination of economic issues.

The Institute was founded by Leon Levy (19252003), a renowned financier and Bard
life trustee, as a tribute to his father, Jerome Levy (18821967), a businessman, inventor,
and far-sighted economist. Leon Levy was a leading donor to Bard College and chairman
of the Levy Institutes Board of Governors. His philanthropy and leadership provided the
means to promote programs associated with the study of the humanities and economics.
Leon Levy was a hedge fund pioneer who joined the firm of Oppenheimer & Company,
Inc., in 1951 and later cofounded Odyssey Partners LP. His autobiography, The Mind of
Wall Street (with Eugene Linden), was published in 2002. In the last year of his life, he
taught a course at Bard College, Contemporary Developments of Finance.

The Levy Institutes research agenda responds to current economic conditions but
remains focused on issues central to achieving societys most fundamental goals: equity,
full employment, a high living standard, and low inflation. The Institute generates
viable, effective public policy responses to important economic problems that pro-
foundly affect the quality of life in the United States and abroad. Its research projects
and activities enable scholars and leaders in business, labor, and government to work
together on problems of common interest. In order to stimulate discussion of economic
issues, the Institute disseminates its findings to an international audience of public offi-
cials, private sector executives, academics, and the general public.

The Levy Institutes programs give undergraduates the opportunity to meet the promi-
nent figures who present seminars, attend conferences, and serve on the research staff.
Through a Levy Institute affiliation with Cambridge University, one or two Bard under-
graduates may spend their junior year at Christs College. Integrated activities of the Levy
Institute and Bard College include the annual award of the Levy Economics Institute
Prize to a graduating senior in economics; several annual scholarships for students con-
centrating in economics; and an endowed professorship, the Jerome Levy Professor of
Economics, currently held by Dimitri B. Papadimitriou, president of the Levy Institute
and executive vice president of Bard College.

356
 The Levy Economics Institute of Bard College 357

In an effort to develop the best economic minds of the future, the Levy Institute plans to
establish a Ph.D. program in economics, beginning in the fall semester of 2008. A rigor-
ous and research-based academic program will give students the opportunity to study
with some of the worlds leading scholars in three fields of concentration: macroeco-
nomics in theory, modeling, and policy; distribution of well-being; and gender-aware
macroeconomics and policy.

Levy Institute research is organized into programs, within which many areas are
explored. The research agenda in any one year depends on domestic and global events,
questions asked within academic and policymaking arenas, and specific interests of the
research staff. Underpinning all of the research are the Levy Institutes macroeconomic
models, designed to help identify existing and potential problems and formulate and
evaluate appropriate policy responses. These diagnostic and analytic findings are pre-
sented in the Strategic Analysis series.

Research activities currently concentrate on seven program areas: the state of the U.S.
and world economies, and strategic analysis; monetary policy and financial structure;
the distribution of income and wealth; gender equality and the economy; employment
policy and labor markets; immigration, ethnicity, and social structure; and economic
policy for the 21st century.

Studies on the distribution of income and wealth include the development of the Levy
Institute Measure of Economic Well-Being. Institute researchers in the LIMEW pro-
ject address two areas: the conceptual, methodological, and data problems involved in
measuring economic well-being; and specific aspects of the level and distribution of
well-being. Aspects of well-being studied in the LIMEW include disparities among
races and among family types, and aging and well-being.

Believing that policymaking must be informed by an understanding of the role of gen-

der in the economy, the Institute provides leadership in this field. A series of working
papers and policy-oriented publications address the four areas of the Institutes gender
research program: public finance and gender equity; time use, unpaid work, and gen-
der equity; gender dimensions of macroeconomic policy; and international trade and
gender equality.

The program on immigration, ethnicity, and social structure has, to date, studied deter-
minants of minority-white differentials in child poverty; a current research initiative
focuses on the processes by which immigrants and their descendants are assimilated
into U.S. economic life. Research on economic policy for the 21st century has
included studies of federal budget policy, an environmentally sustainable jobs program,
and Social Security.

Each year a group of international scholars is selected to pursue these areas of study.
Some work in residence at the Institute for varying periods of time, and others partici-
pate in the research agenda while continuing their affiliation with other institutions.
358 The Levy Economics Institute of Bard College

The Levy Institute disseminates information; facilitates interactions among academics,

business leaders, and government policymakers; and does outreach to the general pub-
lic. It has been called upon to present expert testimony to congressional committees
on a range of subjects, such as banking, finance, and employment structure. A series of
policy briefings in Washington with members of Congress and their staffs support the
Institutes efforts to inform policymakers about Institute research and to provide a
forum for bipartisan discussion of significant issues. Institute scholars regularly provide
commentary on current events for broadcast and print media, based on policy options
developed from continuing Institute research.

Events in 200607 included three major conferences and a symposium. Working with
a grant from the Smith Richardson Foundation, the Levy Institute commissioned a
series of papers that examined various aspects of the economics of aging. The papers
were presented at a Levy Institute conference, Government Spending on the Elderly,
which assessed the forces that drive government spending on retirees. Papers examined
how the retirement and health care of older citizens might be financed, and measured
the potential impact of different reform proposals.

At another conference, Employment Guarantee Policies: Theory and Practice, schol-

ars, policymakers, and public officials addressed issues and topics related to public service
employment in a conference organized by the Levy Institute with the participation of the
International Working Group on Gender, Macroeconomics, and International
Economics. Papers presented at the conference examined the feasibility and effectiveness
of employer-of-last-resort schemes, as well as past and current country-level experiences
in Morocco, Argentina, South Africa, Sri Lanka, Bangladesh, Bulgaria, and India.

The 16th Annual Hyman P. Minsky Conference, Global Imbalances: Prospects for the
U.S. and World Economies, discussed fiscal and monetary policies for continued growth
and employment; recent gyrations in the currency markets and the resulting exchange-
rate misalignments, and possible cures; U.S. households and trade deficits; and the role
of the United States in the global marketplace. The keynote address, The U.S.
Economic Outlook, was given by Frederic S. Mishkin, governor of the Federal Reserve
Board. Other participants included James E. Glassman of J. P. Morgan Securities, Peter
Hooper of Deutsche Bank, and Wolfgang Munchau of the Financial Times.

A symposium, Gender Equality, Tax Policies, and Tax Reform in Comparative Perspec-
tive, focused on the gender dimensions of tax policy and tax reforms in countries at
different levels of development. Participants presented papers based on their research
in South Africa, India, Kenya, New Zealand, the United Kingdom, Spain, the
European Union, Canada, and the United States. Papers addressed gender biases in
direct and indirect taxation and gender issues in tax reform and fiscal decentralization,
among other topics.

Publications are the mainstay of the Levy Institutes public education activities. These
materials raise the level of public debate on a broad spectrum of economic matters.
 The Levy Economics Institute of Bard College 359

Working Papers present research in progress by Levy Institute scholars and

conference participants.

Strategic Analyses are reports based on the Levy Institute models simulating
fiscal, monetary, and trade policy.

The Levy Institute Measure of Economic Well-Being (LIMEW) provides a broad

measure of household income for the United States. The LIMEWs data
regarding economic well-being among various segments of the popula-
tion are examined against comparable official measures.
Public Policy Briefs examine the policy aspects of contemporary economic
issues. Public Policy Brief Highlights present condensed statements of the
basic arguments and recommendations of the briefs.

Policy Notes are short articles by Levy Institute scholars and other contribu-
tors, presenting up-to-date research conclusions or policy statements on
a wide range of topics for policymaking, business, and general audiences.

The Report, a quarterly newsletter, is aimed at a diverse general audience

interested in policy matters. It includes interviews with prominent schol-
ars and public officials who can provide insights into current topics of
debate, editorials by Levy research staff, summaries of new publications,
synopses of conferences and other events, and news of the Institute and
its scholars.

The Summary, published three times a year, is aimed primarily at an academic

audience. It updates current Levy Institute research with synopses of new
publications, special features on continuing research projects, accounts of
professional presentations by the research staff, and an overview of Levy
Institute events.
Conference, symposium, and forum proceedings contain transcripts of addresses
and summaries of discussion sessions.

The Levy Economics Institute book series is published by Palgrave Macmillan

and Edward Elgar.

The Levy Institute website (www.levy.org) is a critical means of outreach to the

global community. With more than 600,000 hits per month, the website
provides all of the Institutes publications, conference transcripts, and
information on research projects to anyone looking for pertinent infor-
mation on solving todays economic challenges. A list of upcoming
events and audio archives of past conferences are also available.
 The Bard Center

The Hudson Valley is a microcosm of the changing American landscape. Its pattern of
rapid growth has transformed a once rural area into a kaleidoscope of cities, industrial
hubs, suburbs, farms, and wilderness. Its promise, problems, and challenges mirror
those of the nation as a whole, and it thus provides the ideal locale for the pioneering
programs of The Bard Center.

Established in 1978, The Bard Center develops pacesetting educational and scholarly
programs with a recognized nationwide impact. It promotes the study of the liberal arts
and sciences as they relate to issues of public planning and decision making in and beyond
the Hudson River Valley. These programs enrich the intellectual, cultural, and social
experience of Bard undergraduates and establish a network of academic and pro-
fessional centers beyond the campus.

The Bard Center sponsors lectures, seminars, conferences, and concerts on campus,
bringing students into contact with prominent researchers, artists, musicians, scien-
tists, and other leaders in fields that many undergraduates aspire to enter. An equally
influential aspect of its activities is the shared learning experience of College and com-
munity members. Public lectures and seminars given by Bard faculty and Bard Center
fellows exemplify the fruitful exchange between Bard students and the Hudson River
Valley community. Such exchange bridges wide differences in background, politics,
expertise, and attitude through joint attention to a number of complex, engaging con-
cepts and issues.

Center projects in which students have participated have had an impact not only on
the participants individual development and College matters, but also on such diverse
and far-reaching pursuits as new directions in music and the arts, the development of
health care in cities, solutions to functional illiteracy, and groundbreaking ecological
research. Because the Centers focus is intellectual in the broadest sense rather than
narrowly academic, it encourages students from their first year onward to share the
mantle of social responsibility and leadership.

360
 Fellows of The Bard Center 361

Fellows of The Bard Center

Bard Center fellows, who serve active terms of varying lengths, present seminars and lec-
tures that are open to the public and teach or direct research by Bard undergraduates.
Fellows are chosen on the basis of special achievement in the arts, sciences, literature,
philosophy, history, or social studies. The following prominent scholars and artists cur-
rently serve as fellows:

Emmanuel Dongala, chemist and novelist. Currently professor of French at Bard and
of French and chemistry at Simons Rock College of Bard, he has been dean of
academic affairs and chair of the chemistry department at the University of
Brazzaville, Congo, where his research focused on devising a reliable method for
the evaluation of toxic cyanogenic glucosides in cassava, the main food staple of
the Congo. A former president of the Congolese chapter of PEN, he is the author
of Un fusil dans la main, un pome dans la poche (1973), which received the Ladislas
Domandi Prize for best French novel by a nonresident; the short story collection
Jazz et vin de palme (1982); Le feu des origines (1987), which received the Grand
Prix Littraire dAfrique Noire and the Grand Prix de la fondation de France; and
Les petits garons naissent aussi des toiles (1998).

Ellen Condliffe Lagemann, historian, author, and educator. The Charles Warren
Professor of the History of American Education at Harvard University and former
dean of the Harvard Graduate School of Education, she is the author or editor of
nine books, most recently An Elusive Science: The Troubling History of Education
Research. She is cochair of the National Research Councils Committee on
Teacher Preparation, and has served as president of the National Research
Council and the Spencer Foundation. From 1994 to 2003, she taught at New York
University, where she was director of the Center for the Study of American
Culture and Education and founding chair of the Department of the Humanities
and the Social Sciences in the Steinhardt School of Education.

Bradford Morrow, novelist, poet, critic, and editor. His published work includes the
novels Come Sunday, The Almanac Branch (a finalist for the 1992 PEN/Faulkner
Award), Trinity Fields, Giovannis Gift, and Ariels Crossing, and the poetry collec-
tions Posthumes: Selected Poems 19771982, Danaes Progress, The Preferences, and A
Bestiary. He is a founding editor of Conjunctions, the widely respected literary jour-
nal published at Bard, where he is professor of literature, and he is the editor of sev-
eral volumes of the poems and essays of Kenneth Rexroth.

Jacob Neusner, scholar. A prolific writer on Judaic studies and the relationship between
Judaism and Christianity, he has held academic appointments at universities
throughout the world; has been a member of the American Academy of Religion,
National Council on the Humanities, and National Council on the Arts; and is the
founding editor of the Brown Judaic Studies series, editor in chief of South Florida
Studies in the History of Judaism, and editor of the Encyclopedia of Judaism (Brill,
1999). The recipient of numerous academic awards and honorary degrees, he is cur-
rently the holder of a newly endowed chair, Distinguished Service Professor of the
History and Theology of Judaism at Bard College.
362 The Bard Center

William Weaver, translator and interpreter of Italian prose, author, music critic and
scholar, and professor of literature at Bard College. He has translated works by
Umberto Eco, Italo Calvino, Ignazio Silone, Luigi Pirandello, and other prominent
Italian writers. He is an authority on 19th-century Italian opera and is known for his
study of Giuseppe Verdi, his biography of Eleonora Duse, and his music criticism and
reviews. Among his many honors are a National Book Award, the Galantiere Prize,
and a PEN Medal in recognition of his lifework as a translator.

Institute for Writing and Thinking

In August 1981 Bard Colleges entering students first attended an intensive three-week
Workshop in Language and Thinking, aimed at helping them recognize the importance
of written language as a tool for learning in all subjects. Its goals were, and continue to
be, to teach the ability to think through writing, experiment with many genres, instill
a sensitivity to voice, and inculcate a love of writing. Inspired by the largely positive
reaction, Bard established the Institute for Writing and Thinking, a place where teach-
ers could imagine and practice new teaching ideas.

In November 1982 the Institute offered its first workshops, taught by faculty drawn
from the Workshop in Language and Thinking. That faculty, joined by others and led
by then Bard dean Teresa Vilardi and the late Paul Connolly, developed the Institutes
continually evolving program. Since its inception, approximately 40,000 teachers from
colleges and schools across the nation have participated.

Institute workshops are experiential forums where didactic instruction supports and
complements practice. They create a collaborative learning environment in which
reading, writing, and thinking are active processes and the pleasure of the classroom is
derived from the imaginative way people work in it. More than 125 faculty associates
of the Institute have helped develop its practices, drawing on the best techniques for
the teaching of writing and on contemporary theories of knowledge and language. The
most distinctive feature of Institute workshops is the way these leaders demonstrate
teaching practices and participate in writing processes.

In 2006 the Institute received a Project Teamwork grant of $15,000 from the
Klingenstein Fund for a series of workshops on Teaching the Academic Paper at three
independent schools: The United Nations International School and Friends Seminar,
both in New York, and the Winsor School, in Massachusetts. The Institute offered on-
site consulting at schools and colleges including Red Hook High School, Brooklyn
Friends School, Fashion Institute of Technology, Marymount Manhattan College, The
Island School/P.S. 188 (in connection with Bard High School Early College), Staten
Island Academy, Little Red School House, and Mamaroneck High School, all in New
York; The Hopkins School and Wilbur Cross High School, both in Connecticut;
Millburn High School, in New Jersey; Boston International High School and Salem
State College, both in Massachusetts; and Lewis & Clark College (workshop for First-
Year Seminar faculty), in Oregon.
 Institute for Writing and Thinking 363

Institute projects this past year included workshops for the Bard community and col-
laborations with Bard faculty. Faculty associates offered workshops in Writing to
Learn, Writing to Read, and Revision to Bard First-Year Seminar faculty. The
administrative staff of the Academic Resources Center participated in, as well as
taught, weekend and weeklong workshops; the Institute director and associate director
led workshops for the tutors in the Bard Prison Initiative; the NEH-funded Faculty
Humanities Seminar on Reading Narratives in Four Religious Traditions for secondary
teachers in the region continued in spring and summer 2006. Seminar presenters
included Bard faculty Bruce Chilton, Jacob Neusner, Lawrence Troster, Nerina
Rustomji, Daniel Berthold, Nancy Leonard, and Richard Davis. Nancy Leonard also
taught an Institute-based workshop for Bard students writing Senior Projects.

The Institute also offered workshops on Writing to Read Difficult Scientific Texts
(developed in 200103 though a grant from the Ira W. DeCamp Foundation and in
collaboration with the Teacher Education Program at Rockefeller University). Dr.
Valeri Thomson, director, Immediate Science Research Opportunity Program at Bard
College and research scientist at Rockefeller University, offered a workshop on Tracy
Kidders Mountain Beyond Mountains: Dr. Paul Farmer and the Quest to Cure the
World of Infectious Disease. Thomson and Ric Campbell, director, Master of Arts in
Teaching Program at Bard College, offered Writing to Read Scientific Texts: Worms,
People, and the Life and Death of Cells in May 2007.

In April 2006, the Institute conference Great Expectations: Re-Visioning the Academic
Paper featured a panel presentation by Robert Frank, an economist and professor of
economics at Cornell University; Mark Lytle, professor of history at Bard College; and
Nancy Leonard, professor of English at Bard College. The panel was moderated by
Institute associate Frank Cioffi. Associates Alfred Guy, Darlene Forrest, Nicole
Wallack, and Irene Papoulis led workshops for the 115 conference participants.

Weekend and weeklong workshops offered by the Institute in 2006 included Writing
and Thinking; Writing to Learn; Fictions: Memory and Imagination; Poetry:
Reading, Writing, Teaching; Poetry for Todays Classrooms; Inquiry into Essay;
Learning through Listening: An Inquiry; Thinking through Narrative; Thinking
Historically through Writing; and Writing to Read Difficult Scientific Texts. One-
day Writer as Reader workshops included Ethics of Argument in Michael Pollans The
Omnivores Dilemma; Bringing Voice to Text in Hawthornes The Scarlet Letter; and
Loyalty and Honor: Sophocles Antigone and Tim OBriens The Things They Carried.
New workshops included Teaching the Academic Paper, Reading Narratives in Four
Religious Traditions, Reading Human Rights, and Fiction from the Inside Out.

The Institutes publications include conference proceedings, in-service teaching materials,

and Handbook for Teachers, which contains summary scripts of the Teaching Writing
and Thinking and Writing to Learn workshops.
364 The Bard Center

Bard Fiction Prize

The Bard Fiction Prize was established in 2001 and is awarded annually to an emerg-
ing writer who is an American citizen aged 39 years or younger at the time of applica-
tion. In addition to a monetary award, the winner receives an appointment as writer
in residence at Bard College for one semester.

The creation of the prize can be viewed as a continuation of Bards long-standing position
as a center for creative, groundbreaking literary work by faculty and students alike. From
Saul Bellow, William Gaddis, Mary McCarthy, and Ralph Ellison to John Ashbery, Philip
Roth, William Weaver, and Chinua Achebe, Bard literature faculty, past and present, rep-
resent some of the most important writers of our time. The prize, awarded each October,
is intended to encourage and support young writers of fiction in pursuing their creative
goals and to provide an opportunity to work in a fertile intellectual environment.
Recipients of the prize are Peter Orner in 2006, Edie Meidav in 2005, Paul LaFarge in
2004, Monique Truong in 2003, Emily Barton in 2002, and Nathan Englander in 2001.

Distinguished Scientist Lecture Series

The Distinguished Scientist Lecture Series originated in 1979 when Nobel laureate
physicist Paul Dirac accepted an invitation from Dr. Abe Gelbart and The Bard Center
to deliver a lecture titled The Discovery of Antimatter. The talk presented a view of
science rarely seen by the general publicas a record of personal achievement as well
as a body of facts and theories.

For anyone interested in sciencestudent, teacher, researcher, professional in scien-

tific industries, or laypersonthe series is an opportunity for firsthand contact with the
men and women who are shaping modern science and an opportunity to observe how
they think, work, view their own achievements, and assess the challenges that they
and other scientists face. Since the program began, audiences have heard more than a
hundred eminent scientists, including 45 Nobel laureates and four Fields medalists.
Recent speakers include Frank Morgan, Atwell Professor of Mathematics at Williams
College and author of Calculus Lite and The Math Chat Book; Kenneth R. Miller, pro-
fessor of biology at Brown University and author of Finding Darwins God; George F.
Pinder, professor of civil and environmental engineering, mathematics, and computer
science at the University of Vermont; Jeff Weeks, a mathematician, MacArthur Fellow,
and author of The Shape of Space; and Philip Wadler, a researcher at Avaya Labs and a
leading designer of computer programming languages.
 Leon Levy Endowment Fund 365

Intergenerational Seminars
A major goal of The Bard Center is to bring undergraduate students out of the gener-
ational isolation of the elementary and secondary years to enrich both their college
experience and the experience of the community.

Intergenerational seminars are offered in the evening, with Bard students and
community members meeting in groups of 15 to 20 to discuss topics of common con-
cern. Students find these informal, occasionally heated exchanges a welcome adjunct
to classroom studies. Each seminar, led by a diverse group of scholars including Bard
faculty, Bard Center fellows, and visiting lecturers, meets once a week in the evening
for three consecutive weeks.

Recent seminar topics have included Experiencing HistoryTingling with the Past,
Corporate Social Responsibility for the Consumer, Caravaggio and His Myths,
Historical Archaeology of Palatines in the Mid-Hudson Valley, and Italian Cinema
in a Changing Nation.

Leon Levy Endowment Fund

The Leon Levy Endowment Fund was created in 1995 by the Bard College Board of
Trustees, in recognition of more than a decade of transformative philanthropy by Leon
Levy. Through grants in many areas, the foundation supports Bard Colleges academic
excellence.

The Leon Levy Endowment Fund Scholarships are awarded annually to second- and
third-year students who demonstrate exceptional merit in written and oral expression,
evidence of independent thinking and intellectual leadership, and interest in a breadth
of academic and artistic pursuits.

The Leon Levy Endowment Fund supports the Bard Music Festival and its associated
book series and also makes possible many lectures and performances at Bard. The Leon
Levy Professorship in the Arts and Humanities is held by Leon Botstein, president of
the College.
366 The Bard Center

Cultural Programs

Bard Music Festival

The Bard Music Festival entered its 18th season in 2007. Since 1990 the festival has
been presented on the Bard campus each summer over two consecutive weekends in
August; in 1993, a third weekend was added, in the fall. In 2003 the festival moved
into The Richard B. Fisher Center for the Performing Arts at Bard College, where it
continues to offer an array of programs whose themes are taken from the life, work, and
world of a single composer. Concerts presented in the Fisher Centers 900-seat Sosnoff
Theater and 200-seat Theater Two, as well as in the 370-seat Olin Hall, offer both the
intimate communication of recital and chamber music and the excitement of full
orchestral and choral sound. Musicians gather at Bard up to two weeks in advance to
prepare. The weeks of the festival are filled with open rehearsals throughout the cam-
pus. Orchestral musicians are often invited to perform in chamber groups. Special
events are arranged to complement the performances.

Through a series of preconcert talks and panel discussions by eminent music scholars,
composers are examined within the cultural and political contexts of their careers. In
2007, Edward Elgar was the featured composer. Ludwig van Beethoven, Bla Bartk,
Charles Ives, Joseph Haydn, Pyotr Ilyich Tchaikovsky, Arnold Schoenberg, Claude
Debussy, Gustav Mahler, Leos Jancek, Dmitrii Shostakovich, Aaron Copland, and
Franz Liszt are among the other recent subjects. Related articles and essays are pub-
lished by Princeton University Press in a companion book edited by a major music
scholar; the series was honored with an ASCAP Deems Taylor Special Recognition
Award in 2006. The combination of innovative programs built around a specific theme
and an outstanding level of professional musicianship has brought the festival interna-
tional critical acclaim from publications such as the New York Times, Wall Street
Journal, and Financial Times.

Bard Center Evenings

Bard Center Evenings give trustees and friends of the College opportunities to meet
distinguished experts during a series of thought-provoking panel discussions. These
evenings are held at least three times a year and explore issues of intellectual, cultural,
and social concern. Recent topics have included Global Warming, Peak Oil, and the
Future of U.S. Energy Policy; Nuclear Proliferation: Approaches to the New Nuclear
Arms Race; and We Are What We Eat: Delights and Dangers in Food, Nutrition,
and Health.

Lecture and Performance Series

The Bard Center brings to campus outstanding women and men in many fields to pre-
sent public lectures, readings, and performances. Center programs complement the many
 Cultural Programs 367

lectures, panel discussions, film screenings, and performances presented by the

Colleges academic programs.

The Colorado Quartet continued in residence during the 200708 academic year. The res-
idency affords Bard students the opportunity to study in private lessons with the quar-
tets individual members as well as with the group as a whole for both quartet and other
chamber music coaching. The quartet also conducts seminars on a variety of musical
topics and offers two public performances, one in each semester. Quartet members are
also on the faculty of The Bard College Conservatory of Music.

This year marked the third season of the Bard College Conservatory Concerts and
Lectures, showcasing Conservatory faculty and presenting lectures on topics that con-
nect music with other fields. There were three performances by the Conservatory
Chamber Orchestra, under the respective batons of Xian Zhang, associate conductor
of the New York Philharmonic; Leon Botstein, president of the College and music
director of the American Symphony Orchestra; and Melvin Chen, associate director
of the Conservatory. The series also included concerts by the Shanghai Quartet, with
guest artists Michael Tree, viola, and Robert Martin, cello; the Da Capo Players; and
violinist Laurie Smukler and pianist Jeremy Denk; as well as recitals by pianists Claude
Frank and Melvin Chen, and a Meet the Artists event with soprano Dawn Upshaw
and composer Osvaldo Golijov.

The Bard Centers fall concert series featured concerts by violinist Laura Hamilton and
pianist Warren Jones, the Da Capo Chamber Players, and the Colorado Quartet, and
a program titled Whats Your Era? A Hitchikers Guide to Western Music, per-
formed by the Capital Trio. The spring concert series presented cellist Diane Chaplin
and pianist Sharon Bjorndal in a program titled A Mad Empress Remembers; a perfor-
mance by a duo of flutists, Patricia Spencer and Tara Helen OConnor; a concert by vio-
list Marka Gustavsson and pianist Carmel Lowenthal; and concerts by the Da Capo
Chamber Players and the Colorado Quartet.

The John Ashbery Poetry Series continues to bring leading contemporary poets to
campus for readings and discussion in an intimate setting. In spring 2007, the series
presented readings by Ashbery, Bards Charles P. Stevenson Jr. Professor of Languages
and Literature and one of Americas most honored poets; Stephen Ratcliffe, author of
Portraits & Repetition and more than a dozen other collections; Mei-Mei Berssenbrugge,
a Beijing-born poet whose I Love Artists: New and Selected Poems was published by the
University of California Press in 2006; Sawako Nakayasu, Bards Capstone Scholar in
Japanese; and Tracie Morris, a multidisciplinary poet whose literary work incorporates
dance, music, and film.

Aston Magna

The Aston Magna Foundation for Music and the Humanities is dedicated to the perfor-
mance and study of 17th- and 18th-century music. Founded in 1972, the Aston Magna
Festivalthe oldest summer festival in America devoted to music performed on period
368 The Bard Center

instrumentshas been held in the Berkshires every year since its inception and at Bard
since 1984.

Under the artistic direction of Daniel Stepner, Aston Magnas performances aim to
interpret as accurately as possible the music of the past as the composer imagined it.
The performance style for these concerts has been developed through interpretation by
internationally recognized specialists, and the instruments played are originals from the
period or historically accurate reproductions. Among the highlights of Aston Magnas
pioneering history are the first performances on original instruments of the complete
Bach Brandenburg Concertos and the first such performance of Mozart symphonies in
the United States.

Hudson Valley Chamber Music Circle

Each June, The Bard Center presents a series of chamber music concerts by world-
recognized professional musicians. Founded in 1950, the Hudson Valley Chamber
Music Circle was under the artistic guidance of the late Margaret Creal Shafer from
1980 to 2000. She was succeeded by the present codirectors, Jaime Laredo and Sharon
Robinsonviolinist and cellist, respectively, of the Kalichstein-Laredo-Robinson Trio.
Over the years the Chamber Music Circle has attracted a large and loyal regional
following that has enjoyed performances by such artists as the Emerson, Juilliard,
Pacifica, St. Lawrence, and Tokyo string quartets; the Kalichstein-Laredo-Robinson
Trio; the Claremont Trio; cellist Brandon Vamos; pianists Todd Crow, Jeremy Denk,
Rudolph Firkusny, Rachelle Jonck, Ursula Oppens, and Blanca Uribe; violinists Sibbi
Bernhardsson, Ani and Ida Kavafian, Jennifer Koh, Joan Kwuon, Simin Ganatra, and
Hiroko Yajima; flutist Eugenia Zukerman; clarinetist David Shifrin; violists Masumi Per
Rostad and Walter Trampler; soprano Arianna Zukerman; and the Tango Project.

Conjunctions

Now celebrating a landmark 25th year of continuous contributions to the literary

world, Bards widely respected and influential literary journal Conjunctions publishes
innovative fiction, poetry, translations, essays, and interviews by established and
emerging writers from the United States and around the world. Edited by Bard profes-
sor and noted novelist Bradford Morrow, Conjunctions is published semiannually, in the
spring and fall. The spring 2006 issue, Conjunctions:46, Selected Subversions, featured 25
new essays on topics ranging from memory and travel to history, religion, music, war,
and peace by authors including Joanna Scott, William H. Gass, Shelley Jackson, Rick
Moody, John Crowley, Ned Rorem, David Shields, Fanny Howe, Rosamond Purcell,
Sven Birkerts, Eliot Weinberger, and others. The issue also featured a special portfolio,
Ten Unproduced Scenarios, by world-renowned filmmakers The Quay Brothers.
The fall 2006 issue, Conjunctions:47, 25th Anniversary Issue, celebrated the quarter
century since the journals founding by publishing 45 new works of fiction and poetry
by authors such as Joyce Carol Oates, Jonathem Lethem, Jim Crace, Ann Lauterbach,
John Barth, William H. Gass, Rikki Ducornet, Can Xue, John Ashbery, Micheline
 Summer Programs 369

Aharonian Marcom, C. D. Wright, Robert Kelly, Edie Meidav, Lydia Davis, Edmund
White, Rae Armantrout, Peter Gizzi, Valerie Martin, Rick Moody, Elizabeth Robinson,
and many others. The journals website (www.conjunctions.com) continued to grow
and complement the print version, with nearly 300,000 visitors.

The Conductors Institute at Bard

This internationally acclaimed, premier teaching institute, founded and directed by

Harold Farberman, is now in its third decade and its ninth year at Bard College. The
Institutes goals are to promote technical clarity and precision in baton movement; dis-
arm the competitive learning process so that conductors assist and support one another;
and encourage American conductors to become advocates of American composers.

The six-week program, held during the summer, offers a variety of combinations of
study that allow students to tailor their own programs. The weeklong prelude to the
Institute, Visual Score Study/Baton Placement and Body Movement Technique, unites
the study of Institute repertoire with instruction in the Alexander Technique as it
relates directly to the enhancement of performance skills and expression. The
Conducting Program for Fellows and Colleagues is offered in four- or two-week ses-
sions, during which participants work with the Institute orchestra on repertoire rang-
ing from Beethovens First Symphony to new works by visiting guest composers. The
two-week Discovery Program is designed for conductors with limited experience who
desire to improve their skills. The two-week Composer-Conductor Program offers the
opportunity for composers to learn conducting techniques that apply to their own
works, and for conductors to work with composers as they prepare the work for public
performance.

Maestro Farberman anchors a faculty of distinguished guest conductors and composers.

Institute participants are exposed to a variety of expert opinions; lectures by scholars,
composers, and conductors provide additional program enhancement.

For information about the Institutes M.F.A. program, see the Graduate Programs sec-
tion of this catalogue.

Summer Programs
The Bard Centers tradition of offering summer learning opportunities dates to 1977 and
includes the Dutchess County Regional High School of Excellence. Each summer the
DCRHSE provides young people from Dutchess County an opportunity to participate
in challenging educational programs in a collegiate setting. Admission is competitive
and based on students demonstrated ability and potential. The program is held at Bard,
Vassar, and Marist Colleges and focuses on a different theme at each location. The
theme of the summer 2007 program at Bard was Its Alive: Mary Shelleys Novel
Frankenstein and Its Hideous Progeny.
 Admission

In selecting an incoming class of men and women for whom Bard is the right choice,
the Admission Committee reviews more than grades and test scores. To assess an appli-
cant, the committee considers achievement, motivation, and intellectual ambition;
appraises the standards of the secondary school curriculum; and carefully reviews appli-
cation essays. The committee also considers the time and effort that the student has
dedicated to classes and out-of-class activities and pays close attention to recommen-
dations. The Admission Committee does not consider a candidates financial need in
making its decision.

Bard expects applicants to pursue the strongest program of study offered by their schools,
including honors or advanced-level courses. In addition, a well-balanced program of
study is considered the best preparation for a college of the liberal arts and sciences.
Such a program should include a full four-year sequence in English, social sciences, and
mathematics; study of at least one foreign language for three or, preferably, four years;
and three to four years of study in the laboratory sciences. The Admission Committee
is interested in the entire high school record, with junior- and senior-year courses and
results being especially important.

Candidates may apply to Bard through the regular or the Early Action application pro-
cess, or, in certain cases, through the Bard Immediate Decision Plan. They may use
either the Bard Application or the Common Application, both available on the Bard
website (www.bard.edu). A complete application includes two essays, letters of recom-
mendation from at least two of the students junior- or senior-year academic teachers
(one of whom should be a mathematics or science teacher), the guidance counselor
recommendation and school report, and a transcript with grades from the senior year.

Candidates are encouraged to visit the College to tour the campus with a student guide
and learn about the facilities and curriculum. Appointments for visits may be made, at
least one week in advance, through the Admission Office (phone: 845-758-7472; fax:
845-758-5208; e-mail: admission@bard.edu). Interviews are not required, but are avail-
able to applicants until the last day of Bards fall semester.

Early Action Highly qualified candidates who are certain that Bard is a top choice
are encouraged to apply through Early Action by November 1, for notification in late
December. An offer of admission is nonbinding until May 1.

370
 Admission 371

Regular Action Candidates apply by January 15 and are notified of a decision in

early April. Candidates who are placed on the wait list are invited to submit appropri-
ate supplemental information. Those who are not offered admission are usually
required to wait a full academic year before reapplying.

Immediate Decision Plan The Immediate Decision Plan (IDP) is designed to help
students develop a more informed opinion of the College and to accelerate the admis-
sion process during a daylong session. Candidates participate in a seminar conducted
by a Bard faculty member and meet with an admission counselor. The Admission Com-
mittees decision is mailed to the candidate the following day. Note: Only the College
makes an immediate decision; accepted candidates may wait until May 1 to notify the
College of their enrollment plans. For further information, contact the Admission
Office.

Commitment Dates All candidates accepted for admission, whether through regular
admission, Early Action, or IDP, must inform the Admission Office of enrollment
plans by May 1. A nonrefundable deposit of $500, applicable to the coming years fees,
is required to hold a place in the class and to secure a housing assignment. An
accepted candidate may ask to defer matriculation for up to one year. This request
must be made in writing to the director of admission.

Early Admission Candidates seeking admission to Bard before completing sec-

ondary school may be accepted if they have an exceptionally strong high school record
and the recommendation of a guidance counselor or principal. An interview with an
admission counselor is required.

Transfer Students Transfer students are expected to be familiar with Bards distinc-
tive curricular components, particularly Moderation and the Senior Project, and
should anticipate spending three years at the College. Students who wish to transfer
apply by March 15 for the fall semester (notification in May) or November 1 for the
spring semester. A student transferring from an accredited junior college, college, or
university usually receives full credit for work completed with a grade of C or better in
courses appropriate to the Bard academic program.

International Students Bard College is authorized under federal law to enroll non-
immigrant alien students. The College encourages applications from foreign nationals
and from U.S. citizens who have completed their secondary education abroad.
Candidates whose first language is not English must submit the result of the Test of
English as a Foreign Language or other evidence of proficiency in English.

All foreign nationals must file a Declaration of Finances (issued by the College
Scholarship Service of the College Board, or CSS) before a Certificate of Eligibility
(Form I-20) will be issued. The declaration and certificate are needed to obtain a visa.
Foreign students may be eligible, based on need and merit, for Bard scholarships and
loans. Students seeking aid must submit the Declaration of Finances and the Foreign
Students Financial Aid Application (also issued by CSS). These forms are available at
most secondary schools and through the Colleges website (www.bard.edu).
372 Admission

Advanced Standing Advanced standing or college credit for College Board Advanced
Placement courses will be given for the grade of 5. Students who wish to request credit
or advanced standing must submit the appropriate record of their grade to the Office
of the Registrar.

The following international diplomas may be accepted for advanced standing:

International Baccalaureate, French Baccalaureate, Swiss Maturity, and German Abitur.
A student may be allowed to accelerate for up to 32 credits (a normal full year) at the
time of Moderation if the Moderation board so recommends. Students who have
earned A-level passes may enter with advanced standing.

The Bard College Conservatory of Music

In addition to applying to Bard College following the guidelines above, candidates for
admission to the Bard Conservatory must send a CD recording of their playing and a
brief musical autobiography as soon as possible but no later than January 15. The appli-
cants name and address should appear on both the CD and its cover. The musical
autobiography should include the names of teachers, dates and places of study, public
performances, honors and awards, and other information about musical influences and
education. All materials should be clearly labeled Bard Conservatory.

Repertoire criteria for the recording can be found in the Conservatorys view book or
on its website, www.bard.edu/conservatory.

Applications will be screened, and selected candidates will be invited to a required,

live audition.

Admission decisions will be made on the same schedule as those for Bard College.
 Finances

Financial Aid
Through the administration of its financial aid program, Bard College seeks to assist
students and families whose personal resources do not allow for total payment of the
costs of attending a small private college. The College is committed to helping as many
qualified candidates as its funds will allow; in recent years, approximately two-thirds of
all students have received financial aid.

Financial aid is awarded on the basis of need and academic achievement and promise.
Financial need is determined annually by the U.S. Department of Education, the
College Scholarship Service of the College Board (CSS), and Bard College. In order to
qualify for financial assistance, students must submit the appropriate forms annually.
Forms and other materials are available in the fall and early winter of each year. It is
important to meet the deadlines.

The Bard Admission Committee evaluates applications for admission without regard
to financial need. International students may be eligible, based on need and merit,
for Bard scholarships and loans. Awards are made without reference to ethnic or
national origin, sex, age, marital status, or handicap. Types of available financial aid
are summarized below. More detailed information can be obtained from the Office of
Financial Aid or the Bard College website at www.bard.edu/financialaid.

Application for Financial Aid

The standard formsthe Free Application for Federal Student Aid (FAFSA) and the
Financial Aid PROFILE registrationare available at secondary schools. Students
complete all pages of the FAFSA (Bards code number is 002671) and submit it to the fed-
eral processor as soon after January 1 as possible and no later than mid-February. This can
be done online at www.fafsa.ed.gov.

Students may submit the Financial Aid PROFILE registration (Bards code number is
2037) to the College Scholarship Service in mid-fall. This can be done online at
www.collegeboard.com. Students should complete the Financial Aid PROFILE no
later than mid-February. Students forward any supplemental forms to Bard College as
instructed.

373
374 Finances

By filing the FAFSA and the Financial Aid PROFILE, students are applying for federal
aid, state awards (if applicable), and Bard College sources of financial aid.

Students should check with their high school guidance offices for information about
state-sponsored scholarship, grant, or loan programs.

International students seeking aid must submit to the College the International
Students Financial Aid Application (issued by the CSS). The Declaration of Finances,
which foreign nationals file in order to obtain a visa, must also be submitted. These
may be downloaded from the Bard College website at www.bard.edu.

All family income figures reported on the FAFSA and the Financial Aid PROFILE
must be verified. Families reporting taxable incomes must submit copies of the parents
and students federal income tax returns (IRS Form 1040, 1040A, or 1040EZ) and
W-2 forms. Families reporting nontaxable income must obtain documentation from
the supporting agency outlining the amounts received for the year. All documents of
this nature should be forwarded to the Office of Financial Aid.

Families need to consider their ability to cover educational expenses for the full four
years that the student will be attending Bard College. If the family finds that they have
income and assets to cover only a portion of that time, they should apply for aid for the
students first year of attendance. Consideration for aid for families not receiving it ini-
tially will be on a case-by-case basis and will depend on available funding in subsequent
years. A committee that meets in June and December of each year will review these
later applications.

Students applying as independents (that is, emancipated from parental support) must
submit, in addition to the previously mentioned forms, information about the specific con-
ditions of emancipation. The College applies strict criteria for the status of emancipation.

Financial aid application materials should be submitted by February 15 for fall and
spring attendance and by December 1 for spring attendance only. Students who apply
by the deadline receive first consideration for awards. Late applications are considered
in order of receipt until assistance funds are committed. Students who miss the dead-
line are advised to submit their application materials as soon as possible.

Determining Eligibility for Financial Aid

In order to remain eligible to receive funds through federal, state, and institutional aid
programs, a student must maintain good academic standing and progress. Such stand-
ing and progress are defined and reviewed by the Colleges Executive Committee.

Typically, awards are based on full-time enrollment, defined as a course load of a mini-
mum of 12 credits per semester. If enrollment is less than full-time, financial aid awards
are ordinarily prorated. New York State requires full-time enrollment each semester for
Tuition Assistance Program (TAP) eligibility. Federal Stafford Loan eligibility requires
 Financial Aid 375

at least half-time enrollment (a minimum of six credits per semester). In general only
seniors who can attend part-time and still complete their degree requirements in four
years (five years for Bard Conservatory students) are allowed to attend less than full time.

Determining Financial Need

The students financial need is the difference between the student budget (normal edu-
cational costs) and the assessed ability of the parents and student to meet those costs.
Normal educational costs include tuition, fees, room and board, Language and Thinking
Workshop fees, books and supplies, and other personal expenses.

A student and family together are regarded as the primary source of financial support and
are expected to make every effort within reason to meet the expense of college. (The
resources of a remarried parents spouse are assumed to be available to support the stu-
dent.) Assistance from Bard is considered a supplement to the familys contribution. The
expected family contribution is determined by the College using data provided to the
U.S. Department of Education, the College Scholarship Service, and the College. All
applicants forms are analyzed by standardized procedures.

Financial Aid Sources

Generally speaking, there are three forms of financial assistance for students: grants,
loans, and work-study funds. The forms of assistance, divided below into funds admin-
istered by external agencies and funds administered by Bard, are provided through
federal, state, institutional (Bard), and, in some cases, local community agencies.
Such awards, occurring singly or in combination, are referred to as a students financial
aid package. The Office of Financial Aid begins deliberation on packaging for new
candidates in late March. Students are notified of their package in a financial aid
award letter, assuming an admission decision has been made and Bard has received all
the necessary financial aid application materials. Packaging of returning students
applications is completed around May 1.

Agency-Administered Funds

Federal Parent Loan for Undergraduate Students (PLUS) PLUS loans enable par-
ents with good credit histories to borrow from a lender such as a bank, credit union, or
savings and loan association the cost of education minus any financial aid per year for
each child who is enrolled at least half-time and is a dependent student. PLUS borrow-
ers do not have to show need, but like all borrowers, they may have to undergo a credit
analysis. They must begin repaying both principal and interest within 60 days after the
last loan disbursement. As of July 1, 2007, loans are disbursed with a fixed interest rate
of 8.5 percent. An origination fee of 3 percent is charged and due at the time the loan
is negotiated (typically, this amount is deducted from the amount of the check), and a
loan warranty fee of up to 1 percent may be charged in addition.
376 Finances

Federal Stafford Loan Program The U.S. Department of Education, in cooperation

with state agencies, sponsors a loan program that enables students to borrow money
directly from a bank, credit union, savings and loan association, or other participating
lender. Subsidized Federal Stafford Loans require proof of financial need; unsubsidized
Federal Stafford Loans do not. A student may borrow up to $3,500 as a first-year stu-
dent, $4,500 as a second-year student, and $5,500 as a third- or fourth-year student,
with an obligation to begin to repay the loan six months after ceasing to attend col-
lege or graduate school on at least a half-time basis. While the student is in school, the
federal government pays the interest on subsidized loans; the student, not the govern-
ment, pays the interest on unsubsidized loans. As of July 1, 2006, the interest rate is a
fixed rate of 6.8 percent. An origination fee of 3 percent is charged and due at the time
the loan is negotiated (typically, this amount is deducted from the amount of the
check), and a loan warranty fee of up to 1 percent may be charged in addition.

Supplemental Unsubsidized Stafford Loan An independent undergraduate student

may borrow a supplemental amount as an unsubsidized loan in addition to an individ-
ual subsidized or unsubsidized basic Federal Stafford Loan as described above. First-
and second-year independent undergraduates may borrow up to $4,000 per year. After
two years of study, an independent student may borrow up to $5,000 per year. In
exceptional circumstances, the financial aid administrator may be able to authorize a
supplemental loan for a dependent undergraduate. As of July 1, 2006, the interest rate
is a fixed rate of 6.8 percent. An origination fee of 3 percent is charged and due at the
time the loan is negotiated (typically, this amount is deducted from the amount of the
check), and a loan warranty fee of up to 1 percent may be charged in addition.

Notes on PLUS loans and Federal Stafford Loans: Processing of a loan by the Financial Aid
Office requires several weeks before the funds can be credited to a students account. Loans
are disbursed in two equal payments: the first at the beginning of the academic period for
which the loan is intended and the second midway through the academic period. In a
standard two-semester program, a disbursement is made each semester.

If the lender disburses the loan by electronic transfer, the proceeds are credited to the
students account when the electronic funds are received. If the lender issues a check
for the loan, it is mailed to the Office of Student Accounts, and the student must
endorse the check before it can be credited to a personal account. If the student does
not endorse the loan check within a designated period, the Student Accounts Office
is obliged to return it to the lender for cancellation. The student then becomes respon-
sible for the entire account balance and is charged a $100 penalty fee for late payment
and the consequent duplication of the entire loan disbursement procedure.

A loan may include an allowance for expenses in addition to program fees. The bal-
ance in the students account after the amount due the program has been paid is
refunded directly to the student within 14 days of the date on which the balance was
created (or the first day of classes of a payment period, whichever is later). Students
should not expect to receive this refund before the end of the 14-day processing period;
hand checks are not issued. A student who chooses to leave excess funds in the
 Financial Aid 377

account as a credit toward a future terms fees must send written notice of this choice
to the Student Accounts Office.

Federal Pell Grant Pell Grants are nonrepayable awards of up to $4,050, given annually
depending upon a familys income and assets. Students apply directly for Pell Grants by
completing the FAFSA.

Academic Competitiveness Grant This new federal program for first- and second-year
college students offers an annual grant of $750 for the first year and $1,300 for the second
year. Student recipients must be Pell eligible, U.S. citizens, and graduates of a rigorous sec-
ondary school program. The Office of Financial Aid reviews all students who are poten-
tially eligible.

National Science and Mathematics Access to Retain Talent Grant (National SMART
Grant) This new federal program for third- and fourth-year college students offers an
annual grant of $4,000. Student recipients must be Pell eligible, U.S. citizens, and con-
centrating in an eligible major. The Office of Financial Aid reviews all students who are
potentially eligible.

Veterans Administration Educational Benefits Under certain circumstances, depen-

dents of veterans may be eligible for educational benefits. Students should contact the
Veterans Administration office in their area for details.

State Programs outside New York State Other states sponsor grant, loan, and reha-
bilitation programs similar to those outlined below for New York residents. For specific
information on programs in their home states, students should contact their school
guidance offices.

New York State Assistance Programs

New York State Tuition Assistance Program (TAP) Nonrepayable grant assistance is
available to New York State residents attending New York State schools. Awards are
computed by the New York State Higher Education Services Corporation (NYSHESC)
based on the net New York State taxable income and the number of full-time college
students in the family. The awards range from $500 to $5,000. Further information is
available from secondary school guidance counselors and from NYSHESC, 99
Washington Avenue, Albany, NY 12255.

Memorial Scholarships for Children of Deceased Police Officers or Firefighters

Awards up to the cost of SUNY educational expenses each year for up to four years of
undergraduate study are available to the children of police officers or firefighters who
served in New York State and died as a result of injuries sustained in the line of duty.
The student must be a resident of New York State at the start of the term for which
the award is sought, be enrolled full-time at a New York Stateapproved postsec-
ondary educational institution, and be in good academic standing. Copies of the
378 Finances

Child of Police OfficerFirefighter Award Supplement are available from NYSHESC,

99 Washington Avenue, Albany, NY 12255.

Awards for Children of Deceased or Disabled Veterans Awards in the amount of $450
per year for up to five years are available to students who are the children of deceased
or disabled veterans and who reside and attend college in New York State. Awards are
made without consideration of family income and tuition expenses. Applications may
be obtained from the students secondary school or from NYSHESC and should be filed
with NYSHESC, 99 Washington Avenue, Albany, NY 12255.

Scholarships for Academic Excellence Selection for these awards is based on scores on
the New York State Regents exams taken prior to a students senior year in high school.
Awards, given in amounts of $1,500 and $500, are renewable for a total of four years.
Further information is available from secondary school guidance counselors and from
NYSHESC, 99 Washington Avenue, Albany, NY 12255.

State Aid to Native Americans Awards in the amount of $2,000 per year for a max-
imum of four years of full-time study (or five years if the degree requires it) are avail-
able to members of any of the Native American tribes within New York State.
Applications may be obtained from the Native American Education Unit, New York
State Education Department, Albany, NY 12234.

Vocational Rehabilitation The Office of Vocational and Educational Services for

Individuals with Disabilities (VESID) of the New York State Education Department
assists disabled persons with a substantial employment handicap who can become
employable within a reasonable time period. In addition to counseling and evaluation
and physical restoration services, VESID may assist with instruction and training,
including that given at institutions of higher education. Applicants should contact
VESID in their local area.

Bard-Administered Funds

Federal Assistance Programs

In cooperation with the U.S. Department of Education, Bard College administers the
following federal programs.

Federal Perkins Loan This program offers an interest-free loan to students with an
exceptional degree of financial need while they are enrolled at least half-time. The stu-
dent repays the loan at 5 percent interest beginning nine months after he or she ceases
to attend college or graduate school at least half-time. Loan funds may not exceed
$4,500 for the first two years of study and $9,000 for the entire undergraduate program.
(The average annual award at Bard is $1,500.)
 Financial Aid 379

Federal Supplemental Educational Opportunity Grant Students with an exceptional

degree of financial need can receive nonrepayable grants ranging from $100 to $4,000
per year. (The average annual award at Bard is $1,000.)

Federal Work-Study Program This program offers students the opportunity to work at
an approved job on or off campus. Awards vary depending on the students financial
need, availability of funds, and employment opportunities. (The typical allocation at
Bard is $1,650.) An award is not a guarantee of the amount indicated; it is an indication
of the students eligibility to work at an approved job. Students are paid, in accordance
with the number of hours worked, on a twice-monthly payroll. Earnings from employ-
ment are used primarily to cover the cost of books and personal expenses; they may not
be used as a credit against tuition and fee charges.

State Assistance Programs

Higher Education Opportunity Program (HEOP) Bard accepts a limited number of

New York State resident students from groups that are historically economically disad-
vantaged, through its Higher Education Opportunity Program. One objective of HEOP
is to assist students who, by reason of inadequate early educational preparation, do not
compete with the average Bard applicant in high school grades, class rank, and College
Board scores, but do possess the ability and motivation for successful study at Bard.
Further information may be obtained by writing to the HEOP office at Bard.

Bard College Assistance Programs

Bard Scholarships Nonrepayable grants are awarded on the basis of financial need and
academic achievement and promise. Bard scholarships range from $2,000 to $24,000
annually for full-time enrollment and are made possible by various philanthropic
sources. Subject to the wishes of the benefactors, the recipient may be advised of the
source of the scholarship. Named scholarships are listed in a separate chapter of this cat-
alogue. Students who are awarded a Bard scholarship upon entry into the College
should note that renewal of that scholarship amount for the next three successive years
is contingent upon several factors, including:

1. maintaining satisfactory academic standing, namely, a C+ (2.3) grade average,

unless otherwise specified by a particular scholarship;
2. submitting the FAFSA and Financial Aid PROFILE each year;
3. demonstrating financial need for the scholarship each year by the methods and proce-
dures described above;
4. actually incurring the charges for which the award is applicable, that is, tuition,
fees, and room and board.

Bennett College Endowment Fund Following the 1977 closing of Bennett College, a
small liberal arts college for women in New York State, a court decision ruled that half
the colleges remaining assets would become the property of Bard College. This fund is
380 Finances

established in perpetuity and used according to its original intention, that is, for stu-
dent scholarships and faculty endowment.

Distinguished Scientist Scholars Program (DSS) Each year full-tuition scholarships

for four continuous years of study are available for academically outstanding high
school seniors who are committed to majoring in biology, chemistry, physics, computer
science, or mathematics in their undergraduate studies. Additional financial aid to
assist in covering remaining costs, such as room and board, may be applied for and will
be awarded on the basis of need. Scholarship recipients are also eligible for a $2,000
stipend for summer research projects following the sophomore and junior years.
Renewal of a DSS scholarship is contingent upon the students maintaining a 3.3 grade
point average and continuing to major in one of the above-named programs.

Distinguished Scientist Scholars Program for Continuing Undergraduates

Returning students may be considered for a scholarshiptypically, $5,000 per year
that will supplement the DSS aid they already receive. Applications for this program
are considered directly by the Division of Science, Mathematics, and Computing; to
be considered, contact the division. The names of the applicants selected will be for-
warded to the Office of Financial Aid for the scholarship award.

Bard College Conservatory of Music Distinguished Musician-Scholar Program (DMS)

Each year full-tuition scholarships for five continuous years of study in the
Conservatory and the College are available for high school seniors of outstanding
achievement and talent in both music and academic subjects. Additional aid to assist
in covering remaining costs, such as room and board, may be applied for and will be
awarded on the basis of need. Renewal of a DMS scholarship is contingent upon a stu-
dents maintaining a 3.3 grade point average and continuing as a student in the
Conservatory of Music and in the College.

Excellence and Equal Cost Program (EEC) This program assists students who would
not otherwise be able to attend a private college or university because of its cost. A
public high school senior whose cumulative grade point average is among the top 10
in his or her graduating class is considered for a four-continuous-year EEC scholarship.
The first-year students who are selected annually to receive EEC scholarships attend
Bard for what it would cost them to attend an appropriate four-year public college or
university in their home state. Renewal of an EEC scholarship is contingent on the stu-
dents maintaining a 3.3 grade point average, completing 28 credits each academic
year, and remaining in good standing.

Foreign Language Intensive/Immersion Programs Bards foreign language intensive/

immersion programs include study in the country of the target language. The College
provides limited financial assistance to eligible students in intensive or immersion pro-
grams to help with the additional expenses of study abroad. To be eligible for this assis-
tance, a student must:
 Financial Aid 381

1. enroll in and successfully complete an intensive or immersion language program

during the semester and participate in the study-abroad program during interses-
sion or summer;
2. file for financial aid and demonstrate financial need as determined by federal gov-
ernment and Bard College guidelines;
3. receive a financial clearance from the Office of Student Accounts.

Students who have received merit awards for the regular academic year are not automat-
ically eligible for this assistance. The amount of the award will depend on a systematic
assessment of the familys financial strength; the maximum award will not exceed 60 per-
cent of the program costs. Students who are considering an intensive or immersion pro-
gram should weigh carefully the additional expense of study abroad, and those who would
need financial aid for such study should consult with the Office of Financial Aid.

Hudson Valley Scholarships In an effort to make the education offered by a small lib-
eral arts college more readily available to talented students in its own geographical area,
Bard awards a number of Hudson Valley Scholarships to academically qualified com-
muter students. The amount awarded depends on the students financial need.

Immediate Science Research Opportunity Program (ISROP) This program, open to

first-year students, with the opportunity to continue through a second year, establishes
a research community in molecular biology and biochemistry. Up to 10 students are
chosen each year to work part-time during the academic year as research assistants. The
assistantship provides a stipend.

The Levy Economics Institute Scholarships Full-tuition scholarships are awarded

each year to academically outstanding high school seniors who are committed to major-
ing in economics. Renewal of the scholarship is contingent on the students maintain-
ing a B+ (3.3) or higher grade average.

New Generations Scholarships In order to make a liberal arts education available to

recent immigrants, Bard College offers full-need scholarships to approximately 20 stu-
dents each year who demonstrate intellectual curiosity and a commitment to academic
excellence and whose parents were born abroad and came to the United States within
the past 20 years. Students born abroad and those born in the United States to immi-
grant parents may apply by contacting the Office of Admission at 845-758-7472 or
admission@bard.edu.

Trustee Leader Scholar Program (TLS) Students who exhibit a strong commitment to
academic rigor and community service may be designated Trustee Leader Scholars. They
receive stipends and are eligible for financial aid on the basis of need. In order to con-
tinue in the TLS program, a student must remain in good academic standing and partic-
ipate in TLS activities, including leadership training seminars, service projects, and
evaluation and support sessions. Working closely with the program director, students
develop leadership abilities by designing and implementing on-campus and off-campus
service projects, for which a stipend is provided. The stipend, $1,800 per year, is disbursed
to the student in weekly installments, upon the approval of the program director.
382 Finances

Renewal of Scholarship after an Absence from the College

All the scholarships and grants listed above, whether merit- or need-based, are awarded
for four continuous years of study at the Colleges campus in Annandale or until
requirements are completed for the students first degree, whichever comes first. The
funds cannot be applied toward payment of tuition and fees for programs at other insti-
tutions in the United States or abroad.

If a scholarship recipient takes an official leave of absence for a semester or a year and
maintains appropriate academic standing, the scholarship will be reinstated upon the
students return to Bard, but within the limits established above and within the stipu-
lations of the specific scholarship program.

If a scholarship recipient transfers or withdraws from Bard, the scholarship award will
not be reinstated if the student decides to rematriculate at Bard. In such cases the stu-
dent may apply for financial aid through the regular process.

Fees, Payment, and Refunds

Fees and Expenses

Comprehensive Fee The annual comprehensive fee (for fall and spring semesters)
includes the items listed in the following table. Fees in addition to the comprehensive
fee are given in the next text section.

Resident Off-Campus
Students Students
Tuitiona $35,784 $35,784
Roomb 5,198 0
Boardc 5,148 0
Campus facilities fee 0 258
Health services feed 610 610
Student activity fee 140 140
____________________ ____________________

Total annual comprehensive fee $46,880 $36,792

aThe $35,784 tuition fee covers a full-time course load of up to 20 credits. There is an additional charge of
$1,120 for each credit over 20.
b Reserved campus housing cannot be canceled without prior approval from the College.
c All resident students are required to take the meal plan. All students attending the Language and Thinking
Workshop are required to take the meal plan during the workshop and pay an additional meal charge of $620 for
meals taken during the workshop.
d This fee provides access to the health and counseling center and modest accident and health insurance coverage.
Enrollment is required.
 Fees, Payment, and Refunds 383

Additional Fees In addition to the annual comprehensive fee listed above, each stu-
dent pays an annual deposit of $500 in the spring for the purposes of enrollment in the
next academic year, including participation in room draw, online course selection, and
registration. The College retains the deposit for purposes of registration for the follow-
ing spring term and then applies the deposit toward charges for that spring term.

Every first-year and transfer student is required to pay a $225 security deposit and a $5
identification card fee. Provided there are no outstanding charges, the security deposit
will be refunded at the completion of a students course of study at the College. First-
time students also pay a meal charge of $620 for Language and Thinking Workshop
meals. Students who will be off campus during the academic year are required to live
on campus during the workshop, and pay a housing charge of $300.

Students in certain programs may be charged an additional fee for special facilities: for
example, a $130 darkroom, studio arts, or digital imaging fee per semester.

Every graduating senior is charged a $45 Commencement expense fee.

The Music Program offers private instruction in vocal and instrumental performance
for additional fees. The program secretary can provide details.

Part-Time Students Nonresident students living outside the immediate area who
register for 8 credits (two courses) or fewer are excused from all charges except the part-
time status fee of $300 per semester and the tuition fee of $1,120 per credit. Applica-
tions for this status must be approved by the Executive Committee.

Part-time resident students will be expected to pay the same room, board, health
service, and student activity fees as full-time resident students.

Academic Leave Students who take an academic leave to enroll in a study-abroad

program pay a $300 fee per semester of study abroad.

Course Audits Students may audit a maximum of 4 credits per semester at no charge.
A fee of $500 is charged for each additional credit audited.

Independent Study A special registration fee of $300 per credit is charged for each
independent study project undertaken for credit during the January intersession or the
summer. Only one independent study project is allowed for each session. The fee is
payable when the student registers for independent study. The registrar will record aca-
demic credit for January intersession or summer projects only upon receipt of financial
clearance from the Office of Student Accounts. No special registration fee is required
for independent study for credit undertaken during an academic semester.
384 Finances

Billing and Payment

Billing Account statements are mailed approximately 20 days before each scheduled
payment date and cover tuition and fees for the term. Miscellaneous charges (for med-
ications, fines, and the like) also appear on the account statements. Financial aid cred-
its reflect information that has been received and processed as of the date of the
statement. All balances are due by the date shown on the statement. Payments must
be received by that date to avoid late charges assessed on overdue balances.

Students and parents or guardians are responsible for keeping the Office of Student
Accounts informed of their correct billing address in writing. Address changes submit-
ted to other offices do not change the billing address.

All students entering Bard College are required under federal truth-in-lending legisla-
tion to sign the Retail Credit Disclosure Agreement, which includes the disclosure
statement for overdue account balances.

The account of any student owing a balance after leaving Bard will be turned over to
a collection agency. In such cases a 33.33 percent collection fee and attorneys fees will
be added to the balance. Once in collection, an account cannot be recalled nor can
the collection or attorneys fee be waived.

Registered students may use a prepaid debit card at the bookstore and dining services.
Monies deposited in these accounts must be used toward purchases and cannot be
refunded or transferred.

Payment Fees are payable as follows.

Resident Off-Campus
Students Students
May 1, 2007
(annual deposit, nonrefundable) $ 500 $ 500
June 29, 2007 11,720 9,198
July 31, 2007 11,720 9,198
November 30, 2007 11,720 9,198
December 31, 2007 11,220 8,698
____________________ ____________________

Total $46,880 $36,792

The $500 annual deposit, due for the fall semester, is applied to charges for the fol-
lowing spring semester. A new applicant who pays the deposit and decides not to
attend is not eligible for a refund of this deposit. If a returning student pays the deposit
and then decides not to attend for the fall semester, the deposit will be refunded only
if the College receives written notification before May 20 of the students decision to
take a leave or withdraw. If a student pays the deposit, registers, or participates in
 Fees, Payment, and Refunds 385

room draw, and then withdraws or takes a leave, the deposit will remain as a credit on
the individual account for one year, to be used in the event that the student returns
to Bard. If a student attends for the fall semester and then decides to withdraw or take
a leave for the spring semester, the deposit (being an annual, not a semester deposit)
is not refundable; it remains as a credit on the students account for one year, to be
used in the event that the student returns. For graduating seniors, the credit will be
applied after the May Commencement to any remaining balance due. Students
should not anticipate that charges incurred during the final year will be covered by
the deposit, and should pay any charges as billed.

For first-year and transfer students, the Language and Thinking Workshop meal charge,
security deposit, and identification card fee are prorated over the first two payments;
thus the June 29 and July 31 payments will each be $12,145 for resident students taking
the workshop, $9,773 for off-campus students taking the workshop, and $9,313 for off-
campus students not taking the workshop. All students attending the Language and
Thinking Workshop must live on campus and take the meal plan during the workshop.

The College offers the Bard Budget Plan, an alternative payment system that allows stu-
dent accounts to be paid in 10 equal installments. The terms and provisions of the bud-
get plan and an application form may be obtained from the Office of Student Accounts.

Reserved campus housing cannot be canceled without prior approval from the College.
If a resident student returns for classes but moves off campus after the financial clear-
ance date scheduled at the start of each semester, the student is responsible for the full
room charge. Resident students choice of rooms is contingent upon the timely pay-
ment of fees. Late payment may result in reassignment or loss of room.

All resident students are required to take the meal plan.

Bard College policy prohibits the use of any current-year financial aid for payment of
past-due balances from previous years.

Unpaid balances are subject to a finance charge of 1 percent per month (12 percent per
annum) with a minimum finance charge of $1 per month. In addition, accounts more
than 15 days past due are subject to a late fee of $25. A student with outstanding indebt-
edness to the College may not register or reregister, receive a transcript of record, have
academic credits certified, be granted a leave of absence, or have a degree certified.

Tuition Prepayment Plan Bard College offers a four-year tuition prepayment plan
to incoming first-year students who do not receive financial aid toward tuition costs.
The cost of tuition for each year of the students four-year tenure is stabilized at the
first-year amount. For those electing this option, payment of $143,136 (4 x the 2007-
08 tuition of $35,784) is due by July 31, 2007. If a student withdraws from the College
before completing four years of study, the excess credit balance is refundable. The pre-
payment plan applies to tuition only; room, board, and fees are payable as due.
Additional information is available at the Office of Student Accounts.
386 Finances

Returned Checks The first check not honored upon presentation will be charged back
to a students account with a fine of $30 or 1 percent of the face amount of the check,
whichever is greater. A second returned check will be fined $40 or 1 percent; additional
returned checks will be fined $50 or 1 percent. If the College receives several returned
checks from an individual, it reserves the right to require payment by bank cashiers checks
or money orders.

If a check used to provide financial clearance is returned, room reservation, course

selection, and registration will be canceled, and the account will be assessed a $100 late
enrollment fee in addition to the returned check fine.

Enrollment Verification

Students are required to verify their enrollment for each term at the financial clear-
ance session scheduled prior to the start of the term. Those who do not will have
enrollment holds placed on their accounts and will be required to pay a $100 late fee
before their enrollment for that semester is validated. Students who anticipate arriving
after the financial clearance date must contact the Office of Student Accounts in
advance of that date. Identification cards must be validated in order to be used at all
campus facilities, including the library, gymnasium, computer center, and dining com-
mons, and to pick up campus keys.

Students who plan to take an academic or personal leave of absence, or withdraw, or

are placed on a mandatory or conditional leave during or at the end of a semester are
required to file a Leave form with the Office of Student Accounts on or before the
last date of attendance. A student who registers for an upcoming term and then decides
to take a leave must notify the Office of Student Accounts in writing prior to the
scheduled financial clearance date of that term in order to be eligible for a refund.

Financial Clearance

Students accounts must be current with respect to payments and financial aid matters
before financial clearance is issued for enrollment validation and for participation in
room draw, online course selection, and registration. The financial clearance dates are
noted on statements and in correspondence sent to parents or guardians and to students
prior to these scheduled events. Accounts not cleared prior to these dates are subject to
financial holds that prevent participation in the events. A $100 fee must be paid before
such holds are removed. Parents and students are encouraged to call the Office of
Student Accounts in advance of these dates to verify the financial clearance status of
the account, in order to avoid unexpected complications.
 Fees, Payments, and Refunds 387

Refunds after Registration

Students who change their enrollment status from full time (10 credits or more) to part
time (9 credits or fewer) while the drop/add period is in effect during the first two weeks
of the semester may receive a refund of tuition charges, provided written verification is
submitted to the Office of Student Accounts prior to the designated end date of the
drop/add period. No refunds are made if Student Accounts has not been officially noti-
fied in writing prior to the drop/add deadline.

No refund of fees will be made if a student withdraws or takes a leave of absence from
the College at any time after registration except as herein specified. In no event is the
$500 deposit fee refundable. In all situations, the student must submit a complete appli-
cation for leave or withdrawal to the dean of students and the bursar. The date of final
processing of the application for leave or withdrawal will determine if a refund will be
given and the amount.

If the withdrawal or leave of absence is official before the first day of classes for the
semester in question, a full refund of all charges less the $500 nonrefundable deposit
fee is given. For first-time, first-semester students, the first day of the Language and
Thinking Workshop is established as the first day of fall semester classes. Satisfactory
completion of the Language and Thinking Workshop is required for matriculation into
the College. A student who fails to meet this requirement will be asked to take a one-
year academic leave. The schedule of tuition refund policy for first-time, first-semester
students enrolled in the fall semester Language and Thinking Workshop is as follows:
If withdrawal or leave of absence occurs at any time during the Language and Thinking
Workshop, 80 percent of tuition is refunded; within two weeks following the workshop,
30 percent is refunded. No tuition is refunded for withdrawal after two weeks follow-
ing the Language and Thinking Workshop.

If the official withdrawal or leave occurs after the first day of classes, only tuition and
board are refunded. No refund for room or required fees is allowed. Board refunds are
made on a per-week basis, but no board refunds are given if the student withdraws dur-
ing the last six weeks of a semester. The schedule of tuition refund is as follows: if the
withdrawal occurs within the first week of classes, 80 percent of the tuition is refunded;
within two weeks, 60 percent of the tuition; within four weeks, 30 percent of the
tuition. No tuition is refunded for withdrawal after four weeks. The official date of
withdrawal is the date on which the Office of Student Accounts receives written noti-
fication of withdrawal from the student.

If a student takes a leave or withdraws after the fall semester and before the spring
semester without giving the College timely notification, a spring semester room fee in
the amount of 25 percent of the room charge will be levied. If a resident student returns
for the spring semester but moves off campus without the Colleges prior approval, the
student will be responsible for the full room charge for the spring semester.
388 Finances

Refund calculations for students on the Bard Budget Plan who withdraw are the same
as for students not on the plan. Students on the plan who withdraw are still liable for
any payments due after the date of withdrawal. They have the same financial obliga-
tions as students not on the plan and therefore are responsible for the full amount due,
whatever the date of withdrawal.

Adjustments in financial aid awards for students who withdraw are determined accord-
ing to the following procedures. Any institutional grant or scholarship is reduced
according to the schedule given above for tuition refund. Adjustments in federal aid are
made on the basis of a formula prescribed by federal regulations. Details of the federal
regulations may be obtained from the Office of Financial Aid. Students considering
withdrawal should confer with the Office of Student Accounts and the Office of
Financial Aid concerning any anticipated refund and adjustments in financial aid.

No refund (including the $500 deposit fee) is made in cases of suspension or expulsion,
except in instances where a student is eligible for a pro rata refund as determined by
the federal government.
 Scholarships, Awards, and Prizes

Scholarships
Scholarships are given to continuing Bard students. The John Bard Scholarships are honorary and
carry no stipend. All other undergraduate scholarships are given only to students who are eligible for
financial aid.

George I. Alden Scholarship An endowed scholarship providing annual support to deserving students

Alumni/ae Scholarship A scholarship given annually by the BardSt. Stephens Alumni/ae Association
to one or more students for excellence in scholarship and citizenship and awarded by the president on
the recommendation of the faculty

Amicus Foundation Scholarship An endowed scholarship awarded annually to a qualified and deserv-
ing student in the field of economics

Hannah Arendt Scholarship A scholarship, in memory of Hannah Arendt, awarded annually for study
at Bard to a worthy and qualified first-, second-, or third-year student

Artine Artinian Scholarship for Needy Students A scholarship established by Artine Artinian, pro-
fessor emeritus of French, and given annually to talented and deserving students

Gustave Aufricht Memorial Scholarship A scholarship established by Gabor and Robert Aufricht,
members of the Class of 1941, in the name and memory of their father, Dr. Gustave Aufricht, and
awarded annually to a gifted student in the Division of Science, Mathematics, and Computing

Milton and Sally Avery Scholarship A scholarship awarded annually to qualified and deserving
students in the undergraduate and graduate programs in the arts

John Bard Scholarships Honorary scholarships awarded annually by the faculty of each division of
the College to not more than two students in each division for outstanding academic achievement in
the field of major interest

BBL Construction Services Scholarship A scholarship established through the generosity of the firm of
BBL Construction Services and given annually to a deserving student of superior academic achievement

Andrew Jay Bernstein 68 Memorial Scholarship A scholarship in memory of Andrew Jay Bernstein
68, awarded annually to psychology majors who demonstrate a deep commitment to the field of
psychology

Helen Walter Bernstein 48 Scholarships Scholarships established by Helen 48 and Robert

Bernstein to enable two or more students from countries outside the United States to study at Bard
389
390 Scholarships, Awards, and Prizes

Sybil Brenner Bernstein Endowed Scholarship A scholarship given annually to a deserving Bard
Graduate Center M.A. student who demonstrates exceptional talent for and love of the decorative arts

Heinz and Elizabeth Bertelsmann Scholarship A scholarship awarded annually to a qualified and
deserving student with a serious interest in either politics or environmental studies

Bindeman Family Presidential Discretionary Scholarship A scholarship awarded, at the discretion

of the president of the College, to a qualified and deserving student in special circumstances

Heinrich Bluecher Scholarship A scholarship in memory of Heinrich Bluecher, awarded annually

for study at Bard to a worthy and qualified first-, second-, or third-year student

John W. Boylan Scholarship in Medicine and Science A scholarship given to a premedicine or science
major who maintains an interest in music or literature

Kenneth Bush Memorial Scholarship in Mathematics A scholarship given annually in memory of

distinguished mathematician Kenneth A. Bush 36 to a junior who has demonstrated excellence in
mathematics

Harry J. Carman Scholarship A scholarship established in memory of Dr. Harry J. Carman and
awarded to one or more students for general academic excellence; given with preference to students
whose names have frequently appeared on the Honors List

Edward Lee Cave Fellowships Awarded to outstanding M.A. and Ph.D. students at the Bard
Graduate Center

Class of 65 Scholarship A scholarship established by the Class of 1965 in honor of its 35th reunion

Class of 1968 Scholarship A scholarship established by the Class of 1968 upon the occasion of its
25th reunion and awarded to a student who, in the judgment of the faculty and the dean of the
College, best exemplifies the spirit of social activism and community service that distinguished the
Class of 1968 during its years at Bard

Cowles Fellowship Awarded to an outstanding M.A. student at the Bard Graduate Center

Cowles Landscape Studies Fellowship Awarded to an outstanding M.A. student in garden history
and landscape studies at the Bard Graduate Center

Muriel DeGr Scholarship A scholarship given annually by the family and friends of the late Muriel
DeGr, wife of Gerard DeGr, professor of sociology at Bard College from 1946 to 1968, and awarded
to a deserving Upper College woman who exemplifies both scholarship and service to the community

Elaine de Kooning Memorial Scholarship A graduate scholarship given annually in memory of

Elaine de Kooning to deserving female students who show promise in painting, to enable them to
study at the Milton Avery Graduate School of the Arts; created by her family, friends, and former stu-
dents to perpetuate the memory of a great teacher and an inspiring role model

Kathryn J. Dinardo Fund Fellowship A scholarship awarded annually to an outstanding M.A. stu-
dent at the Bard Graduate Center
 Scholarships 391

Berta and Harold J. Drescher Scholarship A scholarship established to honor David E. Schwab II
52, chairman emeritus of the Board of Trustees, and awarded to a deserving student of high moral and
intellectual stature

Dr. Marian Eisenberg Rudnick Dunn Scholarship A scholarship named in honor of Dr. Marian
Eisenberg Rudnick Dunn 60 and awarded annually to a black or Hispanic student or a student from
Brazil with a record of academic distinction

Dyson Foundation Scholarship Scholarships for qualified and deserving students from the Mid
Hudson Valley

Ralph Ellison Scholarship A scholarship given annually, without regard to racial, ethnic, or other
personal background or characteristics, to one or more deserving students who, in the judgment of the
faculty and administration, have contributed significantly to the Bard College communitys under-
standing of difference and its efforts to end discrimination

Nesuhi Ertegun Scholarships in Music Scholarships established in memory of Nesuhi Ertegun, who
made a great contribution to American music and to jazz in particular, and awarded annually to qual-
ified and deserving students with a serious interest in music, especially jazz and black American music

SLR Ertegun Foundation Scholarship A scholarship given to a student from southern Africa who is
participating in the Program in International Education (PIE)

Elsie and Otto Faerber Scholarship A scholarship awarded in the name of Otto Faerber 27, upon
the nomination of the dean of students, to an individual with determination, a passion for exploration,
and a willingness to perform community public service

Barbara and Joel H. Fields 53 Pre-Med Scholarship Awarded to a student, during the junior and
senior years, who has shown outstanding academic achievement as well as the desire and ability to
gain acceptance into medical school

Richard B. Fisher Fellowship A fellowship given annually in memory of trustee Richard B. Fisher
to a student of writing in the Milton Avery Graduate School of the Arts

Seth Goldfine Memorial Scholarship A scholarship given annually in memory of Seth Goldfine,
who founded the Rugby Club at Bard, recognizing a student who displays outstanding leadership in
academic work and athletics for the benefit of the entire Bard community

Eric Warren Goldman Scholarship A scholarship awarded annually to qualified and deserving stu-
dents in the undergraduate program at Bard, preferably in economics or another field of social studies

Philip H. Gordon Family Moral Leadership Scholarship A scholarship awarded annually to

students who have demonstrated moral leadership by actively opposing prejudice, discrimination, and
violence

Richard D. and Nancy M. Griffiths Scholarship A scholarship established by longtime Director of

Buildings and Grounds Dick Griffiths and his wife, Nancy, for a talented and deserving student who
has shown a deep appreciation for the Bard campus and an interest in environmental matters
392 Scholarships, Awards, and Prizes

Jiri Hanzelka Scholarship A scholarship given annually to a student from the Czech Republic who
is participating in the Program in International Education (PIE). This scholarship is given in the name
and memory of a great writer and dissident and is endowed by Jim and Mary Ottaway.

William Randolph Hearst Endowed Scholarship Fund for Minority Students An endowed scholar-
ship awarded to qualified minority students who otherwise might not be able to further their education

Walter B. James/New York Community Trust Scholarship A scholarship given annually to one or
more qualified students

Clinton R. and Harriette M. Jones Scholarship A scholarship awarded annually to a qualified and
deserving student of the College, preferably in the field of religion

Paul J. Kellner Scholarships Five scholarships awarded to students with limited resources, to enable
them to attend Bard under the Excellence and Equal Cost (EEC) scholarship program

Kellner Hungarian Scholarships Three scholarships given to students from Hungary who are partic-
ipating in the Program in International Education (PIE)

Stanley Landsman Fellowship The Stanley Landsman Fund, established by the family and friends of
Stanley Landsman, provides for a limited number of full and partial fellowships for students who are
eligible for financial aid and are candidates for the master of fine arts degree from the Milton Avery
Graduate School of the Arts.

Stanley Landsman Scholarship The Stanley Landsman Fund, established by the family and friends
of Stanley Landsman, provides for two undergraduate scholarships to be awarded annually, on recom-
mendation of the faculty, to a junior and a senior majoring in the visual arts.

Eugene M. Lang Scholarship Fund A fund providing scholarship support based on need to students
of promise, with preference given to minority students

Clair Leonard Scholarship A scholarship established by the friends of Clair Leonard, professor of
music at Bard College from 1947 to 1963, in his name and memory, for excellence in the field of music

The Levy Economics Institute Scholarships Two full-tuition scholarships awarded each year to aca-
demically outstanding high school seniors committed to majoring in economics and renewable on
condition of maintaining a B+ or higher grade point average

Leon Levy Scholarships Scholarships based on superior academic and artistic achievement and
awarded to second- or third-year students who demonstrate exceptional merit in written and oral
expression, independent thinking and intellectual leadership, and breadth of interest in intellectual
and artistic pursuits

Liberace Foundation Scholarship A scholarship awarded by the Liberace Foundation for the
Performing and Creative Arts to talented students planning careers in the arts

Oliver Lundquist Scholarship in Social Justice Awarded to a junior or senior in financial need and
of high academic standing who has shown extraordinary merit promoting issues of social justice

Arthur F. Martin Jr. Scholarship A scholarship established in memory of Arthur F. Martin Jr. 56 and
awarded annually by his former classmates, friends, and teachers to a qualified and deserving student
 Scholarships 393

in the Division of Science, Mathematics, and Computing, with preference given to a student intend-
ing to enter medical school

James J. McCann Scholarship A scholarship awarded annually, through the generosity of the James
J. McCann Charitable Trust, to a qualified student or students from Dutchess County

Emerald Rose McKenzie 52 Scholarship A scholarship awarded in memory of Emerald Rose

McKenzie 52 to a female student who is committed to anthropology or sociology and gender studies
and who demonstrates a strong commitment to humanitarian ideals

MFA Alumni/ae Scholarship Scholarships, created from contributions by Milton Avery Graduate
School of the Arts alumni/ae, awarded annually to one or more students in the MFA program who have
demonstrated financial need

Milners Fund Fellowship in Population Studies A fellowship given to one or more graduate students
in the Bard Center for Environmental Policy who demonstrate outstanding ability and serious com-
mitment to the study of aspects of human population growth

Morningstar Scholarships for Dance and Theater Students Scholarships given to talented and
deserving students, preferably male, who plan to concentrate in dance and/or theater and have already
expressed an interest in moderating in one of these areas

Open Society Institute Scholarships Scholarships funded by the Open Society Institute as part of its
Undergraduate Exchange Program, which enables students from countries of the former Soviet Union,
Central and Eastern Europe, and Mongolia to attend a college or university in the United States for
one year

Jim and Mary Ottaway Scholarships Two scholarships given to students from southern Africa who
are participating in the Program in International Education (PIE)

Paul J. Pacini Music Scholarship A scholarship established by Paul J. Pacini and given annually to
a deserving student majoring in classical music, preferably voice or composition

Charles and June Patrick Scholarship A scholarship awarded annually to one or more qualified and
deserving juniors who have contributed most to the general welfare of the College through participa-
tion in the athletic program

Petrie Fellowship A scholarship awarded annually by the Carroll and Milton Petrie Foundation to
qualified students in the Master of Arts in Teaching Program who demonstrate a commitment to work-
ing in the New York City public schools for at least five years

Photography Advisory Board Scholarship A two-year scholarship given annually to one or more
moderated Photography Program majors to cover the material costs associated with Upper College
photographic work

Presser Foundation Scholarship A scholarship awarded for the senior year to an outstanding student
majoring in music

Mark Purlia Memorial Scholarship A scholarship given by the parents of Mark Purlia 71, in his
name and memory, and awarded annually to a student who, in the judgment of the Division of
Languages and Literature, best fulfills conditions of ability, character, and need
394 Scholarships, Awards, and Prizes

Readers Digest Foundation Scholarship An endowed scholarship awarded to one or more Upper
College students who have distinguished themselves in academic work

Stanley and Elaine Reichel Science Scholarship A scholarship awarded to an outstanding and
deserving student to complete an education in the sciences at Bard; provided as an offshoot of the
Stanley and Elaine Reichel Fund for the Future of Science at Bard, which was created in 1989 by
Stanley Reichel 65 and Elaine Reichel to recognize the excellence of Bards Division of Science,
Mathematics, and Computing

Lynda and Stewart Resnick Fellowship Awarded to outstanding students in the Bard Graduate
Center M.A. program

Lynda and Stewart Resnick Scholarship A scholarship established by the parents of Ilene Resnick
87 and given annually to a deserving student from either California or Pennsylvania who demon-
strates exceptional academic promise

Betsy Richards Memorial Scholarship A scholarship given by the parents and friends of Betsy
Richards 91, in her name and memory, and awarded annually to a student who is a music major and
demonstrates a strong interest in the liberal arts

Rose and Kiernan Scholarship Awarded to accomplished and deserving students

David and Rosalie Rose Scholarship A scholarship awarded by the president of the College, upon
the recommendation of the faculty, for academic excellence and commitment to high ideals in schol-
arship in the field of economics

William F. Rueger Memorial Scholarship A scholarship named for William F. Rueger 40, a devoted
alumnus who served Bard College as chairman of the Board of Trustees and as a life trustee, and
awarded to a student of the classics who demonstrates excellence in Greek or Latin

Daniel I. Sargent Memorial Fellowship Awarded to an outstanding Ph.D. candidate at the Bard
Graduate Center. Established by Elaine Sargent in memory of her husband.

Dr. Scholl Foundation Scholarship An endowed scholarship awarded annually to one or more indi-
viduals, preferably from the Midwest, who are identified as student leaders because of significant com-
munity service

Bernard and Irene Schwartz Foundation Scholarship A scholarship given to outstanding female
Ph.D. candidates at the Bard Graduate Center

Seraphic Doctor Scholarship A scholarship established by Johanna Shafer 67 and Michael Shafer
66 and awarded annually to a student who shows commitment to faith in God and to simplicity of
lifestyle as exemplified by Saint Francis

Peter Jay Sharp Endowed Scholarship Awarded annually to outstanding Ph.D. candidates at the
Bard Graduate Center

Murray G. and Beatrice H. Sherman Scholarship A scholarship to a deserving student who demon-
strates academic excellence and financial need
 Scholarships 395

Shreiber Family Scholarships Scholarships offered annually to deserving Russian students at Smolny
College based on academic achievement and demonstrated financial need. The scholarships are
named for Nicholas Shreiber (191080), originally from St. Petersburg, and are given by his wife and
children to support liberal arts education in that city.

Cooky Heiferman Signet Scholarship A scholarship given by the parents of Esther Heiferman Signet
56, in her name and memory, and awarded annually to a qualified and deserving student in the field
of social studies

Milan Simecka Scholarship A scholarship given annually to a student from Slovakia who is partici-
pating in the Program in International Education (PIE). This scholarship is given in the name and
memory of a great writer and dissident and is endowed by Jim and Mary Ottaway.

Marilyn M. Simpson Endowed Scholarship Awarded annually to outstanding Ph.D. candidates at

the Bard Graduate Center

Stephen P. Snyder Scholarship A scholarship awarded to a student in the Division of Social Studies
who has not only shown excellence in academics but also made a significant contribution to the life
of the College and its community

Arnelle Solomon Scholarship A scholarship given by Larry Solomon 78 and Bernard Rudnick to a
sophomore or junior student in good academic standing who, in the judgment of the dean of students and
two representatives from student government, has contributed most to the quality of student life at Bard

C. V. Starr Scholarship An endowed scholarship established to provide support for Bard students from
abroad who demonstrate both need and academic excellence

Mary and Richard Sugatt Scholarship A scholarship for students who have distinguished themselves
in both the academic life of the College and the leadership of the student body

Symons Foundation Scholarship for Animal Welfare A scholarship given to a student who has
demonstrated a commitment to animal welfare, made possible in part by the Independent College
Fund of New York

I. Brewster Terry III Memorial Scholarship A scholarship established and endowed in 1987 by the
classmates, friends, and family of I. Brewster Terry III 38, in his name and memory, and awarded to
students in the Upper College whose commitment to liberal learning manifests itself in distinguished
work in both the classroom and the College community

Thomas Thompson Trust Scholarship An endowed scholarship established to provide support for
students performing community service in Rhinebeck, New York

Felicitas S. Thorne Scholarship A scholarship given to a student from Smolny College, Russia, who
is participating in the Program in International Education (PIE)

William E. Thorne Scholarship A scholarship named for its donor and awarded to a student who
intends to enter the ministry

Leyla Turcihin Memorial Scholarship Awarded to a Bard Graduate Center M.A. or Ph.D. student
interested in Islamic, ancient, or Asian decorative arts
396 Scholarships, Awards, and Prizes

Beth M. Uffner Scholarship A scholarship awarded to a student who has shown perseverance toward
facing the challenges of pursuing a college education and who displays serious interest in the arts

Paul Williams Scholarships Two scholarships awarded annually to a man and a woman of academic
distinction who are interested in public service

Willowbridge Associates Fellowships Scholarships awarded to outstanding students at the Bard

Graduate Center

Werner Wolff Scholarship A scholarship given annually in memory of Dr. Werner Wolff, professor
of psychology at Bard from 1942 to 1957, by his former students and awarded to a deserving student
for excellence in the field of psychology or anthropology

Wortham Foundation Scholarship Provides fellowships for the Center for Curatorial Studies gradu-
ate program

Jane Fromm Yacenda Scholarship in the Arts A scholarship given annually to a deserving student
or students of painting whose work combines innovation with a love of craft

Awards
Awards are given to Bard students in open competition, irrespective of financial need. The awards
carry various stipends.

Alumni/ae Research and Travel Grant Established in 1996 by the inaugural class of the Bard
Graduate Center to support scholarship and research for students and alumni/ae of the Bard Graduate
Center. Awarded annually and continually funded by alumni/ae contributions.

Book Award for Excellence in Language Learning Awarded to one student from each foreign lan-
guage program taught at the College, upon the nomination of the faculty in each language program;
based on effective language learning, growth and improvement over the course of study, enthusiasm,
diligence, commitment, and leadership in the classroom

Class of 1969 Award An annual award given to a junior or senior who, in the judgment of the fac-
ulty and the dean of the College, has demonstrated a commitment to justice, peace, and social equity
through scholarly pursuits, community involvement, and personal example

Alice P. Doyle Award in Environmental Studies An award given annually to a student who shows
outstanding potential in the field of environmental studies, particularly in exploring the social
dimensions of environmental issues

Naomi Bellinson Feldman 53 Internship Award An award given yearly to support a student
internship, preferably related to music or social sciences

William Frauenfelder Award An award established in honor of William Frauenfelder, beloved pro-
fessor of modern languages and literature for more than 30 years, awarded to a sophomore or junior
excelling in the study of one or more foreign languages
 Awards 397

Harold Griffiths 31 Award in Chemistry An award given in memory of Harold Griffiths 31,
through the generosity of his widow, Ethel S. Griffiths, to a deserving third-year student who, accord-
ing to the faculty of the Division of Science, Mathematics, and Computing, demonstrates excellence
in chemistry and outstanding potential

Jerome Hill Award An award given in memory of Jerome Hill to a senior for exceptional work in the
documentary film tradition

Junior Fellowship Program Award A fellowship awarded annually to juniors to pursue an unpaid,
supervised work experience designed to help them learn directly about a career field and test their
career interests and skills

Alexander Hirschhorn Klebanoff Award for Outstanding Achievement in Art History Awarded
to a student whose Senior Project demonstrates extensive scholarship and daring originality. The stu-
dent should also demonstrate a commitment to art and artists in and around Bard College and show
both a deep appreciation and a diversified understanding of art history.

Reamer Kline Award An award given anonymously by an alumnus of the College to deserving
students who, in the judgment of the president, best perpetuate the high ideals, devotion, and ener-
getic involvement in the life and work of the College exemplified by Dr. Kline during his 14 years as
president of Bard

Robert Koblitz Human Rights Award An award established in 1987 by Bard alumni/ae who are for-
mer students of Robert Koblitz, professor emeritus of political studies, in his name and honor, and
awarded annually to a member of the Bard communitystudent, faculty, administration, or staff
whose work demonstrates an understanding of and a commitment to democracy

Nancy Mathews 64 Internship Award An award given to a graduate student undertaking an

internship in a nonprofit organization in the Hudson Valley

Larry McLeod Award in Jazz An award established by the family and friends of Larry McLeod and
given annually to students who have done much to keep the sound of jazz going at Bard

Adolfas Mekas Award Awarded for exceptional screenwriting by a senior film student

Kimberly Moore 92 and Frederick Baker 92 Senior Project Art Award An award given annually
to a talented and deserving junior studio arts major to support his or her Senior Project

Shelley Morgan Award An award given to faculty, staff, or students who display the qualities of lead-
ership, compassion, commitment, and dedication to the Bard community

Natural Philosophy Award An award established by Andrew Choung 94 and given to a moderated
student pursuing a substantial combination of studies in both the natural and social sciences, reflect-
ing the spirit of a Renaissance education

Sidney Peterson Award An award given to a senior for exceptional service in the spirit of the late
experimental filmmaker

Eugenie Prendergast Fund Established to support Bard Graduate Center student travel expenses
associated with researching and writing the M.A. thesis or doctoral dissertation; made possible by a
grant from Jan and Warren Adelson
398 Scholarships, Awards, and Prizes

M. Susan Richman Senior Project Award in Mathematics An award named in honor of Dr. Richman,
mathematician, university educator and administrator, and mother of two mathematicians. It is given
annually to recognize the senior student exhibiting the most mathematical creativity, as determined
by the Bard mathematics faculty.

Pat Singleton Award for Sustained Community Service An award established in loving memory of
Pat Singleton, office manager of Bards Office of Admission for more than 30 years, by her friends and
colleagues, and given to an Upper College student who, in the judgment of the Student Life staff, pos-
sesses clear spiritual belief and enriches the local and/or campus community through dedicated and
sustained service

C. T. Sottery Award An award established by an alumnus of the College and given annually to a
junior for significant achievement in chemistry and for an outstanding contribution to the life and
work of the Division of Science, Mathematics, and Computing

Studio Arts Award An award given annually to two deserving seniors whose work exemplifies dedi-
cation, commitment, and integrity

Clive Wainwright Thesis Award A nonmonetary award given annually to one or more Bard
Graduate Center students for an outstanding masters thesis in the field of decorative arts, design, and
culture that is noteworthy for its originality of concept, soundness of research, and clarity of presenta-
tion; established in honor of the late Clive Wainwright, an esteemed curator at the Victoria and
Albert Museum, influential expert in 19th-century decorative arts, and valued member of the Bard
Graduate Centers Executive Planning Committee

Lindsay Watton III Senior Project Research Award An award established to commemorate the life
achievements and numerous contributions of Professor Lindsay F. Watton III. This award encourages
a student in Russian and Eurasian studies to travel to review primary source materials related to his or
her Senior Project.

Christopher Wise 92 Award in Environmental Studies and Human Rights An endowed award
established in memory of Christopher James Wise 92, given through the generosity of his friends and
family, to support a students internship in environmental studies and/or human rights
 Prizes 399

Prizes
Prizes are given in open competition, irrespective of financial need, according to the intentions of the
donors. The prizes carry various stipends.

Atget Prize in Photography A prize given to a senior whose work exemplifies the essence of
artistic documentary photography

Bard Academic Resources Center Prize An annual prize given to two seniors who have distin-
guished themselves as peer tutors through their dedication, patience, skill, knowledge, and hard work.
One prize goes to a math/science tutor and the other to a humanities tutor.

Bard Publications Prize A prize given to a senior in recognition of writing, editing, or design achieve-
ment in the preparation of material produced by the Bard Publications Office

Andrew Jay Bernstein Prizes A prize in memory of Andrew Jay Bernstein 68, to be given to a junior
for the purpose of assisting the preparation of his or her Senior Project in psychology; and a prize in
memory of Andrew Jay Bernstein 68, to be given to a senior in recognition of the originality and qual-
ity of his or her Senior Project in psychology

Marius Bewley Prize A prize given annually by the Stevenson Library in honor of the American
scholar, editor, and teacher Marius Bewley and awarded to a senior for distinguished critical work in
American literature or English romantic literature

Marc Bloch Prize A prize given each year by the Historical Studies Program to the student who
completes the best Senior Project in historical studies

Heinrich Bluecher Prize A prize in memory of Dr. Heinrich Bluecher, professor of philosophy at Bard
College from 1952 to 1967, given annually by his family, friends, and former students to one or more
Upper College students who best exemplify ideals of scholarship espoused by Dr. Bluecher

Franz Boas/Ruth Benedict Prize A prize given to a senior in recognition of achievement demon-
strated by the Senior Project in anthropology

President Leon Botstein Prize A prize endowed by the Bard faculty on the occasion of 30 years of
President Botsteins leadership of the College, given to a graduating senior with a strong academic
record across the disciplines who has been judged by the faculty to have demonstrated intellectual
ambition, creativity, and integrity

Irma Brandeis Prize A prize given annually to a third-year student with an excellent academic
record, whose Senior Project in literature, languages, history, art history, philosophy, or the history of
science is outstanding for both broadness of vision and precision of thought. The award honors Bards
distinguished, longtime faculty member Irma Brandeis, whose contributions to Dante scholarship and
to Bard College exemplify the virtues embodied in this prize.

Class of 2003/2004 Senior Project Prize A prize given annually by the Classes of 2003 and 2004 to
a senior student to support the expenses associated with researching, writing, or performing the Senior
Project

Carol F. Creedon Prize in Psychology A prize given by one of her students in honor of Carol F.
Creedon, an associate professor of psychology and sociology and a student counselor at the College in
the late 1950s. It is awarded for general academic excellence to a student or students who are nomi-
nated by the psychology faculty.
400 Scholarships, Awards, and Prizes

Nelson B. Delevan Senior Project Prize Awarded by The Nelson B. Delevan Foundation to assist stu-
dents in the completion of their Senior Projects, with preference to those in the Division of the Arts

Maya Deren Prize A prize given anonymously in memory of Maya Deren and awarded to a film
major for excellence in and commitment to cinema

Alice P. Doyle Prize in Environmental Studies A prize given annually to a graduating senior whose
Senior Project illuminates the social dimensions of environmental issues

Jacob Druckman Memorial Prize A prize established by Ingrid Spatt 69 to honor the memory of Jacob
Druckman, a beloved teacher and friend, associate professor of music from 1961 to 1967, and awarded
to a senior in the Music Program who demonstrates excellence and innovation in music composition

Cristina Duarte Prize A prize established by Cristina Duarte 86, awarded to a deserving senior whose
Senior Project incorporates medieval literature

Lyford P. Edwards Memorial Prize A prize awarded annually in memory of Lyford P. Edwards, a
former professor of sociology at the College, to a student in the senior class who demonstrates excel-
lence in the social sciences

William Frauenfelder Translation Prize A prize established in honor of William Frauenfelder, pro-
fessor of modern languages and literature from 1934 to 1957 and 1969 to 1977, and awarded to a senior
whose project includes a substantial work of literary translation of particularly high quality and atten-
tion to scholarship

Sara Gelbart Prize in Mathematics A prize honoring a woman whose life was devoted to the encour-
agement of science and scholarship and given annually to the student who shows the most promise and
produces outstanding work in mathematics

Antonio Gramsci Prize A prize awarded annually to a qualified and deserving student, nominated by
the Division of Social Studies, who has demonstrated excellence in political studies, political economy,
and the policy implications of academic analysis

Higher Education Opportunity Program Achievement Prize A prize awarded each year to the grad-
uating HEOP senior who best exemplifies the spirit of the program through academic achievement
and personal growth

Hudsonia Prize A prize awarded each year by Hudsonia Ltd. to a qualified and deserving student
showing promise in the field of environmental studies

Ana Itelman Prize for Directing or Choreography A prize established by her family, friends, and admir-
ers in memory of Ana Itelman, professor of dance from 1957 to 1969 and joint founder of the
Drama/Dance Program at the College. It is awarded, when the occasion suggests, to theater and dance stu-
dents who have shown creativity, imagination, and theatrical invention as directors, choreographers, or
creators of other forms of performance art and whose work demonstrates wit, style, dynamism, and visual
flair, as did hers.

Ana Itelman Prize for Performance A prize established by her friends and admirers in memory of
Ana Itelman, professor of dance from 1957 to 1969 and joint founder of the Drama/Dance Program at
the College. It is awarded, when the occasion suggests, to theater and dance students who have shown
onstage in both acting and dance the expressiveness she worked to develop.
 Prizes 401

William E. Lensing Prize in Philosophy An annual prize in memory of William Lensing, professor of
philosophy from 1949 to 1981, given to one or more Upper College philosophy majors chosen by the
programs faculty for excellence in the field

The Levy Economics Institute Prize A prize awarded annually to a senior with an outstanding aca-
demic record, whose Senior Project represents originality of thought in economics and public policy
and who has contributed consistently to furthering the goals of the Levy Institute while at Bard

William J. Lockwood Prizes A prize awarded to the senior students who, in the judgment of the presi-
dent, have contributed most to the intellectual life of the College; and a prize awarded to the senior stu-
dents who, in the judgment of the president, have contributed most to the general welfare of the College

Wilton Moore Lockwood Prize A prize awarded to a student who has submitted particularly
distinguished creative and critical writing in course work

Jamie Lubarr Research Prize A prize awarded in honor of Jamie Lubarr 72 to a student in anthro-
pology, film, or photography, to facilitate the making of an ethnographic or documentary film, video,
or photographic series as part of a Senior Project that combines anthropology and the visual media

Mary McCarthy Prize A prize given to a junior who, through competitive selection by a special jury,
is deemed the most promising and talented prose writer entering the senior year

Paul J. Pacini Prize in Music Prize created by Paul J. Pacini and given to a deserving student study-
ing voice in the Music Program to assist with expenses associated with recitals, performances,
Moderation, or the Senior Project

Don Parker Prize A prize awarded annually to one or more seniors in the Dance and Theater Programs
who have shown the greatest development and progress as performers at Bard

Robert Rockman Prize A prize established by the Class of 1966 to honor and acknowledge Robert
Rockman, a beloved teacher devoted to making the Bard experience come to life for more than 40
years, and awarded to a junior or senior for excellence in literature and theater

Bill Sanders Memorial Prize A prize given in memory of Bill Sanders 90 to a student for apprecia-
tive, elegant, and insightful critical writing in English literature

Seniors to Seniors Prize A prize awarded by the Lifetime Learning Institute, a continuing education
program for senior citizens on the Bard campus, to support five undergraduates, one from each of the
Colleges four divisions and one from the Returning to College Program, in the preparation of their
Senior Projects

Margaret Creal Shafer Prize A prize given by the Hudson Valley Chamber Music Circle to a graduating
senior who has excelled either as a composer or performer and demonstrated an active participation
in the Music Program

Dr. Richard M. Siegel Memorial Prize in Music A prize given in memory of Dr. Richard M. Siegel 43
to a student majoring in music who, in the judgment of the faculty, demonstrates academic excellence

Dr. Richard M. Siegel Memorial Prize in Science A prize given in memory of Dr. Richard M. Siegel 43
to a student majoring in science who, in the judgment of the faculty, demonstrates academic excellence
402 Scholarships, Awards, and Prizes

Idahlia Gonzalez Stokas Memorial Prize A prize awarded in loving memory of Idahlia Gonzalez
Stokas to a graduating senior who best exemplifies the spirit of Bard and who, having overcome per-
sonal challenges during his or her studies, has demonstrated academic excellence

Peter J. Stone Music Prize A prize in memory of Peter J. Stone 68, given in recognition of an earnest
and dedicated junior or senior chosen as the most versatile and talented student in either music perfor-
mance or composition

Adolf Sturmthal Memorial Prize A prize established by the family, former students, and friends of Adolf
Sturmthaleconomist, educator, and author, who served on the Bard faculty from 1940 to 1955and
awarded annually to a senior student who has done outstanding work in the field of economics

Tierney Family Foundation Prize A prize given annually to a graduating senior in the Photography
Program to enable him or her to pursue a photographic project during the year after graduation

Carter Towbin Prize A prize awarded annually in memory of Carter Towbin to an Upper College
theater or dance student in recognition of creativity, versatility, and overall contribution to the work
of those programs

Special Carter Towbin Prize A prize awarded to one or more majors or nonmajors in recognition of
their exceptional contributions to the technical work of the Theater and/or Dance Programs

William Vogt Memorial Prize in Ecology A prize established by his protgs and friends in memory of
Dr. William Vogt, a member of the St. Stephens Class of 1925 and a respected ecologist, conservation-
ist, and demographer. The prize is awarded to a junior in the Division of Science, Mathematics, and
Computing who has demonstrated commitment to, or significant achievement in, the field of ecology.

Thomas J. Watson Fellowship Awarded by the Watson Foundation by a competitive process to a

graduating senior for the pursuit of an independent research project outside the United States for one
year after graduation

Lindsay F. Watton III Memorial Prize in Russian and Eurasian Studies A prize established by the
friends of Lindsay F. Watton III, professor of Russian language and literature, awarded annually to a
student whose Senior Project demonstrates excellence in the field of Russian and Eurasian studies.
The project should be interdisciplinary and reflect a knowledge of Russian or the Slavic/Eurasian lan-
guage relevant to the theme of the project.

Suzanne Clements Zimmer Prize A prize in memory of Suzanne Clements Zimmer 55, established
by her husband, Karl Zimmer, and given annually to a deserving and promising sophomore art major
 Faculty

Faculty Emeritus
Benjamin Boretz The Arts
B.A., Brooklyn College; M.F.A., Brandeis University; M.F.A., Ph.D., Princeton University. Composer,
critic (The Nation, 196270); editor (founding editor and current coeditor, Perspectives of New Music;
coeditor, The Open Space Magazine). Works appear in audio, video, and print, published by Open Space
Publications. (197398) Professor Emeritus of Music and Integrated Arts.

Alan Cote The Arts

Painter; studied at the School of the Museum of Fine Arts, Boston. Twenty-one solo exhibitions and
numerous group exhibitions since 1970, including at Washburn Gallery, Damon Brandt, Cuningham
Ward, Reese Palley, New York; Jared Sable Gallery, Dunkelman Gallery, Toronto; and Galerie Ricke,
Cologne, Germany. Work in the collections of Guggenheim Museum; Museum of Modern Art; Whitney
Museum of American Art; Phoenix Art Museum; Dallas Museum of Art; Suermondt-Ludwig Museum,
Aachen, Germany; James A. Michener Collection, University of Texas; Syracuse University; Lannan
Foundation; Princeton University; Weatherspoon Art Gallery, University of North Carolina,
Greensboro. Awards: Guggenheim Fellowship (1984); National Endowment for the Arts Fellowship
(1989). (19702003) Professor Emeritus of Studio Arts.

John C. Fout Social Studies

B.A., M.A., University of Nebraska at Omaha; Ph.D., University of Minnesota. Phi Alpha Theta;
Fulbright Fellowship, Germany (196465). Member of editorial boards, Journal of Homosexuality and
Journal of Mens Studies. Coeditor, European Women, A Documentary History, 17891945 (1980) and
American Sexual Politics (1993). Editor, German Women in the Nineteenth Century, A Social History (1984);
Forbidden History (1992). Author of essays and reviews in many scholarly journals. Founding editor,
Journal of the History of Sexuality and the Chicago Series on Sexuality, History, and Society (University
of Chicago Press). Historical consultant for The History of Sex, five-part series on the History Channel
(1999). (19692000) Professor Emeritus of History.

Luis Garcia-Renart The Arts

Studied at the Music School of the National University and the National Conservatory, Mexico; con-
servatories of Bern and Basel, Switzerland; and Trossingen, Germany. Pupil of Sndor Veress, Sndor
Vegh, and Pablo Casals. Scholarship to Conservatory of Moscow with Rostropovich and Khachaturian
(1960). Prizes: Casals International Contest, Paris (1956); Xalapa (1959); Israel (1961); Harriet Cohen
Cello Prize, London (1959). Solo performances in North and South America, Europe, the Soviet
Union, and Israel. Faculty of Vassar College, Yale Summer Graduate School of Music and Art,
Piatigorsky Seminars, University of Southern California, Los Angeles. Music director, Woodstock
Chamber Orchestra (1991 ). (19622004) Professor Emeritus and Visiting Professor of Music.

403
404 Faculty

Jacob Grossberg The Arts

B.A., M.F.A., Brooklyn College; M.A., Teachers College, Columbia University. Instructor, Brooklyn
College; Teachers College, Columbia University; Pratt Institute; assistant professor of fine arts,
Philadelphia College of Fine Arts. Solo exhibitions: Aegis Gallery, Rose Fried Gallery, Max
Hutchinson Gallery. Group shows include Museum of Modern Art; Philadelphia Art Alliance;
Pennsylvania Academy Annual; Lever House Sculptors Guild Annual; Indianapolis Museum of Art;
Sculpture Now Gallery; Frank Marino Gallery; Neo Persona Gallery, New York. (196996) Professor
Emeritus of Sculpture.

Robert Koblitz Social Studies

B.A., Ohio State University; fellow, Maxwell School of Citizenship and Public Affairs, Syracuse
University; M.P.A., M.A., Ph.D., Harvard University. Japanese language and area specialist, military
intelligence, A.U.A.; research analyst, Cambridge Research Association; consultant, Wage Stabilization
Board. Fulbright visiting professor, University of Baroda, India (195556); Fulbright visiting professor,
Nanzan University, Nagoya, Japan (196869). Director, Foreign Student Orientation Program (1957);
Committee on International Exchange of Persons (195859). Research associate, Carnegie Foundation
for the Advancement of Teaching (196062). Contributor, Fundamentals of Political Science. (195186)
Professor Emeritus of Political Studies.

Arlene Laub The Arts

Studied modern dance techniques and composition with Alwin Nikolais and Jos Limon; ballet with
Ella Dagonova. Principal member, Nikolais Dance Theatre. Tours and television appearances with the
Nikolais dancers in the United States and abroad; concerts of own choreography. Teacher, Nikolais/
Louis Dance Lab. (196587) Associate Professor Emeritus of Dance.

Adolfas Mekas The Arts

Studied at Johannes Gutenberg University, Germany; New York Television Workshop; Drama School
in Kassel, Germany. Five years as an actor and stage director in Germany. Author of six books.
Cofounder and editor, Film Culture magazine. Writer and director of films (narrative and documentary),
including Hallelujah the Hills, The Brig, The Double-Barrelled Detective Story, Windflowers, Campaeras
and Compaeros, Going Home, Zamzok. Films shown at many international film festivals, including
Cannes, Venice, New York, London, Berlin, Montreal, Buenos Aires, Perth, Moscow. Director, Milton
Avery Graduate School of the Arts (198389). (19712004) Professor Emeritus of Film.

Frank E. Oja Social Studies

B.A., Swarthmore College; M.A., New School University. Lecturer and instructor in psychology at
Wagner College; teaching fellow, Graduate Faculty of New School University; faculty member, New
School University. (19572000) Professor Emeritus of Psychology.

Matt Phillips The Arts

M.A., University of Chicago; studied at Barnes Foundation, Stanford University, University of
Pennsylvania. Guggenheim Fellowship (197374), National Endowment for the Arts Fellowship
(1975), Pollock-Krasner Foundation Grant (1995). Numerous solo exhibitions include Phillips
Collection and Fendrick Gallery, Washington, D.C.; Donald Morris Gallery, Detroit; Impressions
Workshop Gallery, Boston; Association of American Artists, Smith Andersen, Palo Alto; William
Zierler, Peter Deitsch Gallery, and Marilyn Pearl Gallery, New York; Print Club and Makler Gallery,
Philadelphia; Marcel Bernheim, Paris; Stephen Wirtz Gallery and Alex Meyerovich Gallery, San
Francisco; Fred Baker Gallery, Chicago. Fifteen-year retrospective, Baltimore Museum of Art (1976);
23-year retrospective, Bard College (1988); 35-year retrospective, Harcourts Gallery, San Francisco.
Collections include Metropolitan Museum of Art; Whitney Museum of American Art; Library of
 Faculty Emeritus 405

Congress, National Collection; Smithsonian Institution; Philadelphia Museum of Art; Stanford

University. (196487) Asher B. Edelman Professor Emeritus of Art.

Murray R. Reich The Arts

B.F.A., City College of New York; M.F.A., Boston University. Solo exhibitions: Nova Gallery, Ward-
Nasse Gallery, Boston; Max Hutchinson Gallery, Artists Space, Condesso-Lawler Gallery, American
Academy of Arts and Letters, New York; Huntington Museum Galleries, Huntington, West Virginia;
Gallery A, Sydney, Australia. Work in collections of Whitney Museum of American Art, De Cordova
Museum, Lannan Foundation, Cornell University, Boston University, IBM, Chase Manhattan Bank,
Corcoran Gallery; U.S. General Services Administration mural commission, Federal Building,
Memphis, Tennessee (1980). National Endowment for the Arts Fellowship (1980); Guggenheim
Fellowship. (196797) Professor Emeritus of Studio Arts.

Albert L. Reid The Arts

B.A., Stanford University. Performed in the dance companies of Merce Cunningham, Alwin Nikolais,
Murray Louis, Erick Hawkins, Yvonne Rainer, Katherine Litz, artists alliance at Judson Church.
Choreographed for 15 years for his own company. Taught at Merce Cunningham Studio, New York.
Artist in residence at Sarah Lawrence College; Cornell University; American University; Jacobs
Pillow; University of California, Santa Cruz and Santa Barbara; University of Arizona; Banff School of
Fine Arts (Canada); Dartington College of Arts; The Place; Ballet Rambert and Sadlers Wells
(England); Werkcentrum Dans and Theaterschool (Holland); Danscentrum (Sweden); American
Center (Paris); Union of Finnish Dance Artists (Helsinki). (196998) Professor Emeritus of Dance.

Robert Rockman Languages and Literature; The Arts

B.A., Harvard University; M.A., University of California, Berkeley. Teaching fellow, Department of
General Education, Harvard University. Member of Brattle Theatre Company and Poets Theatre in
Cambridge. Author of QUOTE!, Hampstead Theatre Club, London. Actor, Edinburgh International
Festival (1979); Bard Rediscoveries Festival (1994). Literary adviser, The Annandale Troupe.
(19562002) Professor Emeritus of Literature and Theater.

Justus Rosenberg Languages and Literature

Ph.D., University of Cincinnati; L.L., Sorbonne, Paris. Postdoctoral research fellow, Columbia
University, Syracuse University. Guest professor, New School University and universities of Belgrade,
Cologne, Singapore, and Aix-en-Provence. Recipient of awards from New York Council for the
Humanities, New School University. Publications: Constant Factors in Translation; Sound and Structure
of English; Rilkes Duino Elegies; Bertolt Brecht in Mandarin; Le Bateau Sobre; numerous reviews, biogra-
phies, translations. (19622003) Professor Emeritus of Languages and Literature.

James Sullivan The Arts

B.F.A., Rhode Island School of Design. Fulbright Scholarship, Paris (196162). Grant-in-aid graduate
work, Stanford University (196263). Guggenheim Fellowship (1972); Academy of Arts and Letters
Award (1973); National Endowment for the Arts grant (1983). Solo exhibitions: Paley & Lowe
Gallery, Nancy Hoffman Gallery, Fischbach Gallery, Willard Gallery, New York; Henri Gallery,
Washington, D.C.; Thomas Segal Gallery, Boston; Folker Skulima Gallery, Berlin; Anne Jaffe Gallery,
Miami; Helander Gallery, Palm Beach; and Dart Gallery, Chicago. Group shows at Whitney Museum
of American Art; Albany Museum of Art; Worcester Art Museum; Colgate University; University of
North Carolina; among others. (196695) Professor Emeritus of Studio Arts.
406 Faculty

Bernard Tieger Social Studies

B.A., City College of New York; graduate studies, City University of New York, New York University.
Visiting lecturer, Yeshiva University; instructor, Cornell University School of Industrial and Labor
Relations; visiting lecturer, instructor, New York University; research consultant, New Paltz Rural
Adult Education Project (1976). Fellowships: National Institute of Mental Health (196366); Urban
Affairs Institute, American University (1970). (196788) Professor Emeritus of Sociology.

Suzanne Vromen Social Studies

Licence s Sciences Sociales and Premire Licence s Sciences Economiques, University of Brussels,
Belgium; M.Sc., urban planning, Columbia University; M.A., Ph.D., sociology, New York University.
National Endowment for the Humanities summer stipend (1988). Essays and reviews on Georg
Simmel, Rose Coser, social theory, collective memory, and nostalgia in History of European Ideas, Jewish
Women in America, Comparative Social Research, Focaal (Dutch), Journal of Arts Management, YIVO
Annual, Knowledge and Society, American Behavioral Scientist, Contemporary Sociology, American Journal
of Sociology. Cofounder (1979) and coordinator (198290) of Womens Studies Program, Bard College.
(19782000) Professor Emeritus of Sociology.

Hilton M. Weiss Science, Mathematics, and Computing

Sc.B., Brown University; M.S., University of Vermont; Ph.D., Rutgers University. Consultant, U.S.
General Accounting Office, Environmental Protection Agency; visiting scholar, Wesleyan University
(198990). Honorary research associate, Harvard University (197778). Recipient, 1999 Texaco
Research Award. Published in Journal of the American Chemical Society, Journal of the Chemical Society
(London), Journal of Chemical Education, others. (1961 ) Professor Emeritus of Chemistry, David and
Rosalie Rose Research Professor.

Richard C. Wiles Social Studies

B.A., M.A., Boston College; Ph.D., Clark University. Acting dean of academic affairs, Bard College
(197576). Contributor to Economic History Review, Review of Social Economy, Eighteenth-Century
Studies, Pre-Classical Political Economy. Editor, Hudson Valley Regional Review. (196798) Professor
Emeritus of Economics.

Elie Yarden The Arts

Born Philadelphia, 1923. Educated variously at University of Pennsylvania; University of California,
Los Angeles; University of Chicago. Studies in composition with Stefan Wolpe. Commissions and
awards include National Endowment for the Arts, van Leer Foundation, Bethsabe de Rothschild
Foundation. Works conducted by Ralph Shapey, Gary Bertini, Mark Zuckerman. Performances by Pat
Spencer, Anita Cervantes, Da Capo Players. Published in Perspectives of New Music, Israel Music
Publications. Editor, The Bard Forum (199396). Member, Graduate Committee, Milton Avery Graduate
School of the Arts (198081, 198490). (196788) Professor Emeritus of Music.
 Faculty 407

Faculty
Leon Botstein President of the College
B.A., University of Chicago; M.A., Ph.D., Harvard University, Department of History. Lecturer,
Department of History, Boston University (1969); special assistant to the president, Board of
Education, City of New York (196970); president, Franconia College (197075). Editor, The Musical
Quarterly (1992 ). Music director and conductor, American Symphony Orchestra (1992 ) and
Jerusalem Symphony Orchestra/Israel Broadcast Authority (2003 ). Conductor, Hudson Valley
Philharmonic Chamber Orchestra (198192). Coartistic director, Bard Music Festival (1990 ). Guest
conductor, BBC Symphony Orchestra, Bern Symphony, Bochum Symphony Orchestra (Germany),
Budapest Festival Orchestra, Dsseldorf Symphony, Georg Enescu Philharmonic Orchestra
(Bucharest), Hudson Valley Philharmonic, London Philharmonic Orchestra, Madrid Opera, NDR
Symphony Orchestra (Hamburg), New York City Opera, ORF Orchestra (Vienna), Philharmonia
Orchestra (London), Puerto Rico Symphony Orchestra, Romanian Radio Symphony Orchestra, Royal
Scottish National Philharmonic Orchestra, St. Petersburg Philharmonic, Wroclaw Philharmonic
Symphony Orchestra. Recordings with the American Symphony Orchestra (Arabesque, Vanguard
Classics/Omega, Koch/Schwann, New World Records, Telarc); BBC Symphony Orchestra (Telarc);
Hanover Radio Symphony Orchestra (Koch International Classics); London Philharmonic Orchestra
(IMP Masters, Telarc); London Symphony Orchestra (Telarc, Carlton Classics); National
Philharmonic of Lithuania (Arabesque), NDR Radio Philharmonic (Koch International); NDR
Symphony Orchestra (New World Records); Pro Arte Chamber Orchestra of Boston (CRI); Royal
Scottish National Orchestra (Arabesque). Recipient of the American Academy of Arts and Letters
Award for Distinguished Service to the Arts, Austrian Cross of Honor First Class, Centennial Medal
from the Harvard Graduate School of Arts and Sciences, Frederic E. Church Award for Arts and
Sciences, National Arts Club Gold Medal. Fellow of the American Academy of Arts and Sciences.
Board member, Open Society Institute, Central European University, National Foundation for Jewish
Culture. Member, National Advisory Committee for YaleNew Haven Teachers, National Council for
Chamber Music America. Past chair, Association of Episcopal Colleges, Harpers Magazine Foundation,
New York Council for the Humanities. Articles in newspapers and journals including Christian Science
Monitor, Chronicle of Higher Education, Gramophone, Harpers, Musical Quarterly, New Republic, New
York Times, 19th-Century Music, Partisan Review, Salmagundi, Times Literary Supplement. Essays and chap-
ters in a number of books about art, education, history, and music, including the Cambridge
Companions to Music series and the New Grove Dictionary of Music and Musicians. Contributor to vol-
umes in the Bard Music Festival series on Bartk, Beethoven, Brahms, Copland, Debussy, Dvork,
Elgar, Haydn, Ives, Jancek, Liszt, Mahler, Mendelssohn, Schoenberg, Schumann, Shostakovich,
Strauss, and Tchaikovsky, published by Princeton University Press. Editor, The Compleat Brahms (W. W.
Norton, 1999). Author, Jeffersons Children: Education and the Promise of American Culture (Doubleday,
1997); Judentum und Modernitt: Essays zur Rolle der Juden in der Deutschen und sterreichischen Kultur,
18481938 (Bhlau Verlag, 1991; Russian translation Belveder, 2003); The History of Listening: How
Music Creates Meaning (forthcoming, Basic Books); Music and Modernism (forthcoming, Yale University
Press). (1975 ) Leon Levy Professor in the Arts and Humanities.

Dimitri B. Papadimitriou Executive Vice President of the College, President of

The Levy Economics Institute, Executive Director of The Bard Center
B.A., Columbia University; M.A., Ph.D., Graduate Faculty of the New School University, Department
of Economics. Visiting Distinguished Scholar, Institute of World Economy, Shanghai Academy of
Social Sciences (2002). Visiting scholar, Center for Economic Planning and Research, Athens; Wye
Fellow, Aspen Institute (1985); Center for Advanced Economic Studies Fellowship (1983);
Whittemore Fellowship (1968); Anglo-American Hellenic Fellowship (1968, 1969). Taught at New
School University. Vice chairman, Trade Deficit Review Commission, U.S. Congress (1999-2001).
Director and treasurer, American Symphony Orchestra; director, William Penn Life Insurance
408 Faculty

Company; member, Capital Allocation Subcouncil of the Competitiveness Policy Council; The
Bretton Woods Committee; advisory board member, Womens World Banking; member, Economic
Club of New York. Articles in Journal of Economic Issues, Review of Political Economy, The Economic
Journal, Challenge, Chicago Tribune, Financial Times, New York Times, European Journal of Political
Economy. Editor and contributor, Financial Conditions and Macroeconomic Performance: Essays in Honor
of Hyman P. Minsky, with Steven M. Fazzari (1992); Profits, Deficits, and Instability (1992); Poverty and
Prosperity in the U.S.A. in the Late Twentieth Century, with Edward N. Wolff (1993); Aspects of
Distribution of Wealth and Income (1994); Stability in the Financial System (1996); Modernizing Financial
Systems (2000); Induced Investment and Business Cycles (2004); The Distributional Effects of Government
Spending and Taxation (2006); Government Spending on the Elderly (2007). Author, Levy Institute
Strategic Analysis reports; the Public Policy Briefs Community Development Banking and A Path to
Community Development, with Ronnie J. Phillips and L. Randall Wray; An Alternative in Small Business
Finance; Targeting Inflation: The Effects of Monetary Policy on the CPI and Its Housing Component and
Does Social Security Need Saving? with Wray; Monetary Policy Uncovered; and Understanding Deflation:
Treating the Disease, Not the Symptoms; and, with Wray, the Policy Notes Fiscal Policy for the Coming
Recession, Are We All Keynesians (Again)?, and The April AMT Shock, among others. Member, editorial
board, Challenge; book reviewer, Economic Journal. Frequent commentator on National Public Radio.
Witness to U.S. Senate and House Committee Hearings on Banking, Finance, and Small Business.
(1977- ) Jerome Levy Professor of Economics.

Michle D. Dominy Vice President, Dean of the College

A.B. (honors), Bryn Mawr College; M.A., Ph.D., Cornell University. Awards and fellowships: Cornell
University and Center for International Studies; National Science Foundation; United States/New
Zealand Council; Wenner-Gren Foundation; National Endowment for the Humanities; Cultural
Heritage Conservation Research Centre at the University of Canberra; Bard Research Fund. Field
research in New Zealand and Australia. Author, Calling the Station Home: Place and Identity in New
Zealands High Country (2001) and articles and reviews in Signs, New Zealand Womens Studies Journal,
Pacific Studies, Anthropology Today, Gender and Society, Pacific Affairs, Landfall: A New Zealand
Quarterly, Journal of Linguistic Anthropology, Forest and Conservation History, American Ethnologist,
Anthropological Forum, Cultural Anthropology, Man, Landscape Review, Current Anthropology, Journal of
Political Ecology, Ecumene, The Contemporary Pacific, and edited volumes and proceedings. Guest coed-
itor of special issue of Anthropological Forum on Critical Ethnography in the Pacific. Served on the
editorial board of American Anthropologist and on the board of the American Conference of Academic
Deans. Past editor, Pacific Monograph Series, University of Pennsylvania Press. Honorary life member
of the American Anthropological Association; Fellow of the Association for Social Anthropology in
Oceania, Royal Anthropological Association of Great Britain and Northern Ireland, and Society for
Applied Anthropology. (1981 ) Professor of Anthropology.

Robert L. Martin Vice President for Academic Affairs,

Director of The Bard College Conservatory of Music
B.A., Haverford College; B.Music, Curtis Institute of Music; M.A., Ph.D., Yale University. Cellist,
Sequoia String Quartet, 197585. President, Chamber Music America (19992005); coartistic direc-
tor, Bard Music Festival. Publications include The Beethoven Quartet Companion, Recent Essays on Truth
and the Liar Paradox, The Paradox of the Liar (editor and contributor), and articles and reviews in The
Philosophical Review, Journal of Philosophical Logic, and Journal of Philosophy. (1994 ) Professor of
Philosophy and Music.

Jonathan Becker Associate Dean of the College, Dean of International Studies

B.A., McGill University; D. Phil., St. Antonys College, Oxford University. Specialization in Soviet,
Russian, and Eastern European politics; media and politics. Taught at Central European University,
 Faculty 409

University of Kiev Mohyla Academy, Wesleyan University, Yale University. Author of Soviet and Russian
Press Coverage of the United States: Press, Politics and Identity in Transition (1999; new edition, 2002).
Articles in European Journal of Communications, Journalism and Communications Quarterly, Slovo, among
others. Director, Global and International Studies Program; Academic Director, Bard Program on Globalization
and International Affairs. (2001 ) Associate Professor of Political Studies.

Mark D. Halsey Associate Dean of the College

B.A., Hobart College; A.M., Ph.D., Dartmouth College. Assistant professor, Worcester Polytechnic
Institute (198489). Member, American Mathematical Society and Mathematical Association of
America; full fellow, Institute for Combinatorics and Its Applications. Articles in Discrete Mathematics,
Discrete Applied Mathematics, and Journal of Combinatorial Theory. National Science Foundation grants
for pure and applied discrete mathematics research experience for undergraduates (198889) and
advanced computing environment for the sciences (199193). Faculty, Workshop in Language and
Thinking. Faculty, The Master of Arts in Teaching Program at Bard College. (1989 ) Associate Professor of
Mathematics.

Susan Aberth The Arts

B.A., University of California, Los Angeles; M.A., Institute of Fine Arts, New York University; Ph.D.,
The Graduate Center, City University of New York. Recipient, professional development fellowship, the
College Art Association and the National Endowment for the Humanities. Author of Leonora Carrington:
Surrealism, Alchemy, and Art (Lund Humphries, London and Turner, Madrid, 2004). Exhibition catalogues
include Csar Menndez (1998), Williams Carmona (1999), and La Belleza y la Fuerza: Latin American Art
(2001). Contributed to An Encyclopedia of Twentieth Century North American Women Artists and the St.
James Dictionary of Latin American Artists. (2000 ) Assistant Professor of Art History.

Ismail Acar Social Studies

B.A., Ankara University, School of Theology, Ankara, Turkey; M.A., Ph.D., Dokuz Eylul University,
Institute of Social Sciences, Izmir, Turkey; D.Min. candidate, University of Chicago, Divinity School.
Current research interests include Christian-Muslim relations, capital punishment in Abrahamic reli-
gions, and the status of women in Islamic criminal law. Editor, Makaleler, Tebligler ve Diger Yazilar:
Abdlkadir Sener (Articles, Papers, and Other Writings of Abdulkadir Sener; 2001); articles in The
Fountain, Review of the School of Theology, Islamiyat, other journals. Supervisor of Islamic law and assis-
tant professor, Dokuz Iyll University (200002); visiting scholar, Center for Near Eastern Studies,
University of California, Los Angeles (200204); visiting scholar, Lutheran School of Theology at
Chicago. (2004 ). (2007 ) Visiting Assistant Professor of Religion.

Chinua Achebe Languages and Literature

B.A., University of London. Nigerian-born novelist and poet; works include Things Fall Apart (1958),
No Longer at Ease (1960), Arrow of God (1964), A Man of the People (1966), Beware Soul Brother (1972),
The Trouble with Nigeria (1984), Anthills of the Savannah (1987), Another Africa, with R. Lyons (1998),
Africa Is People (1998), Home and Exile (2000). Awards and prizes include Commonwealth Poetry Prize
(1974), Afro-Asian Writers Associations Lotus Award (1975), Campion Medal (1996), German
Booksellers Peace Prize (2002), Man Booker International Prize (2007). Fellow, Royal Society of
Literature, London (1981); honorary foreign fellow, American Academy of Arts and Letters (1983);
honorary fellow, American Academy of Arts and Sciences (2002). Honorary doctorates from more than
30 colleges and universities. McMillan-Stewart Lecturer, Harvard University (1998); Presidential
Fellow Lecturer, World Bank (1998). (1990 ) Charles P. Stevenson Jr. Professor of Languages and
Literature.
410 Faculty

Christie Chinwe Achebe Social Studies

B.A., University of London; Postgraduate Certificate in Education, University of London; M.A.,
University of Nigeria; Ed.D., University of Massachusetts at Amherst. Professor, University of Nigeria
(1988). First woman president, Counseling Association of Nigeria (198890). Former consultant,
Family Institute of New Jersey. Publications: The World of the Ogbange: The Spirit Child Phenomenon;
Fundamentals of Guidance and Counseling (editor); Theories of Counseling: Relevance to the Nigerian
Situation (editor); Guidance and Counseling in Schools (handbook). Current focuses: counseling in psy-
chology and education, cultural identity development, multicultural theory and practice. (1992 )
Visiting Professor of Psychology.

Peggy Ahwesh The Arts

B.F.A., Antioch College. Film/video artist. Retrospectives: Girls Beware!, Whitney Museum of
American Art (1997); Filmmuseum, Brussels; Anthology Film Archives, New York; Peggys Playhouse,
Yerba Buena Center for the Arts, San Francisco; Carpenter Center for the Arts, Harvard University;
others. Screenings: Whitney Biennial (1991, 1995, 2002); New York Film Festival (1998); Flaherty
Film Seminar (2003); Pompidou Center (2002, 2004). Festivals: Berlin; London; Cairo; Toronto;
Rotterdam; and Creteil, France. Certain Women (codirected with Bobby Abate) was an official selec-
tion at the Rotterdam International Film Festival and the opening night film at the New York
Underground Film Festival (2004). Other films include Martinas Playhouse, The Deadman (codirected
with Keith Sanborn), Strange Weather, and Nocturne, all in Museum of Modern Arts permanent collec-
tion. Grants: Jerome and Guggenheim foundations, New York State Council on the Arts, Art Matters,
others. Faculty, Milton Avery Graduate School of the Arts. (1990 ) Associate Professor of Film and
Electronic Arts.

JoAnne Akalaitis The Arts

B.A., University of Chicago; graduate study in philosophy, Stanford University. Independent theatri-
cal director and writer. Cofounder of Mabou Mines. Staged productions at American Repertory
Theatre, Lincoln Center Theater, New York City Opera, Goodman Theatre, Mark Taper Forum, Court
Theatre, Opera Theatre of Saint Louis, and Guthrie Theater. Andrew Mellon Cochair of Directing
Program, Juilliard School. Former artistic director, New York Shakespeare Festival; artist in residence,
Court Theatre. Staged works by Euripides, Shakespeare, Strindberg, Schiller, Beckett, Genet, Williams,
Philip Glass, Jancek, and own work. Recipient: Obie Award for Sustained Achievement, Guggenheim
Fellowship, National Endowment for the Arts grants, Edwin Booth Award, Rosamund Gilder Award
for Outstanding Achievement in Theatre, and Pew Charitable Trusts National Theatre Artist
Residency Program grant. (1998 ) Wallace Benjamin Flint and L. May Hawver Flint Professor of Drama.

Craig Anderson Science, Mathematics, and Computing

B.Sc., M.Sc., University of Western Ontario; Ph.D., Universit de Montral. Research associate,
University of Barcelona, Spain; research director, Orgometa Laboratories, Montreal (19982001).
Awards include Chemical Institute of Canadas Award of Excellence, Andrew E. Scott Medal and Prize,
Society of Chemical Industry Award. Many articles in scholarly journals, including Organometallics,
Inorganic Chemistry, Journal of Organometallic Chemistry, Journal of the American Chemical Society,
Canadian Journal of Chemistry. (2001 ) Associate Professor of Chemistry.

Sven Anderson Science, Mathematics, and Computing

B.A., University of Virginia, Charlottesville; M.A., Ph.D., Indiana University, Bloomington.
Recipient: National Science Foundation grant; National Institutes of Health grant for research on
phonological awareness in children with language impairment. Research and teaching interests include
artificial intelligence, speech recognition, and spoken human/computer interfaces. Articles have
appeared in Journal of the Acoustical Society of America, IEEE Transactions on Speech and Audio
Processing, Journal of Phonetics, Computational Neuroscience, and Neural Representation of Temporal Patterns.
(2002 ) Associate Professor of Computer Science.
 Faculty 411

Amy Ansell Social Studies

B.A., Phi Beta Kappa, University of Michigan; M.A., M.Phil., Ph.D., Cambridge University. Author,
New Right, New Racism (1997); coauthor, Race and Ethnicity: The Key Concepts (forthcoming). Editor,
Unraveling the Right (1998). Contributor, Human Rights and Inequality (forthcoming); The New Black
(2007); Encyclopedia of Race, Ethnicity, and Society (2007); Multiculturalism in the U.S. (2000); The
Global Color Line (1999). Articles and reviews in Politikon, American Journal of Sociology, Critical Sociology,
Contemporary Sociology, Ethnic and Racial Studies. Research associate, University of the Witwatersrand,
South African Human Sciences Research Council, South African Human Rights Commission.
Associate Dean of International Programs (199498). (1992 ) Associate Professor of Sociology.

Rania Antonopoulos Social Studies

B.A., M.A., Ph.D., New School University. Associate professor of economics, New York University
(19972006). Recipient, Teaching Excellence Award from NYU, 1997. Consultant and adviser to
UNDP. Specialist in feminist economics, international trade and the economics of globalization, history
of economic thought. Publications include State, Difference, and Diversity, Asset Ownership along
Gender Lines: Evidence from Thailand (with Maria Sagrario Floro); What Is Wrong with
Employment Statistics? The Case of Greece, Oikonomikos Tahidromos; Asset Depletion Among the
Poor: Does Gender Matter? The Case of Thailand, Vassar Economics Working Paper Series No. 59;
A Classical Political Economy Approach to Exchange Rates Analysis, Review of Radical Political
Economics, Vol. 31(3). Coprincipal investigator of the Gender, Macroeconomics, and International
Economics program, supported by the Ford Foundation, United Nations Division for the Advancement
of Women, Department of Economic and Social Affairs, and International Development and Research
Centre of Canada. (2001 ) Research Scholar, Levy Economics Institute; Visiting Associate Professor of
Economics.

Noga A. Arikha Social Studies

B.A., Kings College, University of London; M.A. and Ph.D., Warburg Institute, University of London.
Currently writing a book on the history of humoral theory (Ecco Press, forthcoming); other areas of
interest include history of ideas about the mind, history of science and philosophy, philosophy of mind
and cognitive sciences. Author of Adams Spectacles: Nature, Mind and Body in the Age of Mechanism.
Article, Deafness, Ideas, and the Language of Thought in the Late 1600s, forthcoming in British
Journal for the History of Philosophy; has also translated works from the Italian and written for the Times
Literary Supplement, Economist, and other journals. Shares curatorial and editorial duties for Art &
Cognition, a bilingual virtual symposium. Fellow at the Italian Academy for Advanced Studies in
America, Columbia University (200203). (2003 ) Visiting Assistant Professor in First-Year Seminar.

Myra Young Armstead Social Studies

B.A., Cornell University; M.A., Ph.D., University of Chicago. Specialization: U.S. social history, with
emphasis on urban and African American history. Fellowships: Danforth-Compton, Josephine de
Karman, University of Chicago Trustees, and New York State African-American Research Institute.
Frederick Douglass Award, Association for the Study of Afro-American Life and History (Sullivan
County, New York, chapter). Speaker in the Humanities, New York Council for the Humanities
(200305). Author of Lord, Please Dont Take Me in August: African Americans in Newport and
Saratoga Springs (1999) and Mighty Change, Tall Within: Black Identity in the Hudson Valley (2003).
Faculty, The Master of Arts in Teaching Program at Bard College (2004). (1985 ) Professor of History.

John Ashbery Languages and Literature

B.A., Harvard University; M.A., Columbia University. Recent books include A Worldly Country
(2007); Where Shall I Wander (2005), Chinese Whispers (2002), Selected Prose (2004); and Other
Traditions (Harvards Norton Lectures, 2000). Won Pulitzer Prize, National Book Award, and National
Book Critics Circle Award for Self-Portrait in a Convex Mirror (1975). New York State Poet Laureate
412 Faculty

(200102). Chancellor, Academy of American Poets (198899). MacArthur Fellow (198590).

Recipient, Wallace Stevens Award, Academy of American Poets (2001); Gold Medal for Poetry,
American Academy of Arts and Letters (1997); Robert Frost Medal, Poetry Society of America (1995);
Officier, Lgion dHonneur of the Republic of France (by presidential decree, 2002); Antonio Feltrinelli
International Prize for Poetry, Rome (1992); others. (1990 ) Charles P. Stevenson Jr. Professor of
Languages and Literature.

James Bagwell The Arts

B.M.E., Birmingham-Southern College; M.M.E., M.M.M., Florida State University; D.M., Indiana
University. Music director, Dessoff Choirs (2005 ), Berkshire Bach Society Chorus and Orchestra
(2005 ), New York Repertory Singers (2002 ), Light Opera Oklahoma (1999 ), and May Festival
Summer Chorus and Youth Chorus, Cincinnati (1997 ); founder and artistic director, Voices United
Residential Arts Camp (19992002); artistic director and conductor, Indianapolis Symphonic Choir
(19992001); guest conductor, Indianapolis Chamber Orchestra (19992001); chorus master, Bard
Music Festival (2004 ). Prepared choruses nationwide for numerous prominent conductors, including
Robert Shaw, Raymond Leppard, James Conlon, Leon Botstein, Esa-Pekka Salonen, Michael Tilson
Thomas. Director of Orchestral and Choral Music. (2000 ) Associate Professor of Music.

Michiko Baribeau Languages and Literature

B.A., Aoyama Gakuin University, Japan; graduate study, Portland State University, Columbia
University. Taught at Dutchess Community College and led seminars in Japanese language, culture,
and customer service for IBM, Siemens, and other corporate clients. Certified ikebana instructor by
Ikenobo Ikebana Society of Kyoto, Japan. Author, HamayuuContemporary Tanka Poetry;
TantakatanContemporary Tanka Poetry and Essays. (2002 ) Visiting Assistant Professor of Japanese.

Thurman Barker The Arts

B.A., Empire State College; additional study at Roosevelt University and the American Conservatory
of Music. Taught at Creative Music School, Cornish Institute, and American Conservatory of Music
and lectured and gave demonstrations in New York City public schools. Grants: Meet the Composer,
New York State Council on the Arts; performance grants, National Endowment for the Arts. Profiled
in Modern Drummer and Down Beat. Recordings with, among others, Anthony Braxton, Cecil Taylor,
and Sam Rivers. (1993 ) Associate Professor of Music.

Emily Barton Languages and Literature

B.A., M.A., Harvard University; M.F.A., University of Iowa. Novels, Brookland (2006, Farrar, Straus &
Giroux) and The Testament of Yves Gundron (2000, Farrar, Straus & Giroux), both selected as New York
Times notable books of the year; short fiction published in Story Magazine, American Short Fiction,
Conjunctions, others. Freelance writer and reviewer for New York Times Book Review, Village Voice/VLS,
Washington Post Book World, San Francisco Chronicle, Los Angeles Times, Bookforum, others. Recipient,
Guggenheim Foundation Fellowship (200607); Bard Fiction Prize (2003); Ledig House residency
(2000); Michener-Copernicus Fellowship (19992000). (2003, 2007 ) Assistant Professor of Writing.

Sanjib Baruah Social Studies

B.A., Cotton College, Gauhati, India; M.A., University of Delhi, India; Ph.D., University of Chicago.
Publications include Durable Disorder: Understanding the Politics of Northeast India (Oxford University
Press, 2005); India Against Itself: Assam and the Politics of Nationality (1999); and articles and reviews in
academic journals. Writes regularly for newspapers and magazines in South Asia. Concurrent professo-
rial appointments: Center for Policy Research, New Delhi; Department of Humanities and Social
Sciences, Indian Institute of Technology, Guwahati. (1983 ) Professor of Political Studies.
 Faculty 413

Norton Batkin The Arts

B.A., Stanford University; M.A., Ph.D., Harvard University. Assistant professor, Department of
Philosophy, Yale University (198188); associate professor of humanities, Scripps College (198890).
Assistant director, Whitney Humanities Center, Yale University (198284); director, Scripps College
Humanities Institute (198890). Publications include Photography and Philosophy (1990); The Museum
Exposed, in Exhibited (Center for Curatorial Studies Museum, 1994); Conceptualizing the History of
the Contemporary Museum: On Foucault and Benjamin, Philosophical Topics (1997); and other articles
and reviews in the areas of philosophical aesthetics, the philosophy of language, and the philosophy of
psychology. (1991 ) Dean of Graduate Studies; Associate Professor of Philosophy and Art History.

Laura Battle The Arts

B.F.A., Rhode Island School of Design; M.F.A., Yale School of Art. Awards: MTA Arts-for-Transit com-
mission, National Endowment for the Arts grant, MacDowell Colony residency in painting, Fulbright
Scholarship (Cairo), Massachusetts Council on the Arts Fellowship. Selected exhibitions: Lohin
Geduld Gallery, Arsenal 16, Pace University Gallery, Albany Center Gallery (New York), Bienale
(Ecuador), Van Buren, Brazilton, Cutting Gallery, Atelier du Caire (Cairo), Yale, Northeastern
University, American Academy of Arts and Letters, Franklin Furnace, Vassar College. Lectured at
Kanazawa College of Art (Japan), Yale School of Art, University of Massachusetts, Brown University,
Boston Womens Art Caucus. Visiting artist, Hampshire College. (1986 ) Professor of Studio Arts.

Florian Becker Languages and Literature

B.A., Magdalen College, Oxford University; Ph.D. candidate, Princeton University. Dissertation topic:
Epistemic Strategies in Twentieth-Century German Theatre: Brecht, Weiss, Mller. Recipient, Whiting
Fellowship in the Humanities (200203). Taught literature, philosophy, and German at Princeton.
(2005 ) Assistant Professor of German.

Jonathan Becker Social Studies

Associate Dean of the College, Dean of International Studies. See page 408 for biography.

Roger Berkowitz Social Studies

B.A., Amherst College; J.D., Boalt Hall School of Law, University of California, Berkeley; Ph.D., UC
Berkeley. Author, The Gift of Science: Leibniz and the Modern Legal Tradition, an account of how the rise
of science has led to the divorce of law and justice (Harvard, 2005). Editor, Revenge and Justice, a special
issue of Law, Culture, and the Humanities (2005); contributing editor, Rechtsgeschichte. Articles in Yale
Journal of Law and Humanities, Journal of Politics, Cardozo Law Review, New Nietzsche Studies,
Rechtshistorisches Journal, others. (2005 ) Assistant Professor of Political Studies and Human Rights.

Daniel Berthold Social Studies

B.A., M.A., Johns Hopkins University; Ph.D., Yale University. Specialization in 19th-century conti-
nental philosophy, existentialism, phenomenology, Freud, and environmental ethics. Author of
Hegels Grand Synthesis and Hegels Theory of Madness. Articles and reviews in journals including Nous,
Review of Metaphysics, Idealistic Studies, Clio, Man and World, International Studies in Philosophy,
International Philosophical Quarterly, Ludus Vitalis, Religious Studies, Environmental Ethics, Social Theory
and Practice, Metaphilosophy, History and Theory, Journal of Speculative Philosophy, History of Philosophy
Quarterly, Human Ecology Review, Modern Language Notes, Philosophy and Literature. Contributor to
The Dictionary of Existentialism. Editorial board, Topoi Library. Advisory Council, Hastings Center
Program in Ethics, Science, and the Environment. Faculty, Bard Center for Environmental Policy.
(1984 ) Professor of Philosophy.
414 Faculty

Mario J. A. Bick Social Studies

B.A., Columbia College; Ph.D., Columbia University. Ethnographic research in the United States,
Zambia, Brazil, and Liberia. Reviews in Africa Report, Jewish Social Studies, Econtros com a Civilizaco
Brasileira, American Ethnologist, and American Anthropologist. Articles in American Ethnologist, Journal of
Human Evolution, Revista Brasileira de Sociologia, Annals of the New York Academy of Sciences. (1970 )
Professor of Anthropology.

Bob Bielecki The Arts

Sound designer, specializing in the creative use of technology in the electronic arts; additional expertise
as audio engineer, exhibition designer, electrical engineer, software developer, and artist/collaborator.
Collaborated since the mid-1970s with Laurie Anderson and La Monte Young on work including cre-
ation of unique instruments and interfaces used in performance installations. Current work in sound
localization and imaging. Grants from Andy Warhol Foundation and New York State Council on the
Arts. Faculty, Milton Avery Graduate School of the Arts. (1997 ) Visiting Assistant Professor of Music.

Sharon Bjorndal The Arts

M.M., Manhattan School of Music; B.M., Oberlin Conservatory of Music. Assistant chorus master,
New York City Opera; chorus master, Bard SummerScape, Opera Company of Philadelphia. Coach,
Wolf Trap Opera Center, Music Academy of the West. Studio accompanist for Michel Dubost,
Marilyn Horne, others. (2004 ) Visiting Instructor of Music.

Celia Bland Languages and Literature

B.A., Sarah Lawrence; M.A., New York University. Awards: Silver Medal for poetry, ForeWord maga-
zine. Poetry collection, Soft Box (Cavankerry Press, 2004). Author of numerous works of fiction and
nonfiction for young adults, including The Conspiracy of the Secret Nine, finalist for 1996 Heekin
Award. (2000 ) Visiting Assistant Professor of Poetry.

Ethan D. Bloch Science, Mathematics, and Computing

B.A., Reed College; M.S., Ph.D., Cornell University. Instructor, University of Utah (198386).
Author, A First Course in Geometric Topology and Differential Geometry (1996), Proofs and Fundamentals:
A First Course in Abstract Mathematics (2000). Articles in Topology, Transactions of the American
Mathematical Society, Topology and Its Applications, Discrete and Computational Geometry, Fundamenta
Mathematicae, Israel Journal of Mathematics, Beitrge zr Algebra und Geometrie, and Geometriae Dedicata.
Recipient, National Science Foundation grant (198587). Member, American Mathematical Society.
Specialization: geometric topology. Faculty, The Master of Arts in Teaching Program at Bard College.
(1986 ) Professor of Mathematics.

Leon Botstein The Arts, Languages and Literature

President of the College, Leon Levy Professor in the Arts and Humanities. See page 407 for biography.

Leslie Arlette Boyce The Arts

Dancer, singer, actor. Specialist in Dunham-based technique. Has acted, danced, and performed in
Africa, Europe, and throughout the United States. Performances include Q&A, a film by Sidney Lumet;
The Mermaid Wakes by Elizabeth Swados; The Last Supper at Uncle Toms Cabin/The Promised Land by Bill
T. Jones/Arnie Zane and Company; others. Director and choreographer, Flying Fables and The Life and
Legacy of Madam Zora, both at Apollo Theater, New York City; choreographed I Aint Yo Uncle
(Hartford Stage Company), Loves Fire (Berkshire Theatre Festival), and an Afro-Cuban samba for Dance
in Athens. Created original sound scores and performed as percussionist for movement project at Dance
Theater Workshop, PS 122, and Dia Center for the Arts; assistant director for Broadway musical work-
shop production of Comfortable Shoes. Has photographs included in the permanent collection of the
Schomburg Center for Research in Black Culture. (2000 ) Visiting Assistant Professor of Dance.
 Faculty 415

Jonathan Brent Languages and Literature

B.A., Columbia University; M.A., Ph.D., University of Chicago. Author, Stalins Last Crime
(HarperCollins, 2003; named one of the Best Books of the Year by the Financial Times); Isaac Babel
(University of Chicago Press, forthcoming). Editor, The Best of TriQuarterly (Washington Square Press,
1982); A John Cage Reader (C. F. Peters, 1984). Has held editorial positions at Yale University Press,
Northwestern University Press, FORMATIONS, TriQuarterly. Articles published in Chicago Tribune,
Chicago Sun-Times, American Scholar, New Criterion, New Republic, New York Times, Commentary, and
many other newspapers and journals. Recipient, Whiting Foundation Fellowship (197778). (2004 )
Visiting Alger Hiss Professor of History and Literature.

Burton Brody Science, Mathematics, and Computing

B.A., Columbia College; Ph.D., University of Michigan. Founder, Integrated Research and Technology,
Inc.; systems analyst, OLI Systems; research professor, Columbia University (198197). Published in
Physical Review, American Journal of Physics, Laser Chemistry, Journal of the Optical Society of America,
Optics News, The Physics Teacher, Foundations of Physics, and conference proceedings. (1970 ) Professor
of Physics.

Hezi Brosh Languages and Literature

B.A., Teachers Certificate, Ph.D., Tel Aviv University; M.A., Hebrew University of Jerusalem.
Publications include numerous textbooks and teaching materials in Arabic and Hebrew; Arab Stories
and Tales, Arabian Tales for Children (Hebrew); articles in Language Problems and Language Planning,
Foreign Language Annals, Journal of Jewish Education, Studies in Applied Linguistics, others. (1998 )
Associate Professor of Arabic and Hebrew.

Diana De G. Brown Social Studies

B.A., Smith College; Ph.D., Columbia University. Fellowships: Fulbright-Hays; Ford Foundation;
Lehman College, CUNY; Columbia University. Research and teaching in Brazil and Liberia. Publications
include Umbanda: Religion and Politics in Urban Brazil and articles and reviews in Black Brazil: Culture,
Identity and Social Mobilization; The State of Siege: Global Process, Identity and Violence; American
Anthropologist; American Ethnologist; Luso-Brazilian Review; Religio e Sociedade; and Liberian Studies Journal.
Chair, Columbia University Seminar on Brazil. Cochair, Metropolitan Medical Anthropology Associ-
ation. (1988 ) Associate Professor of Anthropology and Latin American and Iberian Studies.

Franklin Bruno Social Studies

B.A., Pomona College; M.A., Claremont Graduate University; Ph.D., University of California, Los
Angeles. Areas of specialization and interest: aesthetics/philosophy of art, philosophy of language. Has
taught at UCLA, Northwestern University, Pomona College, Scripps College. (2007 ) Visiting
Assistant Professor of Philosophy.

Ken Buhler The Arts

B.F.A., University of Iowa; M.F.A., Indiana University, Bloomington. Painter. Solo exhibitions: Axel
Raben Gallery, OHara Gallery, Michael Walls Gallery, New York; Hudson Walker Memorial Gallery,
Provincetown; Beach Museum of Art, Manhattan, Kansas. Numerous group exhibitions, including
Frederick Spratt Gallery, San Francisco; McKee Gallery; Max Protetch Gallery, Pamela Auchincloss
Gallery, Exit Art, P.S. 122, and The Workspace. Grants and awards: MacDowell Colony (1983, 2003);
Pollock-Krasner Foundation grant; National Endowment for the Arts Fellowship (painting) (1987);
New York Foundation for the Arts Fellowship (printmaking) (1994). Instructor and assistant professor,
Pratt Institute (19952000). (2000 ) Artist in Residence.
416 Faculty

Arthur Burrows The Arts

B.S., M.S., Juilliard School. Artist in residence, City College of New York; assistant professor, SUNY
Purchase; instructor, Stanford University; assistant professor, Boston University. Member, Riverside
Chamber Singers, Abbey Singers, New York Pro Musica; guest artist, Waverly Consort; guest performer,
New York Philharmonic, Joffrey Ballet, Hudson Valley Philharmonic, American Symphony Orchestra,
New York Renaissance Band, Robert Shaw Chorale, Chautauqua Opera Company, others. Soloist,
Margaret Hillis Concert Choir; Orpheus Orchestra. (1980 ) Associate Professor of Music.

Ian Buruma Social Studies

Studies in Chinese literature and history at Leyden University; graduate studies in Japanese cinema at
Nihon University, Tokyo. Documentary filmmaker and photographer in Tokyo (197780); cultural
editor of the Far Eastern Economic Review, Hong Kong (198386); foreign editor of The Spectator,
London (199091). Fellowships: Wissenschaftskolleg, Berlin (199192); Woodrow Wilson Center,
Washington, D.C. (199899); Alistair Horne Visiting Fellow, St. Antonys College, Oxford
(19992000). Regular contributor to New York Review of Books, New York Times Magazine, New
Republic, New Yorker, and The Guardian. Books include Behind the Mask (1983); Gods Dust (1988);
Playing the Game (1990); The Wages of Guilt (1995); The Missionary and the Libertine (1997);
Anglomania: A European Love Affair (1999); Bad Elements (2001); Inventing Japan: 18531964 (2003);
Murder in Amsterdam: The Death of Theo van Gogh and the Limits of Tolerance (2006). Coauthor,
Occidentalism: The West in the Eyes of Its Enemies (2004). (2003 ) Henry R. Luce Professor of Human
Rights and Journalism.

Jim Calder The Arts

Actor and director. With Mexican artist Sigfrido Aguilar, created and performed The Alamo Piece in
Mexico, Texas, and Virginia (200002). Lead role in Noddy & Friends, produced by BBC for PBS, New
York City and Toronto (1996, 1999). Director, Woza Albert!, Lincoln Center Institute (1998); has also
directed productions of Love of Three Oranges, Serpent Woman, Waiting for Godot. Has performed at
Intar Hispanic American Theatre, Lincoln Center, Old Globe Theatre, and on tour in France,
Germany, and throughout the United States. Teaches acting at Tisch School of the Arts, New York
University (1999 ), Michael Howard Studio (1997 ). Awards include National Endowment for the
Arts and New York Foundation for the Arts fellowships, Mexican American Cultural Foundation and
Arts International Fund grants. (2004 ) Visiting Instructor of Theater.

Megan Callaghan Social Studies

B.A., Princeton University; M.A., Ph.D., University of Michigan. Areas of interest include youth,
urban and spatial theory, gender and feminism, and ethnographic representation. Two years of
research in Belfast, Northern Ireland. Research awards from German Marshall Fund of the United
States, Wenner-Gren Foundation, National Science Foundation. Graduate course work supported by
a National Science Foundation graduate fellowship. Multiple conference presentations. Additional
teaching experience at the University of Michigan and Bard College at Simons Rock: The Early
College. Faculty, Workshop in Language and Thinking. (2005 ) Visiting Assistant Professor of
Anthropology.

Nina Cannizzaro Languages and Literature

A.B., Smith College; A.M., Ph.D., Harvard University. Teaching fellow, Harvard University
(19932000). Translator to and from Italian and French for Boston Public TV, Mondadori Publishing
(Diaries, Kurt Cobain, 2002), others. Contributor to Coming About: A Festschrift for John Shearman
(2001), others. Author, Surpassing the Maestro: Giovanni Francesco Loredano and the Origins of the
Accademia degli Incogniti (forthcoming). (2002 ) Assistant Professor of Italian.
 Faculty 417

Mary Caponegro Languages and Literature

B.A., Bard College; M.A., Brown University. Visiting artist, American Academy in Rome (1994).
Awards and prizes: Lannen Residency Fellowship (2006), Bruno Arcudi Award (1997), Charles Flint
Kellogg Award in Arts and Letters from Bard College (1994), Rome Prize Fellowship in Literature
(1991), General Electric Foundation Award for Younger Writers (1988). Contributing editor,
Conjunctions. Author of four short story collections: Tales from the Next Village, The Star Caf, Five
Doubts, and The Complexities of Intimacy. Contributor to publications including Review of Contemporary
Fiction, Epoch, Conjunctions, Sulfur, Gargoyle, and Iowa Review. (2002 ) Richard B. Fisher Family
Professor in Literature and Writing.

Caleb Carr Social Studies

B.A., New York University. Novelist and military historian. Novels include The Italian Secretary
(Carroll & Graf, 2005); The Alienist (Random House, 1994) and its sequel, The Angel of Darkness
(Random House, 1997), both New York Times best sellers; nonfiction works include The Lessons of
Terror: A History of Warfare Against Civilians: Why It Has Always Failed and Why It Will Fail Again
(Random House, 2002). Contributing writer to New York Times, Time, Los Angeles Times, Washington
Post, many others. Cofounder and contributing editor, MHQ: The Quarterly Journal of Military History.
(2005 ) Visiting Professor of History.

Gabriela Carrin Languages and Literature

B.A., Pomona College; M.A., University of California, Berkeley; Ph.D., Harvard University. Teaching
fellow, Harvard University (199497, 200002); associate professor, Universidad Complutense de
Madrid, Spain (19972000). Research interests: Spanish literature of the early modern period with a
focus on drama; critical-theoretical approaches to literature; colonial and contemporary literature of
the Americas. Publications: Beastly Men and Humane Dogs in Cervantess El coloquio de los perros,
Lucero: Journal of Spanish and Portuguese (1991). Faculty, Workshop in Language and Thinking. (2002 )
Assistant Professor of Spanish.

Nicole Caso Languages and Literature

A.B., Harvard University; M.A., Ph.D., University of California, Berkeley. Areas of specialty: Hispanic
languages and literature, Latin American literature. Taught at UC Berkeley. Publications include El
dedo en la llaga: de articulaciones y fluidaridad. La negociacin de identidades en Guatemala despus
de los acuerdos de la paz, Istmo: Revista virtual de estudios literarios y culturales centroamericanos (2002).
(2004 ) Assistant Professor of Spanish.

Rebecca Chace Languages and Literature

B.F.A., M.F.A., New York University. Author of Chautauqua Summer, Adventures of a Late-Twentieth-
Century Vaudevillian (1993, Harcourt Brace); Capture the Flag (1999, Simon and Schuster; later adapted
as a screenplay for Pink Slip Productions); and Leaving Rock Harbor. Screenplays, teleplays, and nation-
ally produced radio dramas; feature stories and reviews for the New York Times, New York Times Book
Review, and New York Times Magazine, as well as other national publications. Faculty, Workshop in
Language and Thinking. (2004 ) Visiting Lecturer in First-Year Seminar.

Diane Chaplin The Arts

B.F.A., California Institute of the Arts, student of Cesare Pascarella; M.M., Juilliard School, student of
Harvey Shapiro. Cellist, Colorado Quartet. Prizes from the International Cello Competition in Via del
Mar, Chile, and Tchaikovsky Competition in Moscow. Performances throughout the United States and
Europe. Award-winning records with Colorado Quartet on the Parnassus, Mode, and Albany labels.
Director, Soundfest Chamber Music Festival. Faculty, The Bard College Conservatory of Music. (2000 )
Visiting Assistant Professor of Music.
418 Faculty

Noah Chasin The Arts

B.A., Oberlin College; Ph.D., City University of New York. Awards include John Rewald Memorial
Dissertation Fellowship, CUNY (199798, 199899); Mellon Seminar Fellowship (2000); Library
Research Grant, Getty Center, Los Angeles (2000). Has taught at Hunter College; College of Staten
Island, CUNY; Parsons School of Design; Pratt Institute; Columbia University. Author of numerous
articles, book reviews, art reviews, exhibition catalogue essays, and encyclopedia entries. (2003 )
Assistant Professor of Art History.

Melvin Chen The Arts; Science, Mathematics, and Computing

B.S. (chemistry and physics), Yale University; M.M. (violin), M.M. (piano), Juilliard School; Ph.D.
(chemistry), Harvard University. Honors and awards: W. R. Grace Fellowship, Harvard University;
Henri Kohn Award, Tanglewood Music Center; Jacob Javits Fellowship, U.S. Department of Education;
Pierre Mayer Award to outstanding violinist, Tanglewood Music Center; New Prize, Yale University.
Musical performance: member, Chamber Music Society, Lincoln Center; Bargemusic; Music from
Angelfire; Chamber Music Northwest. CD releases with violinist Julie Kang (KBS). Taught music at
Yale School of Music, Holy Cross College. Associate Director, The Bard College Conservatory of Music.
(2001 ) Associate Professor of Interdisciplinary Studies.

Bruce Chilton Social Studies

B.A., Bard College; M.Div., General Theological Seminary, ordination to the diaconate and the priest-
hood; Ph.D., Cambridge University. Books include Rabbi Jesus: An Intimate Biography; God in Strength;
Rabbi Paul: An Intellectual Biography; Judaic Approaches to the Gospels; Mary Magdalene: A Biography;
Revelation; Trading Places; Jesus Prayer and Jesus Eucharist; Forging a Common Future; and Jesus Baptism
and Jesus Healing. Editor in chief, Bulletin for Biblical Research; founding editor, Journal for the Study of
the New Testament, Studying the Historical Jesus series (E. J. Brill and Eerdmans). Fellowships and awards:
with Jacob Neusner, Choice magazine award, best academic book (1998); Evangelical Scholars
Fellowship, A. Whitney Griswold Center (Yale University); Heinrich Hertz Stiftung, Theological
Development Fund of the Episcopal Church, National Conference of Christians and Jews. (1987 )
Bernard Iddings Bell Professor of Philosophy and Religion; Chaplain of the College; Executive Director of the
Institute of Advanced Theology.

Odile S. Chilton Languages and Literature

Licence s Lettres, Mitrise s Lettres, Universit du Maine, Le Mans. Teaching assistant, Sheffield
University. (1987 ) Visiting Associate Professor of French.

Jean Churchill The Arts

Studied modern dance at Connecticut College Dance Festival. Member, Boston Ballet Company
(196672); artistic director, New England Dinosaur (1976). Performed works by James Waring, Trisha
Brown, Carolyn Brown, George Balanchine, Norman Walker, and in classical and modern ballets.
Choreography in Choreographers Showcase, Split Stream, Fresh Tracks, Men Dancing, Performance
Mix, and To the Pointe festivals; venues in Scotland; and many venues in the United States.
Choreography and direction for Cinderellas Bad Magic, opera composed by Kyle Gann, premiered in
Moscow (2002). (1980 ) Professor of Dance.

Mary Clayton Coleman Social Studies

B.A., Phi Beta Kappa, Kenyon College; M.A., Tufts University; Ph.D., Harvard University. Visiting lec-
turer, Massachusetts Institute of Technology, University of Arizona. Specialization in moral philosophy,
philosophy of action, philosophy of mind. Articles published in Southern Journal of Philosophy,
Philosophy and Literature, Journal of Value Inquiry, Australasian Journal of Philosophy. Research supported
by Harvard University, Woodrow Wilson Foundation, National Endowment for the Humanities.
(2002 ) Assistant Professor of Philosophy.
 Faculty 419

Jonathan L. Cristol Social Studies

B.A., Bard College; M.A., Yale University. Areas of expertise include international relations, America
and the Arab world, Middle East and global terrorism. Proficient in Arabic and Hebrew. Has taught at
Yale, Rutgers University, Williams College. Awards include Mellon Grant for Curricular Development,
Bard College (2006); Foreign Language and Area Studies Fellowship, Yale (200102); Reamer Kline
Award, Bard College (2000). Deputy Director, Globalization and International Affairs Program, Bard
College (2003 ). (2005 ) Visiting Assistant Professor of Political Studies.

Christian Ayne Crouch Social Studies

B.A., Princeton University; M.A., M.Ph., Ph.D. candidate, New York University. Dissertation,
Imperfect Reflections: New Frances Use of Indigenous Warfare and the Crisis of French Imperial
Identity, 17751763. Taught global and Atlantic history at NYU. Recipient, Ford Foundation
Dissertation Fellowship. (2006 ) Instructor of History.

John Cullinan Science, Mathematics, and Computing

B.A., Bates College; Ph.D., University of Massachusetts, Amherst. Mathematician; research interests
include number theory, arithmetic geometry, representation theory. Has taught at Colby College and
University of Massachusetts. (2006 ) Visiting Assistant Professor of Mathematics.

Robert J. Culp Social Studies

B.A., Swarthmore College; M.A., University of Michigan; M.A., Ph.D., Cornell University. Grants
from National Endowment for the Humanities, Spencer Foundation, Fulbright Foundation, American
Council of Learned Societies, Committee for Scholarly Communication with China. Specialization in
modern Chinese and Japanese history, nationalism, citizenship, education and ideology, ethnicity, and
the politics of historical discourse. Articles and reviews in Modern China, Twentieth-Century China, and
Journal of Asian Studies. (1999 ) Associate Professor of History.

Olivia Custer Social Studies

B.A., Harvard College; Doctorat dUniversit, Ecole des Hautes Etudes en Sciences Sociales, Paris
(thesis supervised by Jacques Derrida). Has written and lectured extensively on Derrida, Immanuel
Kant, Michel Foucault. Codirector, International Symposium for Research in Phenomenology,
Perugia, Italy (200204). Coeditor, Lex-Yougoslavie en Europe: de la faillite des dmocraties au processus
de paix (LHarmattan, 1997). Has taught at University of California Study Center, Paris; American
University of Paris; Collge International de Philosophie, Paris. (2007 ) Visiting Assistant Professor of
the Humanities in First-Year Seminar.

Laurie Dahlberg The Arts

B.S., M.A., Illinois State University; M.A., Ph.D., Princeton University. Current project, Pictures in
Private: Early Domestic Photography and the Framing of Private Life. Author, Victor Regnault and the
Advance of Photography, the Art of Avoiding Errors (Princeton University Press, 2005); Larry Fink
(Phaidon, 2005). Contributor, Encyclopedia of 19th-Century Photography (Taylor & Francis, 2007); Louis
Robert, LAlchimie des Images (1999); The Svres Porcelain Manufactory (1997); Thomas Eakins and the
Heart of American Life (1993). Awards and honors: National Endowment for the Humanities summer
stipend (2000); Model/Blum Fellow, National Gallery of Canada (1995); Fowler-McCormick Research
Fellowship, Princeton University (1993). Faculty, Workshop in Language and Thinking. (1996 ) Associate
Professor of Art History and Photography.

Deirdre dAlbertis Languages and Literature

B.A., Barnard College; M.A., Ph.D., Harvard University. Author, Dissembling Fictions: Elizabeth Gaskell
and the Victorian Social Text (Palgrave, 1997), and volume editor, Elizabeth Gaskells Ruth (Pickering &
Chatto, 2006). Articles and reviews in Victorian Studies; Studies in English Literature, 15001900;
420 Faculty

Victorians Institute Journal; Journal of the History of Sexuality; and Review. Grants and awards: National
Endowment for the Humanities summer stipend (1995) and American Association of University
Women American Fellowship (1996). Areas of interest: Victorian literature and culture, gender stud-
ies, and narrative theory. Codirector, First-Year Seminar (2006 ). Faculty, The Master of Arts in Teaching
Program at Bard College. (1991 ) Associate Professor of English.

Mark Danner Social Studies

B.A., cum laude, Harvard College. Staff writer, The New Yorker (1990 ); has also written for New York
Times Magazine, New York Times Book Review, New York Review of Books, Harpers, Aperture. Recipient,
MacArthur Fellowship (1999). Member of the Council on Foreign Relations, Pacific Council on
International Policy, World Affairs Council of San Francisco, Century Association. Author, The
Massacre at El Mozote: A Parable of the Cold War (Vintage, 1994; selected by New York Times as one of
its Notable Books of the Year); Torture and Truth: America, Abu Ghraib, and the War on Terror
(2005); The Secret Way to War (2006). Cowriter and coproducer of two documentaries for ABC News.
Professor, Graduate School of Journalism, University of California, Berkeley (2000 ). (2003 ) James
Chace Chair; Henry R. Luce Professor of Human Rights and Journalism.

Gerard Dapena The Arts

B.A., Universidad Autonma, Madrid; Ph.D., City University of New York (CUNY) Graduate School
and University Center. Mellon Postdoctoral Fellow, Macalester College; recipient, CUNY Writing
Fellowship. Has taught film and art history at The New School/Parsons School of Design and School
of Visual Arts in New York City. Articles in various film and art publications; many presentations at
professional conferences. (2007 ) Visiting Assistant Professor of Film and Electronic Arts.

Richard H. Davis Social Studies

B.A., University of Chicago; M.A., University of Toronto; Ph.D., University of Chicago. Assistant and
Associate Professor of Religious Studies, Yale University (198797). Publications: Lives of Indian Images
(1997; winner of 1999 A. K. Coomaraswamy Prize); Ritual in an Oscillating Universe: Worshiping Siva in
Medieval India (1991). Edited volumes: Images, Miracles, and Authority in Asian Religious Traditions
(1998); Picturing the Nation: Iconographies of Modern India (2006). Articles in History and Anthropology,
Journal of Asian Studies, Journal of Ritual Studies, Journal of Oriental Research, History of Religions, Journal
of the Asiatic Society of Mumbai, Education about Asia, other journals. Fellowships include Guggenheim,
Fulbright-Hays, Mrs. Giles Whiting Foundation, National Endowment for the Humanities. (1997 )
Professor of Religion.

Tim Davis The Arts

B.A., Bard College; M.F.A., Yale University. Photographer. Recent solo exhibitions include Greenberg
Van Doren Gallery, New York (2006); Susanne Vielmetter Los Angeles Projects (2006); Jackson Fine
Art Atlanta (2005); Kevin Bruk Gallery, Miami (2005); Bohen Foundation, New York (2004); Brent
Sikkema Gallery, New York (2003, 2001); Galerie Edward Mitterrand, Geneva (2003). Group shows at
Whitney Museum of American Art, Museum of Modern Art, Museum of the City of New York, Barbara
Gladstone Gallery, Kagan Martos Gallery, Exit Art, others. Books include My Life in Politics (Aperture),
Permanent Collection (Nazraeli Press), American Whatever (Edge Books), Lots (Coromandel Express),
Dailies (The Figures). Contributor to publications including Artforum, Art on Paper, Blind Spot,
Metropolis. Lecturer in photography, Yale University (200103). (2003 ) Visiting Assistant Professor of
Photography.

Jennifer Day Languages and Literature

B.A., University of South Carolina Honors College; M.A., Ph.D., Indiana University. Areas of inter-
est include 20th-century Russian literature; city-space-place studies, theory of irony. Recipient,
Teaching Excellence Recognition Award, Indiana University (1998); Fulbright-Hays Doctoral
 Faculty 421

Dissertation Research Abroad Fellowship (1999); Walter D. Foss Visiting Assistant Professorship, The
College of Wooster (200102); and several Mellon Endowment grants. Has taught at Indiana
University, The College of Wooster, Hamilton College. Coauthor of My Petersburg, Myself: Mental
Architecture and Imaginative Space in Modern Russian Letters (Slavica Publishers, 2004); numerous arti-
cles, translations, reviews. (2003 ) Assistant Professor of Russian.

Matthew Deady Science, Mathematics, and Computing

B.S., M.S., University of Illinois; Ph.D., Massachusetts Institute of Technology. Assistant professor of
physics, Mount Holyoke College. Research experience: Massachusetts Institute of Technology Bates
Linear Accelerator Center; NIKHEF, University of Illinois. Articles in journals including Physical
Review, Technology Review, and American Journal of Physics. Current research includes nuclear physics,
mathematical physics, and musical acoustics. Codirector, First-Year Seminar (2007 ). (1987 ) Professor
of Physics.

Sanjaya DeSilva Social Studies

B.A., Macalester College; M.A., M.Phil., Ph.D., Yale University. Postdoctoral research, Economic
Growth Center, Yale University (200001). Honors and awards include Sasakawa Young Leaders
Fellowship, Ford Foundation research grants, and Yale University fellowships. Publications include Yale
University Economic Growth Center discussion papers Skills, Partnerships and Tenancy in Sri Lankan
Rice Farms and Supervision and Transaction Costs: Evidence from Rice Farms in Bicol, the
Philippines. Specialization in economics of development, applied microeconomics, and international
economics. (2000 ) Assistant Professor of Economics.

Carolyn Dewald Languages and Literature, Social Studies

B.A., Swarthmore College; M.A., Ph.D., University of California, Berkeley. Specializes in classics.
Awards include Princeton University Fellowship (196869); University of California Chancellors
Fellowship (1998); National Endowment for the Humanities Fellowship (1979; 198485); University
of Southern California Associates Award for Excellence in Teaching (1991); among others. Visiting
distinguished professor, Vassar College (200102); Phi Beta Kappa National Lecturer (200203). Has
taught at University of California, Berkeley; Stanford University; USC. Publications include introduc-
tion and commentary to Herodotus: The Histories (Oxford University Press, 1998); Thucydides War
Narrative: A Structural Study (University of California Press, 2005); and numerous articles in academic
journals. (2003 ) Professor of Classical and Historical Studies.

Terence F. Dewsnap Languages and Literature

B.A., M.A., Boston College; Ph.D., University of Wisconsin. Teaching assistant, University of
Wisconsin; instructor and assistant professor, Le Moyne College. Member, Modern Language
Association. Publications include reviews in Commonweal, Boston Pilot, and Studies in the Decorative Arts;
poetry in Mademoiselle and Kansas City Review; articles in Critique: Studies in Modern Fiction, Biography:
An Interdisciplinary Quarterly, Harpers, Canadian Journal of Irish Studies. (1963 ) Professor of English.

Nara Dillon Social Studies

B.A., Williams College; M.A., Ph.D., University of California, Berkeley. Postdoctoral fellow, Center for
East Asian Studies, Stanford University (200102). Specialist in East Asian and comparative politics;
public administration and policy. Coauthor of articles in Chinese Femininities/Chinese Masculinities;
Public Management Reform and Innovation: Research, Theory, and Application. (2003 ) Assistant Professor
of Political Studies.

Michle D. Dominy Social Studies

Vice President and Dean of the College, Professor of Anthropology. See page 408 for biography.
422 Faculty

Emmanuel Dongala Languages and Literature

B.S., Oberlin College; M.S., Rutgers University; Ph.D., University of Strasbourg, France, and University
of Montpellier, France. Former dean of academic affairs and chair, Chemistry Department, University of
Brazzaville, Congo. Author of four novels and one collection of short stories. Former president of
Congolese chapter of PEN; president, National Association of Congolese Writers; director of Thtre de
lEclair in Brazzaville. De Carle Distinguished Lecturer, University of Otago, New Zealand (2004).
Guggenheim Fellowship (1999). Richard B. Fisher Chair in Natural Sciences at Bard College at Simons
Rock: The Early College. (1998 ) Bard Center Fellow; Visiting Professor of French.

Michael Donnelly Social Studies

A.B., Harvard College; Ph.D., Birkbeck College, University of London. Member, School of Social
Science, The Institute for Advanced Study (199091). Research grants: National Library of Medicine
(National Institutes of Health) and American Council of Learned Societies. Author of Managing the
Mind: A Study of Medical Psychology in Early Nineteenth-Century Britain (1983), The Politics of Mental
Health in Italy (1992), and book chapters, articles, and reviews in History of the Human Sciences,
Economy and Society, Contemporary Sociology, American Journal of Sociology, and others. Coeditor,
Corporal Punishment in Theoretical Perspective (2005). (1999 ) Professor of Sociology.

Daniella Dooling The Arts

B.F.A., School of Visual Arts; M.F.A., Yale University School of Art. Artist, videographer. Selected solo
exhibitions: Colgate University (2007); Michael Steinberg Fine Art, New York (2004); Anna Kustera
Gallery, New York (1998); Hallwalls Contemporary Art Center, Buffalo (1995); Mincher/Wilcox
Gallery, San Francisco (1992). Work included in group exhibitions at Chelsea Art Museum, KS Art,
and Exit Art, New York City; Herbert F. Johnson Museum of Art, Cornell University; Islip Art
Museum, New York; Diverse Works, Houston; many others. Selected video screenings: The JCC in
Manhattan; Seventh Annual New York Video Festival; P.A.R.K.4DTV, Amsterdam; DNA Gallery,
Provincetown, Massachusetts. Has taught at Montana State University, Colgate University. (2003 )
Visiting Associate Professor of Studio Arts.

Mercedes Dujunco The Arts

B.M., University of the Philippines; Ph.D., University of Washington; also postgraduate studies at
Shanghai Conservatory of Music. Ethnomusicologist; specializes in traditional and popular music of
China, Vietnam, and Chinese diasporic communities of Thailand. First prize, Piano Competitions,
Category C, National Music Competitions for Young Artists, Manila (1982). Recipient, Izaak Walton
Killam Memorial Postdoctoral Fellowship, University of Alberta (199698); Boeing Award for academic
excellence, University of Washington. Has taught and conducted research at New York University and
University of Alberta. (2005 ) Associate Professor of Music.

Nicole Eisenman The Arts

B.F.A., Rhode Island School of Design. Painter. Solo exhibitions at Leo Koenig Gallery, New York; Jack
Tilton Gallery, New York; Entwhistle Gallery, London; Noga Gallery, Tel Aviv; Barbara Weiss Gallery,
Berlin; Shoshana Wayne Gallery, Santa Monica; Kinsey Institute of Art, Bloomington, Indiana;
Cornell University Museum of Art. Group exhibitions include Whitney Museum of American Art;
Ludwig Museum, Cologne; Museum of Modern Art; Seattle Art Museum; Museum of Contemporary
Art, Cleveland; Denver Art Museum. Recipient of Penny McCall Foundation Grant (1995), Joan
Mitchell Foundation Grant (1995), John Simon Guggenheim Grant (1996). Visiting artist, Yale
University (2004). (2003 ) Assistant Professor of Studio Arts.

Yuval Elmelech Social Studies

B.A., M.A., Tel Aviv University; Ph.D., Columbia University. Fellowships: Public Policy Consortium
(2000), Institute for Social and Economic Research and Policy (2000), Paul Lazarsfeld Fellowship
 Faculty 423

(19952000), all at Columbia University. Grants: National Science Foundation (1999); Seed Grant,
Institute for Social and Economic Research and Policy, Columbia University (2001). Contributor:
Social Science and Medicine; Social Forces; Social Science Research; Megamot (Hebrew); Russian Jews on
Three Continents; Global Aging and Challenges to Families. Assistant director, The Center for the Study
of Wealth and Inequality, Columbia University. Research Associate, The Levy Economics Institute of Bard
College. (2001 ) Associate Professor of Sociology.

Omar G. Encarnacin Social Studies

B.A., Bridgewater College; MA., University of Texas at Austin; Ph.D., Princeton University. Recipient,
Ford Foundation/National Research Council Postdoctoral Fellowship (1998), Andrew W. Mellon
Dissertation Completion Fellowship (1997), Princeton University Presidential Fellowship (199095),
Fulbright Dissertation Fellowship to Spain (1993), Council of European Studies Predissertation
Fellowship (1992). Visiting fellow, Carnegie Endowment for International Peace (1998), Georgetown
University Center for Latin American Studies (1997), Center for Advanced Study in the Social
Sciences of the Juan March Institute, Madrid (1994), Yale University Political Science Department
(1993). Author of The Myth of Civil Society: Social Capital and Democratic Consolidation in Spain and
Brazil (Palgrave Macmillan, 2003), and articles and reviews in Comparative Politics, Comparative Political
Studies, West European Politics, South European Society and Politics, World Policy Journal, Studies in
Comparative International Development, Orbis, and Political Science Quarterly. (1998 ) Associate Professor
of Political Studies.

John Esposito The Arts

Musician, composer. Studied with Robert Ashley, John Cage, Elliott Carter, Frederick Rzewski. Has
performed and/or recorded with Rashied Ali, Nick Brignola, Beaver Harris, Franklin Kiermyer, J. R.
Montrose, Arthur Rhames, Sam Rivers, Roswell Rudd, Pharaoh Sanders, Bill Saxton, Woody Shaw,
John Stubblefield, others. (2001 ) Visiting Assistant Professor of Music.

Barbara Ess The Arts

B.A., University of Michigan. Visual artist. Attended London School of Film Technique. Performed and
recorded music with bands since 1978 and edited journal of artists work in a variety of formats. Work,
primarily large-scale photographs, shown internationally in solo and group exhibitions and reviewed
extensively. Grants from LINE, Creative Artists Public Service Program, and Kitchen Media, and fel-
lowships from Mid Atlantic Arts Foundation and National Endowment for the Arts (photography).
Publication, I Am Not This Body (Aperture). Faculty, Milton Avery Graduate School of the Arts. (1997 )
Associate Professor of Photography.

Tabetha Ewing Social Studies

B.A., Bard College; M.A., Ph.D. candidate, Princeton University. Fulbright Fellowship, France
(199394). (1998 ) Associate Professor of History.

Kris Feder Social Studies

B.A., University of Pennsylvania; Ph.D., Temple University. Dissertation: Issues in the Theory of Land
Value Taxation. Specialization in public-sector economics and history of economic thought. Temple
University awards: Russell Conwell Fellowship (198486), University Fellowship (198384), summer
tuition scholarship (1984). Taught at Franklin and Marshall College, West Chester University, and
Temple University. Coauthor, Whats Missing from the Capital Gains Debate, Levy Institute Public
Policy Brief No. 32 (1997). Contributor, The Corruption of Economics (1994), Beyond Neoclassical
Economics: Heterodox Approaches to Economic Theory (1995), and Critics of Henry George (2003).
(1991 ) Associate Professor of Economics.
424 Faculty

John B. Ferguson Science, Mathematics, and Computing

Sc.B., Brown University; M.Phil., Ph.D., Yale University. National Institutes of Health Postdoctoral
Research Fellowship, Harvard University (197476); National Science Foundation Graduate
Fellowship, Yale University (196972). Research: biochemistry, especially enzymology of Tetrahymena
pyriformis. Member, American Association for the Advancement of Science, New York Academy of
Sciences, Society of the Sigma Xi. Author, reviews and articles in Experientia, Journal of Biological
Chemistry, Science Books and Films, New Columbia Encyclopedia, and Microsoft Encarta 97. (1977 )
Professor of Biology.

Peter Filkins Languages and Literature

B.A., Williams College; M.F.A., Columbia University. Poet, translator, critic. Translation of the com-
plete poems of Ingeborg Bachmann, Songs in Flight (Marsilio, 1994), selected as an outstanding transla-
tion of 1994 by American Literary Translators Association; also translated two novel fragments by
Bachmann and an expanded edition of her poems, and a novel by Alois Hotschnig, Leonardos Hands
(University of Nebraska Press, 1999). Books of poetry include After Homer (George Braziller Publishers,
2002) and What She Knew (Orchises Press, 1998). Articles in American Scholar, New Republic, New
Criterion, Paris Review, New York Times Book Review, many other journals and magazines. Has taught at
Williams College, North Adams State College, Hiram College. Faculty, Bard College at Simons Rock:
The Early College (1988 ). (2007 ) Visiting Professor of Literature and First-Year Seminar.

Larry Fink The Arts

Photographer. Taught at Yale School of Fine Art, Cooper Union, Lafayette College, New York
University, Lehigh University. One-person shows at Museum of Modern Art (1979); Les Rencontres
de Photographie, Arles, France (1993); Muse de lElyse, Lausanne, Switzerland (1994); Muse de la
Photographie, Charleroi, Belgium (1997); Whitney Museum of American Art (1997). Books include
Social Graces (Aperture, 1984; reprinted by Powerhouse, 2000); Boxing (Powerhouse, 1997); Fish and
Wine (Lafayette College, 1997); Runway (Powerhouse, 2000); Contact 55 (Phaidon Press, 2004).
Awards and fellowships: Honorary Doctorate, College for Creative Studies, College of Art and Design,
Detroit (2002); Individual Photography Fellowship, National Endowment for the Arts (1978, 1986);
Guggenheim Fellowships (1976, 1979). Photographs have appeared in New York Times, Time-Life
Books, Vanity Fair, Life, The New Yorker, other publications. (1988 ) Professor of Photography.

Keith Fitch The Arts

B.M., M.M., D.Mus., Indiana University; studied composition with Frederick Fox, Joan Tower, Eugene
OBrien, Claude Baker; studied double bass with Lawrence Hurst, Lucas Drew, Bruce Bransby, Murray
Grodner. Director, CIRCE (new music ensemble), Mannes College of Music (2000 ); member, New
Music Ensemble, Indiana University (1992). Works include Totem (1993, commissioned by New York
Youth Symphony); To sleep, to dream (2001, rev. 2004, commissioned by Swarthmore College); Dances
for Tanja (200203). Member, Board of Directors, League of Composers/ISCM (1997 ); American
Society of Composers, Authors, and Publishers (ASCAP); Society of Composers, Inc. (SCI). (2007 )
Visiting Assistant Professor of Music.

Peggy Florin The Arts

B.F.A. Program, Juilliard School; B.A., Empire State College, SUNY; M.F.A., Bennington College.
Trained in ballet with Margaret Craske and Antony Tudor at Metropolitan Opera Ballet. Member,
Atlanta Ballet; soloist with Manhattan Festival Ballet; performed with modern dance companies of
Albert Reid, Phyllis Lamhut, Charles Moulton, and in the work of numerous other choreographers.
Choreography produced in New York venues such as Dance Theater Workshop and Marymount
Manhattan Theatre, and nationally at various dance festivals. (1998 ) Visiting Associate Professor
of Dance.
 Faculty 425

Elizabeth Frank Languages and Literature

B.A., M.A., Ph.D., University of California, Berkeley. Fellowships: Ford Foundation (196772);
Temple University (1977); The Newberry Library (1977); American Council of Learned Societies
(1977); National Endowment for the Humanities. Recipient, 1986 Pulitzer Prize for Biography for
Louise Bogan: A Portrait (1985). Author of the novel Cheat and Charmer (Random House, 2004) and
numerous articles on literature, art, and literary and art criticism in New York Arts Journal, Art in
America, Journal of Modern Literature, Twentieth-Century Literature, ARTnews, Bennington Review, The
Nation, Salmagundi, New York Times Book Review, Partisan Review, others. Author, Jackson Pollock
(1983), Esteban Vicente (1995). Faculty, Center for Curatorial Studies and Art in Contemporary Culture.
(1982 ) Joseph E. Harry Professor of Modern Languages and Literature.

Jean M. French The Arts

B.A., Seton Hill University; Ph.D., Cornell University. Recipient, National Endowment for the
Humanities Study Grant (1992); American Council of Learned Societies Fellowship (197879); NEH
Fellowship in Residence for College Teachers, Harvard (197677); numerous summer research grants.
Publications include articles in Medieval France: An Encyclopedia; The Dictionary of Art; Gesta; The
Brummer Collection of Medieval Art; Application of Science in Examination of Works of Art; National
Endowment for the Humanities Institute Resource Book; Studies in Medieval Culture. (1971 ) Edith C.
Blum Professor of Art History.

Kenji Fujita The Arts

B.A., Bennington College; M.F.A., Queens College; attended Whitney Museum Independent Study
Program. Solo exhibitions at Jean Bernier, Athens; Cable Gallery and Luhring Augustine, New York;
Schmidt/Markow Gallery, St. Louis; Daniel Weinberg Gallery, Los Angeles. Group exhibitions
include the Aldrich Museum of Contemporary Art, Brooklyn Museum of Art, Butler Institute of
American Art, Venice Biennale. Recipient, Guggenheim Foundation, National Endowment for the
Arts, New York Foundation for the Arts, and Pollock-Krasner Foundation grants. Faculty, M.F.A.
Program, School of Visual Arts. Faculty, Milton Avery Graduate School of the Arts. (1995 ) Visiting
Assistant Professor of Studio Arts.

Kyle Gann The Arts

B.Mus., Oberlin Conservatory of Music; M.Mus., D.Mus., Northwestern University. Recipient,
National Endowment for the Arts Composers Fellowship (199697). Taught at Bucknell University,
Columbia University, Northwestern University, Brooklyn College, School of the Art Institute of
Chicago. Publications include American Music in the 20th Century (1997); The Music of Conlon
Nancarrow (1995); contributions to The Whole World of Music: A Henry Cowell Symposium (1998) and
Sound and Light: La Monte Young & Marian Zazeela (1996); and articles and reviews in Village Voice,
Contemporary Music Review, Percussive Notes Journal, New York Times, Chicago Tribune, Fanfare, Stagebill,
others. (1997 ) Associate Professor of Music.

Paul Geluso The Arts

B.S., New Jersey Institute of Technology; M.Mus., New York University. Musician, composer, sound
artist, audio engineer. Recent compositions for site-specific installations/performances include The
Luminists, Art In General, New York City (2007); Salmu, Pinacoteca do Estado de So Paulo, Brazil
(2007); Sound Canvas, DUMBO Arts Festival, Brooklyn (2006). Has done music and sound for many
films and television programs and commercials. Chief audio engineer, Harvestworks Digital Media Arts
(19932004). Faculty, Steinhardt School of Culture, Education, and Human Development, NYU
(1992 ); has also taught at SUNY Oneonta, Hunter College, Pratt University, New School for Social
Research, Tisch School of the Arts. (2007 ) Visiting Lecturer in Music.
426 Faculty

Arthur Gibbons The Arts

B.A., Ohio Wesleyan University; B.F.A, M.F.A., University of Pennsylvania. Solo exhibitions at Robert
Freidus Gallery and Andre Emmerich Gallery, New York. Sculptures reviewed in New York Times,
Village Voice, ARTnews, Arts, International Sculpture. Work selected for group shows in New York at
Guild Hall, East Hampton; Storm King Art Center, Mountainville; Neuberger Museum, SUNY
Purchase. Work in permanent collections of Storm King Art Center, Albright-Knox Gallery (Buffalo),
Denver Art Museum, Chase Manhattan Bank, Prudential Insurance Company of America, Virginia
Museum of Fine Arts, Case Western Reserve University. Awards include Reynolds Metals Company
Commission, Edward F. Albee Foundation Fellowship. Director, Milton Avery Graduate School of the Arts.
(1988 ) Professor of Studio Arts; S. William Senfeld Artist in Residence.

Christopher H. Gibbs The Arts

B.A., Haverford College; M.A., M.Phil., Ph.D., Columbia University. Recipient, Dissertation Prize of
the Austrian Cultural Institute (1992), ASCAPDeems Taylor Award (1998); fellow, American Council
of Learned Societies (19992000). Musicological director of the Schubertiade at the 92nd Street Y in
New York City; musicological adviser for the Schubert Festival at Carnegie Hall (1997) and the Bard
Music Festival (2000, 2002); coartistic director, Bard Music Festival (2003 ). Program annotator and
musicological consultant, Philadelphia Orchestra (2000 ). Author, The Life of Schubert (2000); editor,
The Cambridge Companion to Schubert (1997); coeditor, Liszt and His World (2006); associate editor, The
Musical Quarterly. Contributor to New Grove Dictionary of Music and Musicians, 19th-Century Music,
Schubert durch die Brille, Current Musicology, Opera Quarterly, and Chronicle of Higher Education. Faculty,
SUNY Buffalo (19932003). (2002 ) James H. Ottaway Jr. Professor of Music.

Helena Sedlckov Gibbs Languages and Literature

B.A., Columbia University; M.A., Ph.D., New York University; Certificate in Education, University
of Brasilia. Awarded fellowships from the Remarque Institute, Mellon Foundation (1996); American
Council of Learned Societies (1995); International Research & Exchanges Board (1995); recipient,
Anas Nin Scholarship, New York University (199495). Taught at New York University, Columbia
University, Independent British Institute (Brasilia), Cultura Inglesa (Brasilia). Member, Aprs-Coup
Psychoanalytic Association. Publications include Debts to Olga: Vclav Havels Letters from Prison
in Jednm okem (2002). (2003 ) Visiting Assistant Professor in First-Year Seminar.

Leah Gilliam The Arts

B.A., Brown University; M.F.A., University of Wisconsin, Milwaukee. Solo exhibitions: New Museum
of Contemporary Art; Thread Waxing Space Gallery. Group exhibitions: Whitney Museum of American
Art; The Studio Museum in Harlem; others. Work screened at the 1997 Whitney Biennial; Museum of
Modern Art; Museum of Contemporary Art (Chicago); Black International Berlin Film Festival;
Institute of Contemporary Art, Boston; London Lesbian and Gay Film Festival; Pacific Film Archive,
Berkeley; others. Awards include Jerome Foundation grant (2003); New York State Council on the Arts
grant (2003); University of Wisconsin, Milwaukee: Peck School of the Arts Alumni of the Decade
award (2002); Golden Spire, New Visions (video category), San Francisco International Film Festival
(1996); Art Matters, Inc., Fellowship (1992). (1996 ) Associate Professor of Film and Electronic Arts.

Richard Gordon Social Studies

B.A., Harvard College; M.A., Ph.D., Graduate Faculty of New School University. Principal research
interests in etiology and treatment of psychological disorders and cultural influences on psychopathol-
ogy. Author, Eating Disorders: Anatomy of a Social Epidemic (second ed., 2000); Eating Disorders and
Cultures in Transition (2001). Contributing editor, Eating Disorders: Journal of Treatment and Prevention.
New York Statelicensed psychologist practicing in Red Hook, New York. Member, American
Psychological Association. Member and Fellow, Academy for Eating Disorders. Honorary Fellow,
American Psychiatric Association, cited for contributions to understanding the social and cultural
dimensions of biological psychiatry and psychiatric disorders. (1973 ) Professor of Psychology.
 Faculty 427

Jacqueline Goss The Arts

B.A., Brown University; M.F.A., Rensselaer Polytechnic Institute. Recipient, DAAD Fellowship
(2005), Creative Capital Award (2005), Jerome Foundation grant (2003), New York State Council on
the Arts Award (2002), New York Foundation for the Arts Award (1998). Recent video and web-based
works include How to Fix the World (2004), There, There, Square (2002), The 100th Undone (2001).
Recent exhibitions and screenings at American Museum of Natural History, Eyebeam Atelier,
Rotterdam Film Festival, New York Video Festival at Lincoln Center, Pacific Film Archives.
Contributor to gurl, alt-x, and beehive websites. (2001 ) Associate Professor of Film and Electronic Arts.

Stephen Graham Languages and Literature

B.A., Harvard College; M.A., M.F.A., M.Phil., Ph.D., Columbia University. Areas of interest include
fiction, poetry, and prose of the Victorian period. Adjunct professor, New School for General Studies,
New York City. Has taught writing, composition, and British literature at Columbia. (2006 ) Visiting
Assistant Professor in First-Year Seminar.

Bernard Greenwald The Arts

B.F.A., Philadelphia College of Art; M.F.A., Yale University School of Art. Has taught at Yale,
Skidmore College, Swarthmore College, Kansas City Art Institute, Lewis and Clark College, Bard
College Institute for Writing and Thinking. Facilitator, World of Difference, Anti-Defamation
League. Paints from Hudson Valley landscape; makes etchings derived from Old Testament themes.
Represented in various public collections. (1969 ) Professor of Studio Arts.

William James Griffith Social Studies

A.B., cum laude, Claremont McKenna College; M.A., Ph.D., Brown University. NDEA Fellow. (1968 )
Professor of Philosophy.

Donna Ford Grover Languages and Literature

B.A., Bard College; Ph.D., The Graduate Center, City University of New York. Reviewer, assistant
examiner, Educational Testing Service, Princeton, New Jersey. Advertising and market research, Mapes
& Ross, Inc., Princeton, New Jersey. (1999 ) Visiting Associate Professor of Literature.

Marka Gustavsson The Arts

B.M., Indiana University, student of Joseph Gingold; M.M., Mannes College of Music, student of Felix
Galimir; D.M.A., City University of New York. Violist, Colorado Quartet. Performances at major halls
in the United States, France, The Netherlands, Japan. Has worked with composers such as Martin
Bresnick, Tan Dun, John Halle, and Henri Dutilleux; has served on the faculties of Hofstra University,
the Kinhaven Music Festival, and the Soundfest Quartet Institute. Faculty, The Bard College
Conservatory of Music. (2001 ) Visiting Assistant Professor of Music.

Garry L. Hagberg Social Studies

B.A., M.A., Ph.D., University of Oregon. Postdoctoral research, Cambridge University. Author, Art as
Language: Wittgenstein, Meaning, and Aesthetic Theory and Meaning and Interpretation: Wittgenstein,
Henry James and Literary Knowledge; contributions to Historical Reflections, Henry James Review,
Philosophy, Journal of Aesthetics and Art Criticism, Journal of Aesthetic Education, Mind, New Novel Review,
Philosophical Quarterly, Ethics, Perspectives of New Music, Encyclopedia of the Essay, and Encyclopedia of
Aesthetics. National Endowment for the Humanities fellowships and grants: Dartmouth College;
Cambridge University Library; British Library, London; St. Johns College, Cambridge University.
(1990 ) James H. Ottaway Jr. Professor of Aesthetics and Philosophy.

Mark D. Halsey Science, Mathematics, and Computing

Associate Dean of the College, Associate Professor of Mathematics. See page 409 for biography.
428 Faculty

Ed Halter The Arts

B.A., Yale University; M.A., New York University. Film critic, Village Voice; has written about film,
video, art, and music for CinemaScope, Arthur, Computer Gaming World, Kunstforum, Millennium Film
Journal, and other publications. Author, From Sun Tzu to Xbox: War and Video Games (2006). Director,
New York Underground Film Festival (19952005). Has lectured and curated at the Flaherty Film
Seminar (2002), Cinematexas, Museum of Modern Art, Yale Center for British Art, and other venues.
(2005 ) Visiting Assistant Professor of Film and Electronic Arts.

Frederick Hammond Languages and Literature; The Arts

B.A., Ph.D., Yale University. Fellowships: American Academy; Villa I Tatti; Gladys Krieble Delmas
Foundation for Venetian Studies. Music director emeritus, Clarion Music Society. Author of two books
on Girolamo Frescobaldi, Music and Spectacle in Baroque Rome, and numerous articles. Coeditor,
Ambiente Barocco, exhibition catalogue, Bard Graduate Center. Performances at the Smithsonian
Institution, Lincoln Center, Nakamichi Festival. Recordings on Nonesuch, ABC Westminster, Decca.
(1989 ) Irma Brandeis Professor of Romance Cultures and Music History.

Lynn Hawley The Arts

B.A., Middlebury College; M.F.A., New York University; certificate of training, Moscow Art Theatre
School, Russia. Graduate Fellowship, New York University (199092). Acting appearances include
New York Stage and Film, New York Shakespeare Festival, Classic Stage Company, Yale Repertory
Theatre, Circle Repertory Company, Center Stage, Berkshire Theatre Festival, Williamstown Theatre
Festival; the film Hamlet (2001). Director, Ubu Roi, Middlebury College (2000). (2000 ) Assistant
Professor of Theater.

Rebecca Cole Heinowitz Languages and Literature

B.A., University of California, San Diego; M.A., Ph.D., Brown University. Previously taught at
Dartmouth College, Brandeis University, and Brown. Specializes in British romanticism, with empha-
sis on imperial and transatlantic history. Scholarly articles have appeared or are forthcoming in
European Romantic Review; Revista Hispnica Moderna; Oxford Encyclopedia of British Literature; Sullen
Fires Across the Atlantic: Essays in British and American Romanticism; Connecting Continents: Britain and
Latin America, 17801900. (2004 ) Assistant Professor of Literature.

Roman Hrab The Arts

B.F.A., School of Visual Arts; graduate studies at Janus Pannonius University, Pcs, Hungary. Sculptor.
Has exhibited work at Exit Art, PS 122, and Pleiades Gallery, New York City; Samuel Dorsky Museum,
SUNY New Paltz; Jersey City Museum; Budapest International Art Expo, others. Recipient, Residency
Fellowship, Constance Saltonstall Foundation for the Arts (2006); Strategic Opportunities Stipend,
New York State Council of the Arts (2006); Residency Award, Contemporary Artists Center, North
Adams, Massachusetts (1996). Has taught at Jannus Pannonius University and School of Visual Arts.
(2006 ) Visiting Instructor of Studio Arts.

Samuel K. Hsiao Science, Mathematics, and Computing

B.S., Haverford College; M.S., Ph.D., Cornell University. Postdoctoral assistant professor and NSF
Fellow, Department of Mathematics, University of Michigan. Has taught at Cornell, University of
Michigan, Taft School. Thesis: Peak quasisymmetric functions and flag enumeration in Eulerian
posets. (2006 ) Assistant Professor of Mathematics.

Augustine Hungwe Social Studies

B.S., M.S., Ph.D., University of Zimbabwe. Specializes in human rights and international law.
Longest-serving lecturer in the International Human Rights Exchange Programme, University of
Cape Town and University of the Western Cape, South Africa. Author, Good Governance and
Democracy in Zimbabwe, vols. I and II (Konrad Adenauer Foundation, 2000). Visiting professor,
 Faculty 429

McGill Fellow in International Studies, Trinity College (2006); has also taught and/or presented aca-
demic papers on human rights issues at Emerson College, George Washington University, Haverford
College, Yale University. (2007 ) Visiting Assistant Professor of Political Studies.

Peter Hutton The Arts

B.F.A., M.F.A., San Francisco Art Institute. Taught at Hampshire College, Harvard University, SUNY
Purchase. Filmmaker; has produced more than 20 films, most of which are portraits of cities and land-
scapes around the world. Work shown in major museums and at festivals in the United States and
Europe, including Museum of Modern Art, Whitney Biennial (1985, 1991, 1995, 2004). Continuing
work, since 1986, on series of landscape portraits of Hudson River Valley; also developing projects in
Bangladesh and Iceland. Grants: National Endowment for the Arts, DAAD Berliner, Rockefeller
Foundation, Dutch Film Critics Award, Guggenheim Fellowship. (1984 ) Professor of Film.

Takeshi Ito Social Studies

B.A., Keio University, Tokyo; M.A., Hitotsubashi University, Tokyo; M.A., M.Phil., Ph.D. candidate,
Yale University. Research areas include contemporary Indonesian politics, evolution of international
politics, Latin American politics. Recipient, Fulbright Scholarship (200002); Yale University
Graduate School Fellowship (200203); Japan Foundation Fellowship (2003); Yale University
Agrarian Studies Summer Grant (2003, 2006). Has taught and lectured at Yale, Tokyo University of
Foreign Studies, Hitotsubashi University. Articles in Chiri, Asian and African Area Studies, Southeast
AsiaHistory and Culture. (2007 ) Visiting Lecturer in Political Studies.

Michael Ives Languages and Literature

B.A., University of Rochester. Awards: Academy of American Poets Prize; Lillian Fairchild Award for
Significant Contributions to the Arts (University of Rochester, 1996). Founding member and composer
for the sound/text performance trio Floom. Taught music performance and composition and creative
writing at Aesthetic Education Institute of Lincoln Center (19972001). Artist in residence, Hobart
and William Smith Colleges (200001). Author, The External Combustion Machine (2005); poetry and
short fiction published in numerous periodicals. (2003 ) Visiting Assistant Professor of the Humanities.

Philip Johns Science, Mathematics, and Computing

B.A., Carleton College; M.Sc., Ph.D., University of Chicago. Taught at University of Maryland,
Swarthmore College, Villanova University, University of Chicago. Postdoctoral Fellow, National
Institutes of Health Neuroethology Training Program, University of Maryland; Century Graduate
Fellow, University of Chicago. Numerous publications, presentations, and professional activities related
to entomology. (2007 ) Assistant Professor of Biology.

Paul Ramrez Jonas The Arts

B.A., Brown University; M.F.A., Rhode Island School of Design. Solo exhibitions include Ikon Gallery,
Birmingham, UK; Cornerhouse, UK; LFL Gallery, New York; Roger Bjrkholmen Galleri, Sweden;
Postmasters Gallery, New York. Group exhibitions in Gallery for Contemporary Art, Leipzig, Germany;
PS 1, New York; Seoul Biennial, Korea; The Whitechapel, UK; Irish Museum of Modern Art, Ireland;
Knstlerhaus, Austria; Johannesburg Biennale, South Africa; Exit Art, New York; New Museum of
Contemporary Art, New York. Has taught at Rhode Island School of Design, California Institute of the
Arts, Columbia University, New York University, School of the Museum of Fine Arts. Profiled in
Artforum, Zing, ARTnews, New York Times, Art in America, among others. (2003 ) Assistant Professor
of Studio Arts.

Jeffrey T. Jurgens Social Studies

B.A., Colorado College; M.A., Ph.D., University of Michigan. Has taught at Pitzer College and
University of Michigan. Recipient, Innovative Teaching Award, University of Michigan. Fieldwork in
430 Faculty

Germany and Turkey on Turkish-German transnational migration, asylum policy, refugee experience in
Germany. (2005 ). Visiting Assistant Professor of Anthropology.

Patricia Karetzky The Arts

B.A., New York University; M.A., Hunter College; Ph.D., Institute of Fine Arts, New York University.
Adjunct professor, Lehman College, CUNY. Publications include The Life of the Buddha; Court Art of
the Tang; Early Buddhist Narratives (2000); contributions to Artibus Asiae, Tang Studies, Oriental Art,
others. Editor, Journal of Chinese Religions. Curator, Art of the Twentieth Century and Traditional Chinese
Literary Culture (1998), Lehman College Art Gallery and Bard College; Confessions: The Contemporary
Art of Asian Women (2001), Hammond Art Gallery. (1988 ) Oskar Munsterberg Lecturer in Art History.

Daniel Karpowitz Social Studies

B.A., University of Pennsylvania; J.D., University of Chicago Law School. Fulbright Research and
Teaching Fellow (199798). Lecturing professor, University of California, Berkeley, Department of
Rhetoric (2000). Faculty (2000 ) and director of policy and academics, Bard Prison Initiative (2003 ).
Soros Justice Fellow (Class of 2003); National Endowment for the Humanities Fellow (2004); Board of
Trustees, Time & Space Limited, Hudson, New York (2005 ). Parliamentarian, Columbia County
Democratic Party (2005 ). (2003 ) Visiting Assistant Professor of Political Studies.

Leah Chaback Katz The Arts

B.A., SUNY Purchase. Pilates instructor and teacher trainer; owner and director of The Movement
Center, a Pilates studio in Kingston, New York. Apprenticed with Romana Kryzanowska. Contributing
author, The Illustrated Encyclopedia of Body-Mind Disciplines (1999). (2002 ) Visiting Assistant Professor
of Dance.

Thomas Keenan Languages and Literature

B.A., Amherst College; M. Phil., Ph.D., Yale University. Recipient: fellowship, Center for the Critical
Analysis of Contemporary Culture, Rutgers (199192); Shorenstein Fellow, Joan Shorenstein Center for
Press and Politics, John F. Kennedy School of Government, Harvard (1998). Author, Fables of
Responsibility: Aberrations and Predicaments in Ethics and Politics (1997); articles in PMLA, New York
Times, Wired, Johns Hopkins Guide to Literary Theory and Criticism, others. Editor, The End(s) of the
Museum (1996); coeditor, New Media, Old Media (2005); Paul de Man, Wartime Journalism, 19391943
(1988). Editorial and advisory board member, Journal of Human Rights, Grey Room, Scholars at Risk
Network. (1999 ) Director, Human Rights Project; Associate Professor of Comparative Literature.

Felicia Keesing Science, Mathematics, and Computing

B.S., Stanford University; Ph.D., University of California, Berkeley. Grants: National Geographic
Society, National Science Foundation, National Institutes of Health. Awards and fellowships include
Patricia Robert Harris Fellowship, Anna M. Jackson Award, United States Presidential Early Career
Award for Scientists and Engineers (2000). Articles include contributions to Ecology, BioScience,
Oecologia, Conservation Biology, Trends in Ecology & Evolution, Vector-Borne and Zoonotic Diseases,
Canadian Journal of Zoology, among others. Faculty, the Master of Arts in Teaching Program at Bard
College. (2000 ) Associate Professor of Biology.

Robert Kelly Languages and Literature

B.A., City College of New York; graduate work, Columbia University. Litt.D. (honorary), SUNY
Oneonta. Awards: National Endowment for the Arts, CAPS, Los Angeles Times Prize for Poetry
(1980), American Academy and Institute of Arts and Letters. Founding editor, Chelsea Review, Trobar,
Matter. Contributing editor, Caterpillar, Sulfur, Alcheringa:Ethnopoetics, and Conjunctions. Major poetry
books include The Common Shore, The Loom, Kill the Messenger, Not This Island Music, The Flowers of
Unceasing Coincidence, A Strange Market, Red Actions, The Time of Voice, The Garden of Distances, Lapis,
 Faculty 431

Runes. Fiction: A Transparent Tree, Doctor of Silence, Cat Scratch Fever, The Queen of Terrors. Founding
director, Writing Program, Milton Avery Graduate School of the Arts (198093). (1961 ) Asher B. Edelman
Professor of Literature.

Franz R. Kempf Languages and Literature

M.A. in German, M.A. in Russian, University of Utah; Ph.D., Harvard University. Author, Everyones
Darling: Kafka and the Critics of His Short Fiction (1994), Albrecht von Hallers Ruhm als Dichter: Eine
Rezeptionsgeschichte (1986), Deutsche Gegenwart (1985, with Robert E. Helbling). Articles and papers
on Goethe, Fontane, Kafka, Brecht, Drrenmatt, von Hallers, Wieland, and language pedagogy. Book
reviews for several scholarly journals. Editorial advisory board, Die Unterrichtspraxis and Colloquia
Germanica. President, Hudson Valley Chapter, American Association of Teachers of German
(199092). (1985 ) Professor of German.

Elizabeth Kendall The Arts

B.A., M.A.T., Harvard University. Awards: Guggenheim Fellowship (1982); Ford Foundation Writers
Fellowship (1980). Scriptwriter for WNET Dance in America series; consultant for television dance
series, films, and museum exhibits. Author of American Daughter: Discovering My Mother (2000), The
Runaway Bride: Hollywood Romantic Comedy of the 1930s (1990), Where She Danced (1979), and articles
in New Yorker, Ballet Review, New York Times, others. Dance critic: Harpers Bazaar (1991 ), Elle
(198791), Vogue (198287), Ballet News (197782). Bard Center Fellow (198889). (1995 ) Visiting
Associate Professor of Dance.

David Kettler Social Studies

A.B., M.A., Ph.D., Columbia University. Professor emeritus, political studies, Trent University,
Canada. Author or coauthor: Adam Ferguson: His Social and Political Thought (expanded edition, 2005);
Marxismus und Kultur; Karl Mannheim; Karl Mannheim and the Crisis of Liberalism: The Secret of These
New Times; Sociology as Political Education; Domestic Regimes, the Rule of Law, and Democratic Social
Change: Exile, Science and Bildung. Editor/translator of four volumes. Numerous articles in professional
journals, edited volumes, handbooks, encyclopedias. (1991 ) Research Professor in Social Studies.

Tamar Khitarishvili Social Studies

B.S., University of Georgia; M.S., Ph.D., University of Minnesota. Research interests include human cap-
ital development and growth, income distribution, rural development and finance, methods of efficiency,
productivity estimation. Honors and awards: Farm Credit Bank of Columbia Scholarship (199596);
Emory Cocke Scholarship (199596); Center for International Food and Agricultural Policy Research
Travel Grant (1999); International Association of Agricultural Economists Travel Grant (2000). Taught
Ph.D.-level courses in econometric analysis and applied financial economics at University of Minnesota.
Coauthor, Trade and Macroeconomic Policy: What Does It Mean for Farmers and Lenders? (Agriculture
Outlook Forum 2001) and Farm Real Estate Lending: A Survey of Midwest Bankers (Journal of
Agricultural Lending, 1999), among other articles. (2003 ) Assistant Professor of Economics.

Verlyn Klinkenborg Languages and Literature

B.A., Pomona College; Ph.D., Princeton University. Serves on the New York Times editorial board
(1997 ). Guest curator, The Pierpont Morgan Library (198788). Has taught at Bennington College,
Harvard University, Fordham University, St. Olaf College, Princeton University. Awards and fellow-
ships include National Endowment for the Arts Fellowship (198889); Distinguished Teaching
Award, Harvard University (198992); Before Columbus Foundation American Book Award (1991);
Lila WallaceReaders Digest Fund Writers Award (199295). Author of The Last Fine Time
(University of Chicago Press, 2004) and The Rural Life (Little, Brown & Company, 2004). (2004 )
Visiting Professor of Literature.
432 Faculty

Marie-Helene Koffi-Tessio Languages and Literature

B.A., M.A., Sorbonne Nouvelle, Paris; M.A., University of Virginia, Charlottesville; Ph.D., Princeton
University. Research interests include 20th- and 21st-century French and Francophone writers;
Negritude and post-Negritude literature; French, African, and Caribbean cinema. Has taught at
Princeton, Middlebury College, Central Missouri State University, University of Virginia, Barnard
College. Publications include entry on Lopold Sdar Senghor in A Historical Companion to Postcolonial
Literatures (Edinburgh University Press, 2005); articles in Francofonia, Prsence Francophone, others.
Recipient, Donald and Mary Hyde Research Fellowship, Princeton (2004); Foulet-Armstrong
Dissertation Completion Grant, Princeton (200506). (2007 ) Visiting Assistant Professor of French.

Marina Kostalevsky Languages and Literature

M.A., Leningrad State Conservatory; Ph.D., Yale University. Lecturer and teaching assistant, Yale
University; lecturer, Yale Summer Piano Institute; music instructor, Rutgers University; accompanist
and music adviser, Bolshoi Theater, Moscow. Publications include Dostoevsky and Soloviev: The Art of
Integral Vision (1997) and articles in Russian Language Journal, Voprosy Literatury, Russian Literature,
Transactions of Russian-American Scholars, Pushkin v XX veke, Moskovskii Pushkinist, and Dictionary of
Literary Biography. (1996 ) Associate Professor of Russian.

Joel Kovel Social Studies

B.S., Yale University; M.D., Columbia University College of Physicians and Surgeons. Recipient,
Guggenheim Fellowship (1987). Publications include White Racism: A Psychohistory; A Complete Guide
to Therapy; The Age of Desire; Against the State of Nuclear Terror; In Nicaragua; The Radical Spirit; History
and Spirit; Red Hunting in the Promised Land; The Enemy of Nature (2002); Overcoming Zionism (2007).
Editor-in-Chief, Capitalism Nature Socialism (2003). (1988 ) Distinguished Professor of Social Studies.

Mary Krembs Science, Mathematics, and Computing

B.A., Marist College; M.S., D.Phil., Rensselaer Polytechnic Institute. Taught as adjunct professor of
mathematics, Marist College. Technical project manager, Wellington Technology. (2007 ) Visiting
Assistant Professor of Mathematics.

Stephanie Kufner Languages and Literature

Teaching Diploma, Certification for English Language and Business Administration, University of
Munich; Diplom-Handelslehrer, University of Munich; M.A. and Ph.D. in German, SUNY Albany.
Articles, papers, and talks on Schiller, language acquisition, technology, and language pedagogy.
Academic Director, Center for Foreign Languages and Cultures, Bard College (1995 ). (1990 ) Visiting
Assistant Professor of German.

Laura Kuhn The Arts

Ph.D., University of California, Los Angeles. Arts administrator, writer, director, and performer.
Worked with Nicolas Slonimsky, succeeding him as editor of his acclaimed music dictionaries, Bakers
Biographical Dictionary of Musicians and Music Since 1900. Assisted John Cage on a variety of large-scale
projects, including his Europeras 1 & 2 for the Frankfurt Opera, for which she designed costumes and
created stage actions. Director and cofounder, John Cage Trust; projects under her direction include a
CD-ROM of sampled piano preparations from Cages Sonatas & Interludes (194648) for use by MIDI
keyboard musicians, and the development of online realization capabilities for Cages late number
pieces. Created and directed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, a theatrical realiza-
tion of Cages radio play (2001). (2007 ) John Cage Professor of Performance Art.

Laura Kunreuther Social Studies

B.A., University of Pennsylvania; M.A., Ph.D., University of Michigan. Extensive on-site research in
Kathmandu. Teaching and research interests include cultural memory, language and culture, media,
 Faculty 433

violence, South Asia. Awards include Andrew W. Mellon Fellowship, Fulbright-Hays Fellowship,
NMERTA South Asia Fellowships (2). Author of numerous articles and conference presentations.
(2001 ) Assistant Professor of Anthropology.

Cecile E. Kuznitz Social Studies

A.B., magna cum laude, Harvard University; M.A., Ph.D., Stanford University. Awarded fellowships
from American Council of Learned Societies (199798); Memorial Foundation for Jewish Culture
(19992000); National Foundation for Jewish Culture (19992000); Center for Advanced Judaic
Studies, University of Pennsylvania (2002); Oxford Centre for Hebrew and Jewish Studies (2004);
United States Holocaust Memorial Museum (2007). Has lectured at YIVO Institute for Jewish
Research, Harvard University, University of Maryland, University of Washington, University of
Pennsylvania. Articles published in The Yivo Encyclopedia of the Jews in Eastern Europe; S. Ansky at the
Turn of the Century; The Oxford Handbook of Jewish Studies; Yiddish Language and Culture: Then and Now.
Visiting assistant professor of Jewish history/Jewish studies, Georgetown University (2000 ). (2003 )
Assistant Professor of Jewish History.

Benjamin La Farge Languages and Literature

B.A., magna cum laude, Harvard College; graduate study, Balliol College, Oxford University. Editorial
experience at magazines and book publishers in Boston and New York (195767), including senior edi-
tor, Signet Classics and Mentor Books. Poems in New Republic and other journals; articles on Irish fic-
tion writer William Trevor in British Writers, Supplement IV (1997); Irish poet Richard Murphy in British
Writers, Supplement V (1999); American critic and political writer John Jay Chapman in Hudson Valley
Regional Review (1998); and theory of comedy in Journal of Philosophy and Literature (2004). Instructor
in writing, City College of New York (1968). (1968 ) Professor of English.

Peter Laki The Arts

Diploma in Musicology, Franz Liszt Conservatory of Music, Budapest; Ph.D., University of
Pennsylvania. Program annotator, Cleveland Orchestra (1990 ); editor, Bartk and His World
(Princeton University Press, 1995); contributor, Cambridge Companion to the Orchestra and Cambridge
Companion to Bartk; articles in Orbis Musicae, International Journal of Musicology, Institute for Canadian
Music Newsletter, Hungarian Quarterly, others. Visiting assistant professor, Oberlin College (2003 );
has also taught at Case Western Reserve University, Franz Liszt Conservatory of Music, John Carroll
University, Kent State University. (2007 ) Visiting Associate Professor of Music.

Mark Lambert Languages and Literature

B.A., Bard College; M.A., Ph.D., Yale University. Woodrow Wilson Fellow (1961). Woodrow Wilson
Teaching Intern, St. Augustines College; Danforth Teaching Assistant, Yale University; visiting
lecturer in English, Harvard University; visiting professor, University of York Centre for Medieval
Studies and Department of English. Author, Malory: Style and Vision in Le Morte dArthur and Dickens
and the Suspended Quotation. Contributor, Essays on Troilus and Criseyde, Cambridge Chaucer Companion,
Spenser Encyclopedia. Reviews in Modern Language Review, Speculum, London Review of Books. (1967 )
Asher B. Edelman Professor of Literature.

Gregory Landweber Science, Mathematics, and Computing

B.A., Princeton University; M.Sc., Oxford University; M.A., Ph.D., Harvard University. Certificate of
Advanced Study in Mathematics with Distinction, Cambridge University. Many honors, including
Brown and Covington Prizes in mathematics, Princeton (199192); National Science Foundation
Graduate Research Fellowship, Harvard (199497); University of Oregon Faculty Summer Research
Award (2006). Has taught at Harvard, University of Oregon, University of Toronto/Fields Institute.
Has authored and coauthored many mathematical papers, including The K-theory of abelian versus
nonabelian symplectic quotients (with Megumi Harada); Representation rings of Lie superalgebras,
434 Faculty

K-Theory 36 (2005); Twisted representation rings and Dirac induction, Journal of Pure and Applied
Algebra 206 (2006). (2007 ) Assistant Professor of Mathematics.

Kristin Lane Social Studies

B.A., University of Virginia; M.S., Yale University; Ph.D., Harvard University. Research interests
include implicit social cognition; attitudes, identity, and belief; prejudice and stereotyping; self and
identity; psychology of gender. Has taught at Harvard, Johns Hopkins University Center for Talented
Youth, Tufts University. Recipient, Cabot Postdoctoral Fellowship for Innovation in Teaching, Derek
Bok Center for Teaching and Learning, Harvard (2006 ). Articles in Social Cognition, Natura
Automatyzmow, other journals and publications. (2007 ) Assistant Professor of Psychology.

Lenore Latimer The Arts

B.S., Juilliard School. Member, Jos Limon Dance Company, Anna Sokolow Dance Company,
American Dance Theater at Lincoln Center, Dance Theater Workshop Repertory Company, Valerie
Bettis Dancers Studio. Artistic director of Latitudes, Ltd.The Lenore Latimer Dance Company
(197983). Choreography produced by American Dance Festival, New London, Connecticut;
International Dance Workshop, Bonn; Dance Theater Workshop, Symphony Space, Emanu-El
Midtown Y, Riverside Church, Douglas Fairbanks Theater, all New York. Artist in residence at
University of Wisconsin, Milwaukee; University of Iowa; American University, Washington, D.C.;
Washington University, St. Louis. (1979 ) Visiting Professor of Dance.

Ann Lauterbach Languages and Literature

B.A., University of Wisconsin, Madison. Woodrow Wilson Fellow, Columbia University. Teacher and
director of the literature program at the Institute of Contemporary Arts. Books include If in Time
(2001); On a Stair (1997); And For Example (1994); Clamor (1991); Before Recollection (1987); Many
Times, But Then (1979). Contributing editor, Conjunctions (1981 ). Wrote column The Night Sky
in American Poetry Review. Grants: New York State Foundation for the Arts, Ingram Merrill
Foundation, Guggenheim Foundation, MacArthur Fellowship (1993). Faculty, Milton Avery Graduate
School of the Arts and Center for Curatorial Studies. (1997 ) David and Ruth Schwab Professor of Languages
and Literature.

An-My L The Arts

B.S. (biology), Stanford University; M.F.A., Yale University School of Art. Solo shows at Dia:Beacon
(200607); Museum of Contemporary Photography, Chicago (2006); RISD Museum of Art,
Providence, Rhode Island (2006); P.S. 1/MoMA Contemporary Art Center, Long Island City
(200203). Group shows at Museum of Modern Art (2006); Whitney Museum of American Art
(2005). Recipient, New York State Foundation for the Arts grant (1996), Guggenheim Fellowship
(1997). (1998 ) Assistant Professor of Photography.

Nancy S. Leonard Languages and Literature

A.B., Smith College; Ph.D., Indiana University. Assistant professor of English, University of
Pennsylvania (197277). Member, Modern Language Association. Numerous articles and reviews on
Shakespeare, poetry, and aesthetics in edited books and journals including Renaissance Drama, English
Literary Renaissance, Huntington Library Quarterly. Program member, Literature, Film and Electronic Arts,
Integrated Arts, and Theology Programs. Associate, Institute of Writing and Thinking (1982 ). (1977 )
Professor of English.

Les LeVeque The Arts

Videomaker. M.F.A., Syracuse University. Work has been shown at the Whitney Biennial (2000),
Georges Pompidou Center, UCLA Hammer Museum, Exit Art, La Panaderia Gallery, Aurora Picture
Show, Videographe, Cinemedia, and The Other Cinema. Screenings at festivals including
 Faculty 435

Transmediale, San Francisco International Film Festival, Sundance Film Festival, Viennale, The
Images Festival of Independent Film and Video, ARS Electronica, Festival International du Nouveau
Cinma et des Nouveaux Medias, and Worldwide Film and Video Festival. Faculty, Milton Avery
Graduate School of the Arts (2002 ). (2007 ) Visiting Associate Professor of Film and Electronic Arts.

Mark Lindeman Social Studies

A.B., Brown University; M.A., M.Phil., Ph.D., Columbia University. Jacob K. Javits Fellow (199296).
Adjunct professor, Political Science Department and School of International and Public Affairs,
Columbia University. Research interests: public opinion and public deliberation, American political
institutions, quantitative methods, environmental politics. Contributor to Research in Micropolitics;
Public Opinion; What Is America, and What Do We Want It To Be?: Foreign Policy and Domestic Priorities;
The Role of the United States in a Changing World: Choices for the 21st Century. (2002 ) Assistant Professor
of Political Studies.

Christopher R. Lindner Social Studies

B.A., Hamilton College; M.A., University of Cincinnati; Ph.D., SUNY Albany. Director, Guinea
Community Archaeology Project, Dutchess County Historical Society (2001 ). Directs archaeologi-
cal overview and assessment, National Parks Service, Home of Franklin D. Roosevelt, Hyde Park, New
York (2003 ). President, New York Archaeological Council (1997 ). Vice President, Hudson River
Heritage (2003 ). Articles in Hudson Valley Regional Review, Bulletin of the Archaeological Society of
Connecticut, Archaeology of Eastern North America. Coeditor, A Northeastern Millennium and A Golden
Chronograph. Interests include geomorphological impacts on archaeological sites; experimental analysis
of prehistoric artifacts; history of land use in the Hudson River basin; historical archaeology of rural
19th-century African American communities. (1988 ) Director, Bard Archaeology Field School; Visiting
Assistant Professor of Anthropology; Archaeologist in Residence.

Erica Lindsay The Arts

B.A., New York University. Musician (tenor saxophone, soprano saxophone, flute); composer. Has
played at major jazz festivals in Europe, Asia, and the United States, and major venues including
Carnegie Hall, Avery Fisher Hall, Sweet Basils, The Bottom Line, Merkin Hall, Knitting Factory.
Performances and recordings with McCoy Tyner, Reggie Workman, Art Blakey, Oliver Lake, Ted
Curson, Howard Johnson, Clifford Jordan, others. Has composed and arranged for Hamburg Radio Big
Band, Unique Munich Saxophone Choir, Melba Liston & Co., and theatrical productions (John
Carters Feed the Beast; Carl Hancock Ruxs Song of Sad Young Men). Leads Erica Lindsay
Quartet/Quintet. Selected discography: Dreamer (Candid Records); The Flame, Soul Catcher, Yes/Live at
Rosendale Cafe (ASR Records). (2001 ) Visiting Assistant Professor of Music.

Hoyt J. Long Languages and Literature

B.A., University of Oregon; M.A., Ph.D., University of Michigan. Areas of expertise include classical
and modern Chinese and Japanese literature. Has taught Japanese language, literature, and culture at
University of Michigan (200103); coordinated lecture series for Modern Japan History Workshop,
Waseda University, Tokyo (200406). Recipient, Rackham One-Term Dissertation Grant, University
of Michigan (2006); CJS Endowment Fellowship, University of Michigan (2006); Japan Society for the
Promotion of Science ABD Fellowship (200405). (2007 ) Assistant Professor of Japanese Literature.

Nicola Lopez The Arts

B.A. M.F.A, Columbia University. Artist. Solo exhibitions include Caren Golden Fine Art, New York
City; LACS Gallery at SUNY Stony Brook; Museo de Arte Contemporaneo, Cusco, Peru. In group
shows at Museum of Modern Art; Bronx River Art Center; Frye Art Museum, Seattle; Cleveland
Institute of Art; many others. Residencies at Assilah Summer Moussem, Morocco; Tamarind Institute,
Albuquerque; Headlands Center for the Arts, Sausalito, California. Represented by Caren Golden Fine
Art. (2007 ) Visiting Assistant Professor of Studio Arts.
436 Faculty

Sarah Lopez-Duran Social Studies

B.A., Pennsylvania State University; M.A., Ph.D., University of Michigan. Contributes articles relat-
ing to cognitive psychology, developmental psychology, primate cognition, and autism to numerous
academic journals. Research interests primarily focus on the cognitive development (including mem-
ory, perspective-taking, and theory of mind) in typically developing preschoolers and children with
autism spectrum disorders. Has taught at University of Michigan. (2007 ) Assistant Professor of
Psychology.

Barbara Luka Social Studies

B.A., Lawrence University; Ph.D., University of Chicago. Research areas include electrophysiology of
language processing using event-related potentials; conceptual and grammatical influences in language
comprehension and memory. Research associate, Institute for Mind and Biology, Chicago, and
University of Arizona. Previously taught at DePaul University and Saint Xavier University. Watson
Fellow (198990). Publications in linguistics, psychology, and psychophysiology. (2003 ) Assistant
Professor of Psychology.

Joseph Luzzi Languages and Literature

B.A., Tufts University; M.A., New York University; M.A., M.Phil., Ph.D., Yale University. Visiting
Assistant Professor of Italian, University of Pennsylvania (200102). Fellow, Yales Whitney
Humanities Center (200001). Grants from Keats-Shelley Association (2002) and Italian Institute for
Philosophical Studies (1996); Dante Society award for best graduate essay (1996). Articles in Italica,
MLN, Studies on Voltaire and the Eighteenth Century, Yale Italian Poetry, Dante Studies, others. Guest edi-
tor, Yale Journal of Criticism. (2002 ) Assistant Professor of Italian.

Mark Lytle Social Studies

B.A., Cornell University; M.Phil., Ph.D., Yale University. Fulbright Scholar: Mary Ball Washington
Professor of American History, University College, Dublin (2000, 2004). Author, The Gentle
Subversive: Rachel Carson, Silent Spring and the Rise of the Environmental Movement (2007); Americas
Uncivil Wars: The Sixties Era from Elvis to the Fall of Richard Nixon (2006); After the Fact: The Art of
Historical Detection (5th ed., 2004); Nation of Nations: A Narrative History of the American Republic (6th
ed., 2007); The Origins of the Iranian-American Alliance, 19411953 (1987). Editorial board, Diplomatic
History; consultant, McGraw-Hill, Oxford and Yale University Presses. Recipient, National Endow-
ment for the Humanities grant for Bard College Summer Institute: The Age of the Roosevelts; mem-
ber, Franklin and Eleanor Roosevelt Institute Scholars Panel. External examiner in American studies,
University of Nottingham, and in history, University of Limerick. Faculty, The Master of Arts in Teaching
Program at Bard College. (1974 ) Professor of History.

Medrie MacPhee The Arts

B.F.A., Nova Scotia College of Art and Design. Selected solo exhibitions: Michael Steinberg Fine Art
New York; ArtCore Gallery, Toronto; Keith Talent Gallery, London; Stadtische Galerie Haus, Seigen,
Germany; Trier Galerie Haus, Trier, Germany. Selected group exhibitions: 150 Cubic Meter Largas,
Invitational, Cologne, Germany; Recent Acquisitions, National Gallery of Canada; Hunter Selects,
Bertha and Karl Leubsdorf Art Gallery, New York. Grants: Senior Artist Grant, Canada (2000); New
York Foundation for the Arts (1998). Work reviewed in New York Times, Art in America, Globe and
Mail, Contemporary Visual Arts. (1997 ) Sherri Burt Hennessey Artist in Residence.

Peter Maguire Social Studies

B.A., Bard College; M.A., M.Phil., Ph.D., Columbia University. Author, Facing Death in Cambodia
(2005, Columbia University Press); Love and War: An American Story (2001, Columbia University
Press). Articles published in New York Newsday, Fathom, The Independent, others. Guest and commen-
tator on Air Americas Morning Sedition; ABC, WNYC, and KPFK radio; NDR Television (Germany).
 Faculty 437

Board member, Columbia University Oral History Project; wrote brief for the defense in the David
Irving v. Deborah Lipstadt (Penguin Books) case in England (2001). Has lectured at Columbia
University Law School, Princeton University, Rutgers University, Free University of Brussels,
University of Southern California, University of Hawaii, among others. Member, Bard College Board
of Trustees (2004 ). (2007 ) Visiting Assistant Professor of History.

Norman Manea Languages and Literature

M.S., Institute of Construction, Bucharest, Romania. Author of novels, volumes of short fiction, and
essays. Available in English: The Hooligans Return (memoir, 2004); The Black Envelope (novel, 1995);
Compulsory Happiness (novellas, 1993); October Eight oClock (short fiction, 1992); On Clowns: The
Dictator and the Artist (essays, 1992). Awards and honors: DAAD Berliner Kunstler Programm (1987),
Fulbright Fellowship (1989), MacArthur Fellowship Award (1992), Guggenheim Fellowship (1992),
National Jewish Book Award (1993), The New York Public Library Literary Lion Medal (1993),
Nonino International Prize (2001), Napoli Prize for Fiction (2004), Prix Mdicis tranger (2006).
Member, Berlin Academy of Art (2006). (1989 ) Francis Flournoy Professor in European Studies and
Culture; Writer in Residence.

William T. Maple Science, Mathematics, and Computing

B.A., Miami University; M.A., Ph.D., Kent State University. Director of Natural Science Museum for
Nantucket Maria Mitchell Association (Emeritus). Board of directors, Hudsonia, Ltd.; Winnakee Land
Trust. Member: American Society of Ichthyologists and Herpetologists, Society for the Study of
Amphibians and Reptiles, Herpetologists League. Professional interests: evolution and ecology of rep-
tiles and amphibians. Faculty, Bard Center for Environmental Policy. (1973 ) Director, Bard College Field
Station; Professor of Biology.

Robert L. Martin The Arts

Vice President for Academic Affairs, Director of the Bard College Conservatory of Music, Professor of
Philosophy and Music. See page 408 for biography.

Karla Marz Science, Mathematics, and Computing

B.A. (chemistry), B.A. (cellular and molecular neuroscience), Macalester College; Ph.D., Washington
University. Research focuses on structure/function of neurobiologically relevant proteins, specifically
protein-protein interactions of circadian clock proteins and their influence on rhythmic behavior.
Codirector, Young Scientist Program, Washington University (200003); research mentor, Washington
University School of Medicine (200304) and University of Virginia (200507). (2007 ) Visiting
Assistant Professor of Biology.

Robert W. McGrail Science, Mathematics, and Computing

B.A., Saint Josephs College of Maine; M.A., Boston College; Ph.D., Wesleyan University. Research
areas: automated deduction and applications of the Semantic Web to ecoinformatics. Articles in the
Lecture Notes in Computer Science series and the Journal of Tropical Medicine and Hygiene, among others.
Director of the Laboratory for Intelligent Data Systems. Faculty, the Master of Arts in Teaching Program
at Bard College. (1999 ) Assistant Professor of Computer Science and Mathematics.

Johanna McKeon The Arts

B.A., Reed College; M.F.A., University of Texas at Austin. Director and actor. Directing credits include
I Have Loved Strangers by Anne Washburn (both world and New York premieres); Shakespeares Much
Ado About Nothing and Cymbeline, both at Vineyard Playhouse; and plays by Washburn and Tommy Nix
for Ontological-Hysteric Theater at St. Marks Poets Theatre, New York. Associate director, Grey
Gardens, 2006 Broadway production. Has acted in Ontological-Hysteric Theatre, National Theatre for
the Performing Arts, and California Shakespeare Festival productions. Taught in M.F.A. Directing
438 Faculty

Program, University of Texas at Austin; guest director, The Lower Depths, Bard College (2005). Honors
include Boris Sagal Directing Fellowship, Williamstown Theatre Festival (2005); Drama League
Fellowship (2002). (2007 ) Visiting Assistant Professor of Theater.

Blair McMillen The Arts

B.A., B.M., Oberlin College; M.M., Juilliard School; Ph.D. candidate, Manhattan School of Music.
Pianist. Solo recitals at Alice Tully Hall, California Institute of the Arts, Caramoor International Music
Festival, and for President Bill Clinton in Aspen, Colorado (1998). Has appeared with Southwest
Florida Symphony Orchestra, Manhattan School of Music Contemporary Ensemble, Juilliard Chamber
Orchestra, and in chamber recitals with Da Capo Chamber Players and Metropolitan Opera tenor
Anthony Dean Griffey. Recipient, Times-Warner Fellowship, Aspen Music Festival (1998); Sony ES
Career Grant for Musical Excellence (1996). Has taught at Oberlin College and Manhattan School
of Music. (2006 ) Visiting Assistant Professor of Music.

Walter Russell Mead Social Studies

B.A., Yale University. Henry A. Kissinger Senior Fellow for U.S. Foreign Policy, Council on Foreign
Relations. Author, Special Providence: American Foreign Policy and How It Changed the World (2001, win-
ner of the Lionel Gelber Prize and nominated for the 2002 Arthur Ross Book Award); Power, Terror,
Peace, and War: Americas Grand Strategy in a World at Risk (2004). Contributing editor to and writer
on international affairs for Los Angeles Times; writes articles, book reviews, and op-ed pieces for
Harpers, New York Times, Wall Street Journal, The New Yorker, The Atlantic, and other magazines and
newspapers. Finalist, National Magazine Award (essays and criticism), 1997. Presidents Fellow, World
Policy Institute at The New School (198797). (2005 ) Visiting Professor of Political Studies.

Edie Meidav Languages and Literature

B.A., Yale University; M.F.A., Mills College. Author, The Far Field: A Novel of Ceylon (Houghton
Mifflin, 2001; received Kafka Award for Best Novel by an American Woman and Los Angeles Times Best
Books of 2001 citation); Crawl Space (Farrar, Straus & Giroux, 2005; shortlisted for Alex, Koret, and
Rosenberg awards; selected as Editors Choice, New York Times Book Review, and a Best Book of 2006
by Los Angeles Times, San Francisco Chronicle, others). Fiction, poetry, and criticism have appeared in
Writing on Air (MIT Press), On Globalization (MIT Press), and other anthologies, and in Village Voice,
Conjunctions, The American Voice, Ms., and other publications. Former director, Writing and
Consciousness Program, New College of California, San Francisco; also taught at New School for
Social Research, New York City. Recipient, Bard Fiction Prize (2005); selected by editors of Village
Voice Literary Supplement as one of their Writers on the Verge (2000). (2006 ) Visiting Assistant
Professor of Writing.

Daniel Mendelsohn Languages and Literature

B.A., University of Virginia; M.A., Ph.D., Princeton University. Writer and journalist; contributes
reviews, articles, and features on cultural issues to the The New Yorker, New York Review of Books, New
York Times Magazine, Paris Review, Esquire, and other major publications. Author, The Elusive Embrace:
Desire and the Riddle of Identity (Knopf, 1999; Vintage, 2000; selected as New York Times Notable Book
of the Year and Los Angeles Times Best Book of the Year); Gender and the City in Euripides Political Plays
(Oxford University Press, 2005); The Lost: A Search for Six of Six Million, (HarperCollins, 2006). Awards
and grants: John Simon Guggenheim Memorial Foundation Fellowship, National Book Critics Circle
Citation for Excellence in Reviewing, two Mellon Foundation awards. (2006 ) Charles Ranlett Flint
Professor of Humanities.

Susan Merriam The Arts

B.F.A., School of the Museum of Fine Arts and Tufts University; M.A., Tufts University; Ph.D.,
Harvard University. Awards and fellowships include Mellon Foundation Fellowship (1996); Belgian
 Faculty 439

American Educational Foundation Fellowship (1997); Center for Advanced Studies in the Visual Arts,
National Gallery, Washington, Robert H. and Clarice Smith Fellow (1999); Derek Bok Center,
Harvard University, Distinction in Teaching Awards (19992002). Visiting instructor, Massachusetts
College of Art (2001), Rhode Island School of Design (200102), University of Massachusetts (2002),
Harvard University (2003). (2003 ) Assistant Professor of Art History.

Barton Meyers Social Studies

B.A., George Washington University; M.A., Ph.D., University of Michigan. Areas of specialization
include social psychology, psychology of prejudice, statistical methods in psychological research.
Professor emeritus, Brooklyn College. Publications include In Defense of CUNY (Radical Teacher,
1998; reprinted in Chalk Lines: The Politics of Work in the Managed University (Duke University Press,
1998); The CUNY Wars (Social Text, 1997); The Bell Curve: An Exercise in Social Darwinism
(Science & Society, 1996); many others. (2003 ) Visiting Professor of Pyschology.

Diana H. Minsky The Arts

B.A., Yale University; M.A., M.Phil., Ph.D., Columbia University. Awards and honors include
American Academy in Rome, visiting scholar (1998); Whiting Fellowship, Columbia University
(199697); Rome Prize from the American Academy in Rome and Samuel H. Kress Foundation
Robert H. Lehman Foundation, as Predoctoral Fellow in the History of Art (199496); Fulbright
(199495). (1999 ) Visiting Assistant Professor of Art History.

Chiori Miyagawa The Arts

M.F.A., CUNY Brooklyn College. Playwright and dramaturg. Plays produced Off-Broadway and
nationally. Seven plays published in various anthologies. Playwriting fellowships: New York Foundation
for the Arts, Van Lier, McNight. Recipient: Rockefeller Bellagio Residency; Beinecke Playwright-in
Residence at Yale School of Drama, Rockefeller Multi-Arts Production Fund (twice), Asian Cultural
Council Fellowship. Resident playwright, New Dramatists. Coartistic director, Crossing Jamaica
Avenue, a New Yorkbased theater company; board member, ART/N.Y. (1999 ) Playwright in
Residence.

Bradford Morrow Languages and Literature

B.A., University of Colorado; graduate studies, Danforth Fellow, Yale University. Novels: Come Sunday
(1988), The Almanac Branch (1991), Trinity Fields (1995), Giovannis Gift (1997), Ariels Crossing
(2002). Poetry collections: Posthumes: Selected Poems 19771982, A Bestiary (1991). Editor of numer-
ous books including The Complete Poems of Kenneth Rexroth (2002; with Sam Hamill). Bradford Morrow
issue of The Review of Contemporary Fiction published in 2000. Founding editor, Conjunctions (1981 ).
Literary executor of Kenneth Rexroth. Recipient, O. Henry Prize (2003); Academy Award in Literature,
American Academy of Arts and Letters (1998). Member, board of trustees, PEN American Center
(19982002). (1990 ) Professor of Literature; Bard Center Fellow.

Gregory B. Moynahan Social Studies

B.A., Wesleyan University; graduate studies, Humboldt University, Berlin; M.A., D.Phil., Ph.D.,
University of California, Berkeley. Recipient, Bundeskanzler, DAAD, Charlotte W. Newcombe, and
Foreign Language Area Studies (Czech) fellowships. Specialization in modern European intellectual
and cultural history and the history of technology. Research interests include history of theoretical biol-
ogy, systems theory, and scientific racism and political history of computing and cybernetics in the
two Germanys. Articles in Science in Context, Simmel Studies, and Qui Parle. (2001 ) Assistant Professor
of History.
440 Faculty

Judith Youett Muir The Arts

B.S., SUNY New Paltz; M.M., Manhattan School of Music; Constructive Teaching Centre, London. Has
taught Alexander Technique all over the world, privately and in teacher training courses, lectures, demon-
strations. Presented workshops at AGM annual general meeting, Illinois (2004); International Con-
ference of the F. M. Alexander Technique in Oxford (2004). Founder and codirector, The Center for
Personal Development through Music, Lagrangeville, New York. Musician (piano, clarinet, saxo-
phone) and singer; teaches the Diamond method. Active performer; recipient of Dutchess County
Arts Council Award for innovative music program with seniors. Music director, Brendon Montessori
School. (2000 ) Visiting Assistant Professor of Theater.

William Mullen Languages and Literature

B.A., Harvard College; Ph.D., University of Texas. Professor at University of California, Berkeley; Boston
University; St. Johns College. Specializations: Greek poetry, classical tradition, China/ India/Greece,
ancient athletics, public speaking. Publications include Choreia: Pindar and Dance (Princeton, 1982);
articles on Greek poetry, pre-Socratic philosophy, American founders engagement with Rome,
Nietzsche; op eds and reviews in New York Sun; translations and poetry, including Enchanted Rock
in Best American Poems of 1998. Dramaturg, The Songs of Sappho. Has led West PointBard joint semi-
nars since 1985; has worked with survivors of combat trauma and juvenile delinquents; has done pub-
lic speaking in prisons. (1985 ) Professor of Classics.

Rufus Mller The Arts

B.A., M.A., Oxford University. Tenor; has had distinguished career in opera, oratorio, and recital.
Debuted as Bastien in Mozarts Bastien und Bastienne at Kent Opera (1984); has since performed, taught,
and coached throughout Europe, Japan, and North America. Has worked under Gustav Leonhardt,
Frans Brggen, Ivan Fischer, Ren Jacobs, and other eminent conductors. CD recordings include per-
formances in Bachs St. John Passion (BWV 245) under John Eliot Gardiner, and Mozarts The Magic
Flute and Beethovens Choral Fantasy under Roger Norrington. First prize, English Song Award (1985);
winner, Oratorio Society of New York Singing Competition (1999). (2006 ) Visiting Assistant Professor
of Music.

Paul E. Murray Social Studies

B.A., Bard College; S.T.B., Pontifical Gregorian University; M.A., Ph.D., Catholic University of
America. Founder and executive director, Among Friends, Inc., which provides transitional housing,
counseling, and job-search support to persons in crisis (199297). Pastoral ministry, Archdiocese of
Washington, D.C. (197598). Publications: A Cultural Reading of Literature on the Catholic
Church in the South, Culture of Bible Belt Catholics; The International Outlook, Place of the Person
in Social Life; and articles, interviews, and book reviews in Anthropos; Technology and Disability; National
Catholic Reporter; Charities, U.S.A.; Washington Blade; Living Pulpit; others. (1998 ) Visiting Assistant
Professor of Religion.

Jacob Neusner Social Studies

A.B., Harvard College; graduate studies, Oxford University, Hebrew University; Master of Hebrew
Letters, Jewish Theological Seminary of America; Ph.D., Columbia University. Has written or edited
hundreds of books, including Theology of the Oral Torah (1998) and Theology of the Halakhah (2001).
Awards include nine honorary degrees; 14 academic medals and prizes. Fellowships: Fulbright
Foundation, Guggenheim Foundation, National Endowment for the Humanities, American Council of
Learned Societies. Member, Institute for Advanced Study, Princeton (1990 ); life member, Clare Hall,
Cambridge University. Senior Fellow, Institute of Advanced Theology, Bard College. (1994 ) Distinguished
Service Professor in the History and Theology of Judaism; Bard Center Fellow.
 Faculty 441

Melanie Nicholson Languages and Literature

B.A., Arizona State University; M.A., M.F.A., University of Arizona; Ph.D., University of Texas,
Austin. Translations and poems in Yale Review, Contemporary Women Authors of Latin America, Mundus
Artium, Puerto del Sol, American Poetry Review. Scholarly publications: Evil, Madness, and the Occult in
Argentine Poetry (2002); articles and reviews in Latin American Writers, Latin American Literary Review,
Letras Femeninas, Revista Hispnica Moderna, Studies in Twentieth- and Twenty-First Century Literature,
Social Text. (1995 ) Associate Professor of Spanish.

Catherine OReilly Science, Mathematics, and Computing

B.A., Carleton College; Ph.D., University of Arizona. Areas of interest include aquatic ecology, partic-
ularly in tropical systems, climate change, and biogeochemical cycles. Principal investigator, The
Nyanza Project, an interdisciplinary research training program for undergraduates on Lake Tanganyika,
East Africa, funded by the National Science Foundation. Holds funding for the constructing and mon-
itoring of a fish ladder designed specifically for American eels on the Sawkill at Bard College.
Contributing author to the Intergovernmental Panel on Climate Change 2007 Report. (2005 )
Assistant Professor of Biology.

Susan Osberg The Arts

B.F.A., Juilliard School; M.F.A., Columbia University, Teachers College. Studied with Robert Ellis
Dunn, K. J. Holmes and Simone Forte, Nancy Topf, Min Tanaka and Natsu Nakajima, Merce
Cunningham, Alfredo Corvino, and at the Martha Graham School, Harkness Ballet, and Joffrey
American Ballet Center, among others. Performed with dance companies of Lucinda Childs, Linda
Tarnay, Paul Sanasardo, Kazuko Hirabayashi, Manuel Alum, Helen McGehee. Director and choreogra-
pher, Workwith Dancers Company (1979 ). Choreographs and teaches worldwide. Cocurated The
Salon Project, Dia Center for the Arts (198494). Artist Advisory Board, Danspace Project
(19922003); founding member, Dance Across Borders (DAB), an international dance symposium, and
director of DAB 2007 at Bard College. (1985 ) Visiting Associate Professor of Dance.

Lothar Osterburg The Arts

Diploma with excellence, Hochschule fr bildende Knste, Braunschweig, Germany. Masterprinter in
etching and photogravure. Artist in residence at MacDowell Colony (1996, 1997, 2002), Virginia
Center for the Creative Arts (1999), Anderson Ranch Arts Center (1996). Numerous international solo
and group exhibitions. Taught at Cooper Union, Utah State University, Cleveland Institute of Art,
Anderson Ranch Arts Center (Colorado), Lacoste School of the Arts (France). Visiting professor,
Columbia University (2000 ). (1999 ) Visiting Assistant Professor of Studio Arts.

Pierre Ostiguy Social Studies

B.A., McGill University; M.A., University of Toronto; Ph.D., University of California, Berkeley.
Recipient, grant to study Venezuela and Argentina (2004). Professeur, Universit du Qubec
Montral (200304); Visiting Fellow, Kellogg Institute for International Studies (2001). Awards: Gold
Medal of the General Governor of Canada, MacArthur Interdisciplinary Group Fellowship, O.A.S.
Fellowship, others. Author, Los Capitanes de la industria: Grandes empresarios, politica y economia en las
Argentina de los aos 80; book chapter in Reconfiguring Institutions Across Time and Space (Palgrave,
2007); articles on Latin American politics in Revue Internationale de Politique Compare, Politique et
Socits, Kellogg Institute Working Papers, Revista de Ciencias Sociales, galit; numerous papers presented
at conferences of American Political Science Association and Latin American Studies Association.
(200203, 2004 ) Assistant Professor of Political Studies and Latin American and Iberian Studies.

Orhan Pamuk Languages and Literature

Novelist. Winner of the Nobel Prize in Literature (2006); other major international literary honors
include IMPAC Dublin Literary Award (2003) for Benim Adim Kirmizi (My Name Is Red); Prix Mdicis
442 Faculty

Etranger (2005) for Kar (Snow); and Peace Prize of the German Book Trade (2005). Other novels
include Yeni Hayat (New Life); Beyaz Kale (The White Castle); and Kara Kitap (The Black Book),
which served as the basis for the film Gizli Yz, for which he wrote the screenplay. Honorary member,
American Academy of Arts and Letters. Work has been translated into more than 40 languages. (2004,
2007 ) Writer in Residence.

Dimitri B. Papadimitriou Social Studies

Executive Vice President of the College, President of The Levy Economics Institute, Executive Director of The
Bard Center, Jerome Levy Professor of Economics. See page 407 for biography.

Philip Pardi Languages and Literature

B.A., Tufts University; M.F.A., Michener Center for Writers, University of Texas. Poet and play-
wright. Has published poems and translations in Gettysburg Review, Exile Quarterly, Marlboro Review,
Mid-American Review, New Orleans Review, Nimrod, Seneca Review, others. Editor, Borderlands: Texas
Poetry Review (200305). Has worked as human rights activist in El Salvador and as labor organizer in
the Hudson Valley; taught writing at Marist College; led poetry workshops at University of
CaliforniaLos Angeles Writers Program. Recipient, American Literary Translators Association
Conference Fellowship; Adele Steiner Burleson Poetry Award. (2005 ) Director of College Writing;
Visiting Instructor of Writing.

Aileen Passloff The Arts

B.A., Bennington College. Director, Aileen Passloff and Company (195868). Choreographed and
acted in plays for the Living Theatre, Judson Poets Theatre, Theatre for the New City. Appeared in
Obie-winning productions of Gertrude Steins What Happened, Ruth Krauses A Beautiful Day, and Maria
Irene Forness Washing and Diary of Evelyn Brown. Choreography includes Encounters, Berkshire Theatre
Festival; Tree of Life, New England Dinosaur; Hopes and Fears and Brahms Variations, Toby Armour
Repertory Company. Recent directing credits include A Woman Alive: Conversation Against Death and
Flo and Max by Toby Armour. Choreographed The Song of Songs, Fountain Theater (2003). Taught at
Conservatory of Dance, Madrid, a one-week intensive workshop in performance for professional dancers
(2004). Grants: National Endowment for the Arts; Program for Cultural Cooperation between Spanish
Ministry of Culture and U.S. Universities; Fulbright Postdoctoral Research Scholar. (1993) L. May
Hawver and Wallace Benjamin Flint Professor of Dance.

Andrew Pearlman Social Studies

B.A., Haverford College; M.A., M.Phil., Yale University. Taught at Yale University. Awards: Yale Prize
Teaching Fellowship; Raymond Powell graduate teaching prize, Yale University; National Science
Foundation Fellowship honorable mention. Fields of concentration: labor economics, public eco-
nomics. (2001 ) Visiting Assistant Professor of Economics.

Peg Peoples Languages and Literature

B.A., University of Alaska, Fairbanks; M.F.A. in English, University of Massachusetts. Writing associ-
ate, Cooper Union (200204); visiting assistant professor, Writing and Humanities, Pratt Institute
(2002 ); adjunct assistant professor in English, Hofstra University (200102). Poems, essays, reviews
have apppeared in Verse, Rattapallax, Nidus, New Letters. Former publishing director, Alice James
Books; former associate director, Academy of American Poets. (2007 ) Visiting Assistant Professor in
First-Year Seminar.

Joel Perlmann Social Studies

B.A., Hebrew University, Jerusalem; Ph.D., Harvard University. Research grants from NIMH, NEH,
NSF, NIE, Spencer and Russell Sage Foundations, Princeton Institute for Advanced Study. Author of
Ethnic Differences: Schooling and Social Structure among the Irish, Italians, Jews, and Blacks in an American
 Faculty 443

City, 18801935 (winner of the Willard Waller Award, American Sociological Association); Womans
Work?: American Schoolteachers, 16501920 (with Robert Margo); Italians Then, Mexicans Now: Immigrant
Origins and Second-Generation Progress, 18902000. Coeditor, Immigrants, Schooling, and Social Mobility:
Does Culture Make a Difference? and The New Race Question: How the Census Counts Multiracial
Individuals. Papers in numerous journals, including Journal of American History, William and Mary
Quarterly, The Annals, Historical Methods, International Migration Review, The Public Interest. Senior
Scholar, Levy Economics Institute (1994 ). (1994 ) Levy Institute Research Professor.

Judy Pfaff The Arts

B.F.A., Washington University, St. Louis; M.F.A., Yale School of Art. Guggenheim Fellowship (1983);
National Endowment for the Arts grants (1979, 1986). Numerous solo exhibitions and group shows in
major galleries and museums in the United States and abroad. Commissions include Pennsylvania
Convention Center Public Arts Projects, Philadelphia; large-scale site-specific sculpture, GTE
Corporation, Irving, Texas; installation: vernacular abstraction, Wacoal, Tokyo, Japan; and set design,
Brooklyn Academy of Music. Work in permanent collections of Museum of Modern Art; Whitney
Museum of American Art; Brooklyn Museum of Art; Detroit Institute of Arts; others. Milton Avery
Distinguished Professor of Art, Bard College (1989, 1991). (1994 ) Richard B. Fisher Professor in the Arts.

John Pilson The Arts

B.A., Sarah Lawrence College; M.F.A., Yale School of Art. Recipient, John Ferguson Weir Award, Yale
University. Exhibitions include Kunst-Werke, Berlin; P.S. 1, New York; Citizens, New York Public
Library; Visionaries, Museum of Contemporary Art, Los Angeles; Building, Dwelling, Thinking (curator),
Lowinsky Gallery, New York. Work in New York Public Library permanent collection. (2000 ) Visiting
Assistant Professor of Photography.

Gretchen Primack Languages and Literature

B.A., Oberlin College; M.F.A., Sarah Lawrence College. Freelance writer for regional and national
magazines and newspapers. Work selected for Best New Poets 2006; poetry published in Paris Review,
Tampa Review, Open City, Poet Lore, Prairie Schooner, others. Taught writing for Bard Prison Initiative.
(2007 ) Visiting Instructor of Writing in the Academic Resources Center.

Francine Prose Languages and Literature

B.A., Radcliffe College. Author of 12 novels, including A Changed Man (HarperCollins, 2005); Blue
Angel (HarperCollins, 2000; finalist for National Book Award); Hunters and Gatherers (Farrar, Straus,
Giroux, 1995); and Household Saints (St. Martins, 1981; made into a film starring Tracey Ullman and
Lili Taylor, 1993). Nonfiction works include Reading Like a Writer (HarperCollins, 2006); Caravaggio:
Painter of Miracles (Eminent Lives, 2005); The Lives of the Muses: Nine Women and the Artists They
Inspired (HarperCollins, 2002; a New York Times Notable Book for 2002). Contributing editor,
Harpers; essays, reviews, and criticism in New York Times Book Review, Wall Street Journal, Parkett, other
publications. Former Directors Fellow, Center for Scholars and Writers, New York Public Library.
Recipient of many grants and awards, including Guggenheim and Fulbright fellowships. (2005 )
Visiting Professor of Literature.

Elena Protsenko Languages and Literature

Degree from Saint-Petersburg Musical Pedagogical College, Russia; also studied at Saint-Petersburg
State University, Russia. Has taught Russian language and literature in secondary schools (1998 ).
(2007 ) Visiting Instructor of Russian.

John Pruitt The Arts

A.B., Dartmouth College; M.A., New York University. Writer and lecturer on filmmaking and film his-
tory. Taught at Queens College, Cooper Union, Princeton University, and Collective for Living
444 Faculty

Cinema. Associate editor, Downtown Review (197881). Articles on film, video, and poetry. Coeditor,
Ten Years of Living Cinema (1982). (1981 ) Associate Professor of Film.

Deborah Lydia Redding The Arts

B.M., University of Colorado, student of Oswald Lehnert; M.M., Juilliard School, student of Szymon
Goldberg. Recipient, Banff and Naumburg Chamber music awards. Founding member and second vio-
linist of the Colorado Quartet. Performances in more than 20 countries. Award-winning recordings
include Beethoven, Schubert, Brahms, and contemporary composers. Taught at Adamant Chamber
Music Workshop; lectured at European Mozart Academy, Poland. Faculty, The Bard College
Conservatory of Music. (2000 ) Visiting Assistant Professor of Music.

Kelly Reichardt The Arts

B.F.A., School of the Museum of Fine Arts, Tufts University. Filmmaker. Recent screenings at Film
Forum, Museum of Modern Art, Lincoln Center Walter Reade Theater, Cinema Village, Anthology
Film Archives, and Sundance, Rotterdam, Torino, Tribeca, and Chicago Underground film festivals,
among many others. Recipient, Los Angeles Film Critics Award, Best Experimental Film (2006); nom-
inated for John Cassavetes Award (2007) and Best Feature, Gotham Awards (2007). Has taught at New
York University, SUNY Buffalo, Columbia University, School of Visual Arts. (2006 ) Visiting Assistant
Professor of Film and Electronic Arts.

Johnny Reinhard The Arts

B.M., North Carolina School of the Arts; M.M., Manhattan School of Music; postgraduate studies at
Columbia University. Bassoonist, conductor, composer, writer; specializes in microtonal music.
Founder, executive director, and producer of American Festival of Microtonal Music, Inc. (1981 ); has
conducted AFMM Ensemble at Alice Tully Hall, Lincoln Center; Merkin Hall; Centre Pompidou,
Paris; and other venues. Adjunct professor of bassoon at New York University (1992 ); has also taught
at Long Island University, Columbia University, and several prepatory schools. Principal bassoonist
with many orchestras and ensembles, including Manhattan Symphony (197880), Downtown
Chamber Players (198587), Empire State Pops Orchestra (198789); has performed solo as bassoon-
ist, vocalist, percussionist, and recorder player throughout the United States and internationally. Has
composed numerous works, including Dune, for solo bassoon, commissioned for Seattle Spring Festival
(1990), and Left: A Ballet for 3 Dancers, 6 Musicians and 45 Instruments, at The Kitchen, New York City
(1989). (2007 ) Visiting Professor of Music.

Joan Retallack Languages and Literature

B.A., University of Illinois, Urbana; M.A., Georgetown University. Author of seven books of poetry,
including Memnoir (2004), How To Do Things With Words (1998), Afterrimages (1995), and Errata 5uite
(1994), which won the Columbia Book Award. Recent work also includes Steinzas en mdiation (2002);
Mongrelisme: A Difficult Manual for Desperate Times (1999). Recipient, Lannan Foundation Fellowship
(199899); America Award in Belles-Lettres for Musicage: John Cage in Conversation with Joan Retallack
(1996). Received National Endowment for the Arts grant to produce limited edition artists book,
WESTORN CIV CONTD (199596). Author of numerous critical studies, including The Poethical
Wager (2003) and a volume on Gertrude Stein (forthcoming). Director, Workshop in Language and
Thinking. (2000 ) John D. and Catherine T. MacArthur Professor of Humanities.

Jan M. Rizzuti Science, Mathematics, and Computing

B.A., Thiel College; M.Ed., University of Pittsburgh; Ph.D., Cornell University. Has taught at Antioch
University, Seattle; Central Washington University; Cornell University; University of Pittsburgh; Bard
College at Simons Rock: The Early College; Bard High School Early College. (2005 ) Visiting Professor
of Mathematics; Associate Director of Academic Resources; Director of Quantitative Literacy.
 Faculty 445

George Robb Social Studies

B.A., University of Texas, Austin; Ph.D., Northwestern University. Author, White-Collar Crime in
Modern England: Financial Fraud and Business Morality, 18451929 (Cambridge University Press,
1992); British Culture and the First World War (forthcoming, St. Martins Press). Coeditor, Disorder in
the Court: Trials and Sexual Conflict at the Turn of the Century (Macmillan and New York University
Press, 1999). Has taught British history at Northwestern University, St. Bonaventure University,
William Paterson University. (200001; 2004 ) Professor of History.

Susan Fox Rogers Languages and Literature

B.A., Pennsylvania State University; M.A., Columbia University; M.F.A., University of Arizona.
Managing editor, Journal of the History of Sexuality (199195); editor, New American Library/Penguin
(198691). Editor, Going Alone: Womens Adventures in the Wild (Seal Press, 2004); Two in the Wild:
Tales of Adventure from Friends, Mothers and Daughters (Vintage, 1999); Alaska Passages: 20 Voices from
Above the 54th Parallel (Sasquatch Books, 1996); Solo: On Her Own Adventure (Seal Press, 1996; revised
edition 2005); Another Wilderness: New Outdoor Writing by Women (Seal Press, 1994). Selected by the
National Science Foundation to participate in U.S. Antarctic Artists & Writers Program during
200405 Austral Summer. Essays have appeared in numerous publications. Associate, Institute for
Writing and Thinking (1993 ). (2001 ) Visiting Assistant Professor of Writing and First-Year Seminar.

James Romm Languages and Literature

B.A., Yale University; Ph.D., Princeton University. Taught at Fordham University, Cornell Univer-
sity, Foreign Language Institute of the City University of New York. Fellowships and awards: junior
fellow, Center for Hellenic Studies; Guggenheim Fellowship; National Endowment for the
Humanities Fellowship and summer stipend. Books include Herodotus: On the War for Greek Freedom,
The Life of Alexander the Great, Herodotus (an introductory study in the Yale Hermes series), The Edges
of the Earth in Ancient Thought. Author of numerous articles and papers. (199096, 200002) Associate
Professor of Classics; (2002 ) James H. Ottaway Jr. Professor of Classics.

Lauren Lynn Rose Science, Mathematics, and Computing

B.A., Tufts University; M.S., Ph.D., Cornell University. Taught at Ohio State University, Wellesley
College. Visiting scholar, Mathematics Department, Massachusetts Institute of Technology; Bunting
Institute Science Scholar, Radcliffe College. Research interests: algebraic combinatorics, commutative
algebra, discrete geometry. Faculty, The Master of Arts in Teaching Program at Bard College. (1997 )
Associate Professor of Mathematics.

Jonathan Rosenberg The Arts

B.A., University of Pennsylvania; M.F.A., New York University. Resident Artist, Lincoln Center
Institute (198999). Former faculty member, Conservatory of Theatre Arts and Film, SUNY Purchase;
guest faculty member at The Juilliard School, Fordham University. Recipient, Fox Foundation Fellow
Award. (2005 ) Associate Professor of Theater.

Julie Rosenfeld The Arts

Curtis Institute; B.M., University of Southern California; M.M., Yale University. Student of Szymon
Goldberg, Nathan Milstein, Yukiko Kamei. First violinist, Colorado Quartet. Awards include first prizes
at the Banff and Naumburg chamber music competitions. Performances include the Marlboro Music
Festival, Lincoln Center Chamber Music Society, and international concert venues. Recordings include
Beethoven, Schubert, Brahms, and others with the Colorado Quartet, and French chamber music with
Andr Previn. First female judge at the Banff International String Quartet Competition. Faculty, The
Bard College Conservatory of Music. (2000 ) Visiting Assistant Professor of Music.
446 Faculty

Marina Rosenfeld The Arts

Composer, turntablist, artist. B.A., Harvard College; M.F.A., California Institute of the Arts. Music per-
formed at Whitney Museum of American Art, Deitch Projects, The Kitchen, New York; Tate Modern
Museum, London; British School at Rome; Los Angeles Contemporary Exhibitions; Mills College,
Yerba Buena Center for the Arts, San Francisco; Ars Electronica, Steirischer Herbst, Wien Modern,
Austria; MUTEK, Vancouver New Music Festival, Canada; Donaueschingen Musiktage, Maerz Musik,
Germany; Taktlos Bern, Switzerland; among others. Commissions from Whitney Biennial (2002),
Creative Time, New York New Music Ensemble, Merce Cunningham Dance Company, Douglas Dunn
and Dancers. Recordings on Softl/Tomlab, Charhizma, Quakebasket, other labels. (2006 ) Visiting
Assistant Professor of Music.

John Ryle Social Studies

Writer, filmmaker, anthropologist. Chair, Rift Valley Institute, a research and training association serv-
ing the African Rift Valley region. Former member of the U.S. State Departmentsponsored
International Eminent Persons Group, whose report on slavery and abduction in Sudan was published
in 2002. Research Associate, School of Oriental and African Studies, London University; member,
International Council of the Humanities Centre, Central European University, Budapest. Anthro-
pology and Africa editor, Times Literary Supplement; contributor to many journals and magazines, includ-
ing New York Review of Books, Granta, The New Yorker. Author, Warriors of the White Nile (1982).
(2005 ) Legrand Ramsey Professor of Anthropology.

Geoffrey Sanborn Languages and Literature

A.B., Stanford University; M.A., Ph.D., University of California, Los Angeles. Taught at Williams
College, Fairfield University, UCLA. Author, The Sign of the Cannibal: Melville and the Making of a
Postcolonial Reader (1998). Editor, New Riverside Edition of Herman Melvilles Typee (2003). Recipient,
2005 Foerster Prize for best essay in American Literature; 2002 Parker Prize for best essay in PMLA; 1999
Cohen Award for best essay or chapter on Melville. Recent essays include studies of Frances Harper,
Nathaniel Hawthorne, Edgar Allan Poe, Sandra Cisneros, Emily Dickinson. (2001 ) Associate Professor
of Literature.

Amy Sande-Friedman The Arts

B.A., Amherst College; M.A., Ph.D., Bard Graduate Center for Studies in the DecorativeArts,
Design, and Culture. Recipient, Marilyn M. Simpson Scholarship, Bard Graduate Center (2006);
ONeill Bursary Award, Northeastern Society for Eighteenth-Century Studies (2005). Has worked as
an arts administrator at Sothebys, Aurora Gallery, and the Jewish Museum, New York City; and
Meridian International Center, Washington, D.C. (2007 ) Visiting Instructor of Art History.

Sigrid Sandstrm The Arts

B.F.A., Academic Minerva, Groningen, Netherlands; M.F.A., Yale University School of Art. Painter;
has exhibited work at Inman Gallery and Contemporary Arts Museum, Houston; M3 Kunsthalle,
Berlin; Hales Gallery, London; Sara Meltzer Gallery, New York; Galleri Gunnar Olsson, Stockholm;
among others. Artist-in-residence, Core Program, Museum of Fine Arts, Houston, Glassell School of
Art (200103). Recipient, Artadia Grant. Has taught at Yale, Edinburgh College of Art, Massachusetts
College of Art. (2005 ) Assistant Professor of Studio Arts.

Luc Sante Languages and Literature; The Arts

Author of Kill All Your Darlings: Pieces 19902005 (2007), Walker Evans (2001), The Factory of Facts
(1998), Evidence (1992), and Low Life: Lures and Snares of Old New York (1991). Coeditor, O.K. You
Mugs (1999); editor and translator, Novels in Three Lines, by Flix Fnon (2007). Introductions to books
by Georges Simenon, Emile Zola, A. J. Liebling, Paul Auster, Weegee, Stephen Crane, Vik Muniz,
among others. Essays in New York Review of Books, New York Times Magazine, many others. Awards:
 Faculty 447

Whiting Award, Guggenheim Fellowship, Award in Literature from the American Academy of Arts
and Letters, Grammy Award (for album notes). (1999 ) Visiting Professor of Writing and Photography.

Joseph Santore The Arts

B.F.A., Philadelphia College of Art; M.F.A., Yale University. Painter. Recipient, National Endowment
for the Arts Fellowship (199394); American Academy and Institute of Arts and Letters Award
(1989); Guggenheim Memorial Fund Fellowship Grant (198889); Ingram Merrill Foundation Award
in Painting (1988). Solo exhibitions at institutions including Phoenix Art Museum, Philadelphia Art
Alliance, New York Studio School, and Edward Thorp Gallery, New York City; numerous group exhi-
bitions. Paintings in the collections of the Metropolitan Museum of Art, Cincinnati Art Museum,
Phoenix Museum, others. Visiting artist, New York Studio School (19912004). Has taught in the
graduate departments at the School of Visual Arts, Yale University, Parsons. (2001 ) Visiting Associate
Professor of Studio Arts.

Simeen Sattar Science, Mathematics, and Computing

B.A., Rosemont College; Ph.D., Yale University. Postdoctoral fellow, University of Pennsylvania
(198284). Research: oscillating reaction dynamics, infrared spectroscopy of electrolyte solutions.
Contributor to Journal of Physical Chemistry, Journal of Chemical Education. Visiting Professor,
Department of Chemistry, Georgetown University (2006). (1984 ) Professor of Chemistry.

Frank M. Scalzo Social Studies

B.S., St. Bonaventure University; M.A., Ph.D., Binghamton University. Postdoctoral training at
Columbia University and the Food and Drug Administration. Taught at University of Arkansas for
Medical Sciences at Arkansas Childrens Hospital. Fulbright Scholar, lecturing/research in psychophar-
macology, Slovenia. Numerous publications, book chapters, and presentations at scientific meetings.
Research and teaching interests include neuroscience, psychopharmacology, and neurobehavioral tera-
tology. Member, Society for Neuroscience, Neurobehavioral Teratology Society, and International
Society for Developmental Psychobiology. (1999 ) Associate Professor of Psychology.

Kristin Scheible Social Studies

B.A., Colby College; M.T.S., Harvard Divinity School; Ph.D., Harvard University. Area of expertise is
Buddhism of south and Southeast Asia, specifically Theravada Buddhism; work focuses on the genre of
historical narrative literature (vamsas) in the Pali language. Senior Teaching Fellow, Harvard
University (19972002), where she received Derek Bok Center for Teaching and Learning Award each
time she taught; lecturer, Brown University (2003). (2003 ) Assistant Professor of Religion.

John Selya The Arts

Choreographer and dancer. Recipient, TDF/Astaire Award for Best Male Dancer on Broadway (2003);
Tony Award and Drama Desk Award Nominee for Best Actor in a Musical (2003). Member, American
Ballet Theatre (198899); Twyla Tharp Dance (200002). Has choreographed for American Ballet
Theatre and Houston Ballet. Broadway credits include Movin Out and The Times They Are A-Changin;
featured dancer in films by Woody Allen (Everyone Says I Love You) and Frederick Wiseman (Ballet).
(2007 ) Visiting Instructor of Dance.

Jesse Weaver Shipley Social Studies

B.A., Brown University; M.A., Ph.D., University of Chicago. Areas of interest include Ghana and the
African diaspora; race; British colonialism, postcolonial states, and national citizenship; mass media,
popular culture, and performance. Awards: Fulbright-IIE Dissertation Grant, Accra, Ghana (199899);
Wenner-Gren Foundation Grant for Dissertation Research, Accra (19982000); Residential
Predoctoral Fellowship, Carter G. Woodson Institute for Afro-American and African Studies,
University of Virginia (200103). Publications include Visuality to Postcolonial African Politics: A
448 Faculty

Conversation with Mohamed Saidou NDaou (Public Culture, 2004); coauthor, African/Diaspora
History: W. E. B. DuBois and Pan-Africanism in Ghana (Ghana in Africa and the World: Essays in Honor
of Adu Boahen, Africa World Press, 2003); The Best Tradition Goes On: Popular Theater and
Televised Soap in Neoliberal Ghana (in Neoliberalism and Social Reproduction in Africa; University of
Chicago Press, forthcoming). (2003 ) Assistant Professor of Anthropology and Africana Studies.

Gennady L. Shkliarevsky Social Studies

B.A., M.A., Kiev State University; M.A., Ph.D., University of Virginia. Editor, Committee for
Television and Broadcasting (USSR). Head, public relations, Kiev State Museum of Western and
Eastern Art. Recipient, Dupont Fellowship and Foreign Language Area Studies Fellowship, University
of Virginia. Publications include Labor in the Russian Revolution: Factory Committees and Trade Unions,
19171918 and articles in Journal of International Studies in Management and Organization, Russian
History/Histoire Russe, Journal of Modern History, Dialogue, Annandale, Novoe Russkoe Slovo (New York),
Forum (Germany), Rossiiskaia gazeta (Russia), Nevskoe vremia (Russia). (1985 ) Professor of History.

Stephen Shore The Arts

Recipient, National Endowment for the Arts grants (1974, 1977); Guggenheim Foundation (1975)
and American Academy in Rome (1980) fellowships; Aperture Award (2005). Solo museum exhibi-
tions include Spazio Oberdan, Milan, Italy; SK Stiftung Kultur, Cologne, Germany; Metropolitan
Museum of Art and Museum of Modern Art, New York; Art Institute of Chicago; Kunsthalle,
Dsseldorf; Renwick Gallery, Smithsonian Institution, Washington, D.C.; George Eastman House,
Rochester; Jeu de Paume, Paris; Hammer Museum, Los Angeles. Books: American Surfaces (2005);
Uncommon Places: The Complete Work (2004); Essex County (2002); The Gardens at Giverny (2000);
The Nature of Photographs (1998); Stephen Shore: Photographs 19731993 (1995); The Velvet Years:
Warhols Factory 196567 (1995); Stephen Shore: Luzzara (1993); Uncommon Places (1982). (1982 )
Susan Weber Soros Professor in the Arts.

Maria Q. Simpson The Arts

B.F.A., University of Massachusetts; M.F.A., University of Washington. Choreographer and dancer. Has
choreographed and performed at the Joyce Theater, St. Marks Church, Joyce SoHo, Dia Center for the
Arts, Henry Street Settlement, all in New York City; On the Boards, Meany Hall for the Performing
Arts, Moore Theater, Seattle; Martha Hill Theater, Bennington, Vermont; Schaeffer Theater, Bates
College; others. Assistant professor, Dance Program, University of Washington (19982004). Has been
a member of the dance faculty at Middlebury College, Mount Holyoke College, University of
Washington. Taught at Bates Summer Dance Festival, Kaatsbaan International Dance Festival.
Published in ImpulseThe International Journal of Dance Education and Science. (2004 ) Associate
Professor of Dance.

Mona Simpson Languages and Literature

B.A., University of California, Berkeley; M.F.A., Columbia University. Senior editor, Paris Review
(198188). Author of novels Off Keck Road (2001; finalist for PEN/Faulkner Prize); A Regular Guy
(1997); The Lost Father (1992); Anywhere But Here (1986). Stories and articles published in Atlantic
Monthly, Harpers, Granta, Best American Short Stories, Pushcart Prize Anthology, The Paris Review
Anthology, London Review of Books. Fellowships from National Endowment for the Arts and
Guggenheim Foundation; recipient, Whiting Foundation Award, Hodder Fellowship, Lila Wallace
Award. (19882001, 2005 ) Sadie Samuelson Levy Professor in Languages and Literature.

Peter D. Skiff Science, Mathematics, and Computing

B.A., University of California, Berkeley; M.S., University of Houston; Ph.D., Louisiana State
University. Postdoctoral conferences in quantum theory, classical Athens, history of science, philoso-
 Faculty 449

phy of science. Consultant, Baylor University College of Medicine, Engineering Enterprises, Inc.
Articles in Nineteenth-Century Contexts, Foundations of Physics, American Journal of Physics, Choice,
American Archaeologist, Computers in Physics, Journal of Dialectics of Nature (Beijing). Referee for World
Scientific Advances in Applied Mathematics, Foundations of Physics, Cambridge University Press. (1966 )
Professor of Physics.

Elizabeth Smith The Arts

Voice and speech consultant for film, television, regional theater, Broadway, and Off-Broadway produc-
tions. Taught at Yale School of Drama, Vassar College, Juilliard School, Fordham University, National
Theater Institute, Gaiety School of Acting (Dublin, Ireland), Moscow Art Theatre School, Royal
Academy of Dramatic Art (London). Recipient, John Houseman Award (1996). (2000 ) Visiting
Associate Professor of Theater.

Jane Smith Languages and Literature

B.S., M.A., University of Missouri-Columbia; Ph.D. candidate, University of North Carolina. Has
taught at University of Missouri-Columbia, University of North Carolina, New School University.
Recipient, Richard S. Brownlee Fund Grant, State Historical Society of Missouri (2005); finalist,
Dorothea LangePaul Taylor Prize, Center for Documentary Studies, Durham, North Carolina (2000,
2005). Publications include The Maori Merchant of Venice, Native Shakespeares (forthcoming);
Knocked Around in New Zealand: Postcolonialism Goes to the Movies, Mythologies of Violence in
Postmodern Media (Wayne State University Press, 1999). Editorial supervisor, Cline, Davis & Mann
(200204). Associate managing editor, The Musical Quarterly. (2007 ) Visiting Instructor in First-Year
Seminar.

Peter Sourian Languages and Literature

B.A., Harvard College. Television critic, The Nation (197581). Member, National Book Critics Circle;
National Advisory Panel to George Polk Awards Committee (197990); Anahit Literary Prize Awards
Committee; editorial board, Ararat magazine; board of directors, Armenian Center, Columbia University
(19902001); Signet Society; Clemente Course in Humanities Advisory Board. Recipient, Bardian
Award (2000). Author of Miri, The Best and Worst of Times, The Gate, and At the French Embassy in Sofia.
Frequent contributor of fiction, reviews, and articles to various periodicals and collections. (1965 )
Professor of English.

Patricia Spencer The Arts

B.M., Oberlin Conservatory of Music. Teaches at Hofstra University. Awards and grants: National
Endowment for the Arts, Mary Flagler Cary Trust, Aaron Copland Fund for Music. Has toured inter-
nationally as soloist and flutist with Da Capo Chamber Players. Former chair, New Music Advisory
Committee of National Flute Association. Former president, New York Flute Club. Numerous record-
ings include solo CDs on Neuma Records label. Solo performances include International Computer
Music Conference (Beijing, China); Look and Listen Festival; Alternativa Festival, Moscow; and Bard
Music Festival. (1997 ) Visiting Associate Professor of Music.

Paul Stephens Languages and Literature

B.A., University of California, Los Angeles; M.A., Ph.D., Columbia University. Has taught at
Columbia University and New York University. Specialties include 20th-century poetry, aesthetics,
avant-gardism, history of literary criticism. Recent articles have dealt with Joseph Ceravolo, Walter
Benjamin, Gertrude Stein, Charles Bernstein. Recent conference papers on Louis Zukofsky, William
Carlos Williams, Gertrude Stein. Currently at work on book manuscript titled The Rhetoric of Literary
Experiment. (2005 ) Visiting Lecturer in the Humanities for First-Year Seminar.
450 Faculty

Benjamin Stevens Languages and Literature

B.A., Reed College; M.A., Ph.D., University of Chicago. Research and teaching interests include:
Latin and Greek languages and literatures; Roman history; linguistics, the history of linguistics, and
the history and philosophy of language; contemporary a cappella music; the American comic book.
Papers presented include The Scent of Language and Social Synaesthesia at Rome; Aeolism: Latin
as a Dialect of Greek; Comic-book Classic: Archetype, Continuity, and Change; Vocal Percussion
in Contemporary A Cappella Music. Adviser, sui generis, literary translation magazine. Has taught at
the University of Chicago, Catholic University of America, George Washington University, and
University of Colorado at Boulder. (2004 ) Assistant Professor of Classics.

David Levi Strauss The Arts

Writer and critic. Studied in the Masters Program in Poetics at New College, San Francisco, with
Robert Duncan. Author of Between the Eyes: Essays on Photography and Politics (2003); The Fighting Is a
Dance, Too: Leon Golub & Nancy Spero (2000); Between Dog & Wolf: Essays on Art & Politics (1999);
Broken Wings: The Legacy of Land Mines (1998); Manoeuvres, poems (1980). Essays and reviews appear
regularly in Artforum and Aperture. Exhibition catalogues and monographs on numerous artists, includ-
ing Martin Puryear, Ursula von Rydingsvard, Carolee Schneemann, Alfredo Jaar, Mike Bidlo, Raoul
Hague and Robert Frank, Tim Davis, others. Founding editor, ACTS: A Journal of New Writing
(198290); editor, A Book of Correspondences for Jack Spicer (1987). Recipient, Guggenheim
Foundation Fellowship in writing (200304). M.F.A. faculty, School of Visual Arts. Faculty, Center for
Curatorial Studies, Bard College. Faculty, Milton Avery Graduate School of the Arts. (2007 ) Visiting
Professor of Studio Arts.

Stuart Stritzler-Levine Social Studies

B.A., New York University; M.A., New School University; Ph.D., SUNY Albany. Clinical research
psychologist, Philadelphia State Hospital, working in a National Institute of Mental Health project
designed to rehabilitate patients with chronic mental illness; clinical psychologist, Bordentown
Reformatory. Teaching and research interests include social psychology, specifically obedience to
authority, conformity, attitude measurement, and change; small-group dynamics; moral development;
statistics; and experimental design. Dean of the College (19802001). Dean of Studies, Bard High School
Early College (2003 ). (1964 ) Professor of Psychology; Emeritus Dean of the College.

Alice Stroup Social Studies

B.A., City College of New York; Diploma in the history and philosophy of science (with distinction)
and D.Phil., Oxford University. Postdoctoral grants: American Council of Learned Societies; American
Philosophical Society; Fulbright Foundation; National Science Foundation; National Endowment for
the Humanities. Author of Royal Funding of the Parisian Academy of Sciences during the 1690s and A
Company of Scientists: Botany, Patronage, and Community at the Early Parisian Academy of Sciences, as well
as articles and reviews. (1980 ) Professor of History.

Karen Sullivan Languages and Literature

A.B., Bryn Mawr College; M.A., Ph.D., University of California, Berkeley. Taught at University of
California, Berkeley (198691, 199293). Author of Truth and the Heretic: Crises of Knowledge in Medieval
French Literature (2005), The Interrogation of Joan of Arc (1999), and numerous articles on Joan of Arc,
Christine de Pizan, and medieval heretics and inquisitors. (1993 ) Associate Professor of Literature.

Alan Sussman Social Studies

B.A., M.A., University of Chicago; J.D., L.L.M., New York University School of Law. Lawyer in private
practice, specializing in civil rights. Coauthor, The Rights of Parents and Reporting Child Abuse and
Neglect: Guidelines for Legislation. Author, The Rights of Young People. Other publications include articles
in New York University Law Review, Criminal Law Bulletin, Family Law Quarterly, others. (1999 )
Visiting Associate Professor of Philosophy.
 Faculty 451

Yuka Suzuki Social Studies

B.A., Cornell University; Ph.D., Yale University. Areas of interest: Zimbabwe, political ecology,
whiteness, race, cultural politics of animals, postcolonial theory, nationalism, violence, development.
Awards include Social Science Research Council International Dissertation Research Grant
(199899); Wenner-Gren Foundation Predoctoral Research Grant (199899). Author, Drifting
Rhinos and Fluid Properties: The Turn to Wildlife Production in Zimbabwe (Journal of Agrarian
Change); coeditor, Zimbabwe: The Politics of Crisis and the Crisis of Politics. Teaching experience
at Georgetown University (200102), Yale University, Quinnipiac University. (2003 ) Assistant
Professor of Anthropology.

Julianne Swartz The Arts

B.A., University of Arizona; M.F.A., Bard College. Artist; mediums include sculpture, installation art,
sound art. Solo exhibitions and projects include Free Thinking, commission for BBC Radio 3 (2006);
Breaches and Leaks, Reg Vardy Gallery, University of Sunderland, UK (2006); Attractions Suspensions
and Dislocations, Lisa Sette Gallery, Scottsdale, Arizona (2006); Managed Echo Flow System, Turchin
Center for the Visual Arts, Boone, North Carolina; others. Group exhibitions at Tate Museum,
Whitney Museum of American Art, New Museum of Contemporary Art, Scottsdale Museum of
Contemporary Art, many others. Faculty, School of Visual Arts, M.F.A. Program (2005 ); has also
taught at Montclair State University, SUNY Purchase, Illinois State University. (2007 ) Visiting
Assistant Professor of Studio Arts.

Antonio Tabucchi Languages and Literature

Laureato, romance languages and literature, University of Pisa. Translator, playwright, and author of
novels including Requiem, Pereira Declares, The Edge of Horizon, and The Missing Head of Damasceno
Monteiro. Recipient, Prix Mdicis Etranger (1987); Prix Europen Jean Monnet (1995); Prize Nossack
of the Leibniz Academy (1997); and many other literary awards in Italy and Europe. Chevalier of the
Order of the Infante don Henrique of the Republic of Portugal; Chevalier of Arts and Letters of the
Republic of France. Professor of Portuguese and Brazilian literature, University of Genoa (197890),
University of Siena (1990 ). (2002, 2007 ) Writer in Residence.

Dominic A. Taylor The Arts

B.A., M.F.A., Brown University. Playwright, screenwriter, director. Resident member, New Dramatists,
New York. Plays include Hype Hero, commissioned by New York Theatre Workshop as part of a Van
Lier Fellowship, and Wedding Dance, produced at Crossroads Theatre in New Brunswick, New Jersey,
and originally commissioned by the Goodman Theatre in Chicago and winner of that theaters first
Scott McPherson award. Plays performed at venues including the Kennedy Center, the Public Theater,
Playwrights Horizons, Hartford Stage. (2002 ) Visiting Assistant Professor of Theater.

Pavlina Tcherneva Social Studies

B.A., Gettysburg College; M.A., Ph.D. candidate, University of Missouri, Kansas City. Associate direc-
tor, Center for Full Employment and Price Stability. Visiting scholar to University of Cambridge; has
conducted research at The Levy Economics Institute of Bard College. Instructor, University of Missouri,
Gettysburg College. (2006 ) Visiting Instructor of Economics.

Richard Teitelbaum The Arts

B.A., Haverford College; M.M., School of Music, Yale University. Composer and performer noted for
live electronic and interactive computer music. Founder, with Frederic Rzewski and Alvin Curran, of
Musica Elettronica Viva, Rome, 1966. Compositions for shakuhachi master Katsuya Yokoyama; pianists
Aki Takahashi and Ursula Oppens; multimedia works with Nam June Paik, Joan Jonas, others. Works
performed at Pompidou Center, Paris; Concertgebouw, Amsterdam; Almeida Theatre, London; Kennedy
Center, Washington, D.C. Recordings include Blends; Golem: An Interactive Opera; Live at Merkin Hall:
452 Faculty

Duets with Anthony Braxton, Concerto Grosso; others. Awards: Prix Ars Electronica from Austrian Radio
and Television (1987); commissions from Fromm Music Foundation (2004), Venice Biennale, National
Endowment for the Arts, New York State Council on the Arts, Rockefeller Foundation; Fulbright grants
to Italy and Japan. Received Guggenheim fellowship in 2002 to create opera, Zvi, excerpts of which were
performed at opening of The Richard B. Fisher Center for the Performing Arts at Bard College. Faculty,
Milton Avery Graduate School of the Arts. (1988 ) Professor of Music.

Elaine Renee Thomas Social Studies

B.A., Reed College; M.A., Ph.D., University of California, Berkeley. Fellowships and awards: Joan B.
Kroc Institute Visiting Fellowship (2001), Mark Rozance Memorial Dissertation Award (1999), Doreen
B. Townsend Center Fellowship (1997), SSRC-MacArthur (1994), Fulbright (1994, declined), numer-
ous others. Papers presented at conferences of American Political Science Association, International
Studies Association, Council of European Studies. Invited lectures at New York University Center for
European Studies, University of Notre Dame, Universit du Qubec Montral, Institut dtudes poli-
tiques (Paris), CSO-CNRS. Recent publications include articles in European Journal of Social Theory,
Ethnic and Racial Studies, Journal of European Area Studies. (2002 ) Assistant Professor of Political Studies.

S. Rebecca Thomas Science, Mathematics, and Computing

S.B., electrical engineering, Massachusetts Institute of Technology; Ph.D., computer science, Stanford
University. Taught at Marist College, University of Northern Iowa, Stanford University. Research at
SRI International, AT&T Bell Laboratories. Grants and awards: IBM, National Science Foundation,
University of Northern Iowa, Stanford University, AT&T Bell Laboratories. Papers include Domain
Semantics for Agent-Oriented Programming (FLAIRS 2000); Becoming a Computer Scientist: A
Report by the ACM Subcommittee on the Status of Women in Computing Science (Communications
of the ACM, 33:11, 1990; reprinted in 1992, 1997, and 2002 in other venues). (2000 ) Associate
Professor of Computer Science.

Naomi Thornton The Arts

B.A., Bryn Mawr College. Actor and director, Broadway, off-Broadway, regional, summer stock, exper-
imental, and political theater; feature films, television dramas, soap opera, and radio. Cofounder and
producer, Theatre Company of Boston. Guest artist, New York University Graduate Program and
Wheelock College. Teacher, Michael Howard Studio, New York. Coproducer, writer, and actor, The
Fight to Be Remembered (PBS, winner of Bicentennial Award, National Endowment for the Arts) and
the award-winning Yes, We Can (WBZ-TV). Toured nationally in two-woman show A History of the
World. Directs Books-on-Tape, Simon & Schuster. (1981 ) Visiting Professor of Theater.

Michael Tibbetts Science, Mathematics, and Computing

B.S., Southeastern Massachusetts University; Ph.D., Wesleyan University. Teaching assistant, Peterson
Fellowship, Wesleyan University. Adjunct lecturer, postdoctoral fellow, University of Michigan.
Member of Sigma Xi, Genetics Society of America, American Society of Microbiology. Professional
interests: cellular events that lead to appropriate spatial organization of subcellular material. Faculty,
Bard Center for Environmental Policy. (1992 ) Associate Professor of Biology.

Hap Tivey The Arts

B.A., Pomona College; M.A., M.F.A., Claremont Graduate School. Monastic practice: Hofuku-ji and
Tofuku-ji, Japan. Solo exhibitions include Blum Helman, Diane Brown, New York; Elizabeth Leach,
Portland, Oregon; Landau-Alexander, Margo Leavin, Los Angeles; Picasso Studio, Paris. Collections
include Dia Center for the Arts; Guggenheim Museum, New York and Bilbao; Museum of Modern Art
and P.S. 1, New York; Albright-Knox Gallery, Buffalo; AT&T, Prudential, Federal Reserve, and Bank of
America collections. Awards include National Endowment for the Arts, National Science Foundation,
 Faculty 453

Lockheed, and Katherine Roen fellowships. Publications include The Art of Light and Space, Shift
L.A./N.Y., Rooms P.S. 1, Artforum, Art in America, Art News. (1995 ) Artist in Residence.

Kim M. Touchette Science, Mathematics, and Computing

B.A., Bard College; M.A., Ph.D., Wesleyan University. Recipient, Petroleum Research Fund
(200002) and National Science Foundation (200204) grants. Publications include articles in the
field of organic chemistry appearing in Organic and Biomolecular Chemistry, Journal of Chemical
Education, Journal of the Chemical Society, Journal of Organic Chemistry, Tetrahedron, Heterocycles.
Associate professor of chemistry, Dutchess Community College (19812002). Research Associate, Bard
College (1990 ). (199596; 2002 ) Visiting Professor of Chemistry.

Joan Tower The Arts

B.A., Bennington College; M.A., D.M.A., Columbia University. Fellowships and awards: National
Endowment for the Arts, Guggenheim Foundation, New York State Council on the Arts, Koussevitzky
Foundation, American Academy of Arts and Letters, Meet the Composer/Readers Digest. Won
Grawemeyer Award for Distinguished Composers and Conductors (1990); has received commissions
from New York Philharmonic; National, St. Louis, Chicago, and Pittsburgh Symphonies; Emerson,
Tokyo, and Muir Quartets; Kalichstein-Laredo-Robinson Trio; and Carnegie Hall, Chamber Music
Society of Lincoln Center, Aspen, La Jolla Summerfest, and others. Orchestral work, Made in America,
performed by 65 orchestras in 50 states in project sponsored by American Symphony Orchestra Leagues
and Meet the Composer. Has CDs on Naxos, Koch International, Delos, dNote Records, other labels.
Elected to American Academy of Arts and Sciences (2004); American Academy of Arts and Letters
(1998). Composer in residence, St. Louis Symphony (198588); Orchestra of St. Lukes (1997 ).
Faculty, The Bard College Conservatory of Music. (1972 ) Asher B. Edelman Professor in the Arts.

Eric Trudel Languages and Literature

B.A., Concordia University, Montreal; M.A., French literature, McGill University; Ph.D. in Romance
languages, Princeton University. Author, La terreur loeuvre: Thorie, potique et thique chez Jean Paulhan
(Paris, Presses Universitaires de Vincennes, coll. Limaginaire du texte, 2007). Coeditor, Figures et
Frictions: La littrature au contact du visuel (Etudes Franaises, Vol. 42, No. 2, 2006) and Accessoire: La
Littrature lpreuve du drisoire (Qubec, Nota Bene, 2003). Articles on Jean Paulhan, Chris Marker,
George Perros, Remy de Gourmont. Codirector of GLOBE: Revue internationale dtudes qubcoises.
(2002 ) Assistant Professor of French.

Tsu-Yu Tsao Social Studies

B.S., SUNY Binghamton; M.A., Ph.D., University of Texas, Austin. Taught at University of Texas,
Austin. Fields of interest: public finance, labor economics, applied econometrics, industrial organiza-
tion, computational economics, financial economics. (2000 ) Assistant Professor of Economics.

George Tsontakis The Arts

Composer. Studied composition with Roger Sessions at Juilliard and conducting with Jorge Mester.
Recipient of two Kennedy Center Friedheim Awards, for String Quartet No. 4 (1989) and Perpetual
Angelus (1992); American Academy of Arts and Letters Lifetime Achievement Award (1995);
Grawemeyer Award for Music Composition (2005); Charles Ives Living Award (2006). Music recorded
on the Hyperion, New World, CRI, Koch, and Opus One labels; works have been commissioned and
performed by the American, Blair, Colorado, and Emerson string quartets; New York Virtuoso Singers;
Aspen Wind Quintet; Orpheus; flutist Ransom Wilson; violinist Glenn Dicterow; and many other
orchestras, ensembles, and musicians. Faculty member, Aspen Music School (1976 ). Founding direc-
tor, Aspen Contemporary Ensemble (199198). (2003 ) Distinguished Composer in Residence.
454 Faculty

Dawn Upshaw The Arts

B.A., Illinois Wesleyan University; M.A., Manhattan School of Music; honorary doctorate, Yale
University. Soprano. Made debut at Metropolitan Opera in 1984; has since achieved worldwide
celebrity as a singer of opera and concert repertoire. Known for singing the great Mozart roles (Pamina,
Ilia, Susanna, Despina) as well as works by Bach, Bartk, Stravinsky, Poulenc, Messiaen, Debussy, John
Adams. Has performed with James Levine, Sir Simon Rattle, Gilbert Kalish, Kronos Quartet, Orchestra
of St. Lukes, and the Cleveland, Chicago, and Philadelphia Symphony Orchestras, among others.
Winner of three Grammy Awards; featured on more than 50 recordings. First singer to be named a
Perspectives Artist by Carnegie Hall. (2004 ) Charles Franklin Kellogg and Grace E. Ramsey Kellogg
Professor of the Arts and Humanities.

Michael Vahrenwald The Arts

B.F.A., The Cooper Union; M.F.A., Yale University. Photographer. Solo exhibitions at Bucket Rider
Gallery, Chicago, and Galerie Alain LeGaillard, Paris; recent group exhibitions at Southfirst Gallery,
Brooklyn (2007); Susanne Hilberry Gallery, Ferndale, Michigan (2007); and Mary Boone Gallery,
DAmelio Terras Gallery, and Whitney Museum of American Art, New York City (2006). Visiting
artist, Yale University Graduate School of Photography (2006); has also taught at The Cooper Union
and SUNY Purchase. (2007 ) Visiting Lecturer in Photography.

Bill Vanaver The Arts

Composer, folklorist, performer, teacher. Recordings on Vanguard, Elektra, Nonesuch, Folkways, Philo,
MMC labels. Founder with Livia Drapkin of the Vanaver Caravan Dance and Music Company.
Numerous awards and fellowships, including National Endowment for the Arts, American Music
Center, and Tof Miriam Award (with Drapkin) for contributions to Jewish cultural life in New York
State. (2000 ) Visiting Assistant Professor of Dance.

Marina van Zuylen Languages and Literature

A.B., M.A., Ph.D., Harvard University. Author, Difficulty as an Aesthetic Principle (Tbingen, 1993);
Monomania: The Flight from Everyday Life in Literature and Art (Cornell University Press, 2005). Recent
articles include Difficulty, Encyclopedia of Aesthetics; Of Degenerates, Criminals, and Literary
Offenders and The Importance of Being Lazy, Cabinet; Maghreb and Melancholy, Research in
Francophone Literature; Monomanie deux, Etudes Franaises. Awards include Lurcy Fellowship;
Council on Research and Faculty Development Grant, Columbia University; Sheldon Fellowship,
Whiting Fellowship, Harvard University; Bard Research Grant. Codirector, First-Year Seminar (2007 ).
(1997 ) Professor of French and Comparative Literature.

Roberto Vlez-Vlez Social Studies

B.A., Universidad de Puerto Rico; M.A., Ph.D. candidate, University at Albany. Qualitative researcher,
New York State Department of Health, Division of Environmental Health, Office of Outreach and
Education (2003); qualitative interviewer, Hudson Valley Migration Project, Center for Social and
Demographic Analysis, University at Albany (2006). Recipient, Presidential Fellowship (19992001)
and Benevolent Dissertation Award (2005), University at Albany. (2007 ) Visiting Lecturer in Sociology.

Jean Ruth Wagner The Arts

B.A., Wesleyan University; M.A., Smith College. Trained at American Conservatory Theater. Taught
at Vassar College (Powerhouse Theater), Smith College, New School University, Ramapo College,
Metropolitan Opera Guild. Artistic director and cofounder, Voice & Vision Theatre Company.
Directed productions at Voice & Vision, New York Theatre Workshop, New York Stage & Film
Company, Manhattan Class Company, HERE, Wheelock Family Theatre, others. (2000 ) Visiting
Assistant Professor of Theater.
 Faculty 455

Charles A. Walls Languages and Literature

B.A., Washington University; M.Phil., Ph.D., Columbia University. Teaching interests include mod-
ern American novel, 20th-century American and African American literature, critical race theory,
racial sentimentalism. Recipient, Ford Foundation Dissertation Fellowship, Honorable Mention (2004);
Columbia University Dissertation Writing Fellowship (200304); Andrew Mellon Dissertation Grant
(2003). Has lectured at Columbia on Literature Humanities. (2007 ) Visiting Assistant Professor of
Literature.

William Weaver Languages and Literature

B.A., Princeton University. Critic, author of biographies of Italian actress Eleonora Duse and composer
Giuseppe Verdi, as well as several books on 19th-century Italian opera. Translator of many contempo-
rary Italian writers of fiction, including Italo Calvino, Primo Levi, and Umberto Eco. Recipient, PEN
Medal and National Book Award, and others. Honorary degrees from University of Leicester (UK) and
Trinity College (Connecticut). Member, American Academy of Arts and Letters. (1992 ) Professor of
Literature; Bard Center Fellow.

Robert Weston Languages and Literature

B.A., University of Florida; M.A., M.Phil., Columbia University. Teaching and research interests include
late-Enlightenment literature and culture, Weimar classicism, Pietist autobiography, expressionism and
the historical avant-garde, the history of aesthetics, the philosophy of education, popular Enlightenment.
Theoretical interests include intellectual, social, and conceptual history; systems theory; philosophical
anthropology; gift theory; the Frankfurt School. Published translations include works on or by Gilles
Deleuze, Jacques Lacan, Salvador Dali, Wolfgang Schivelbusch. Guest researcher, Herzog August
Bibliothek (200405); research fellowship, German Academic Exchange Service (200001). Presidential
Teaching Award, Columbia University (2005). (2005 ) Visiting Assistant Professor of Literature.

Tom Wolf The Arts

B.A., University of California, Berkeley; M.A., Ph.D., Institute of Fine Arts, New York University.
Paintings exhibited at Artists Space, New York; Los Angeles Institute of Contemporary Art; Koslow
Gallery, Los Angeles; Art Gallery of Western Australia; Trans Hudson Gallery. Curator, Dutch Scripture
Paintings; Konrad Cramer; Yasuo Kuniyoshi: Painter/Photographer; and Byrdcliffe: An American Arts and
Crafts Colony. Author, Konrad Cramer: A Retrospective; Yasuo Kuniyoshi (1986); Woodstocks Art Heritage
(1987); Yasuo Kuniyoshis Women (1993); Community of Creativity: A Century of MacDowell Colony
Artists (1996); essays in Byrdcliffe: An American Arts and Crafts Colony (2003); Carl Eric Lindin, from
Sweden to Woodstock (2004). Recipient, Andrew W. Mellon Fellowship, Metropolitan Museum of Art
(199293); Winterthur Museum and Library Fellowships (2001, 2002); Freeman Foundation grants for
research in Japan (2004, 2005). (1971 ) Professor of Art History.

Michelle Woods Languages and Literature

B.A., Ph.D., Trinity College, Dublin, Ireland. Fulbright Fellow, Columbia University (200203).
Acting director (200405), research assistant (200506), Centre for Translation and Textual Studies,
Dublin City University. Translations, reviews, and articles published in Granta, Studies in European
Cinema, Kosmas, Irish Slavonic Studies, Irish Times, Prague Post, others. Speaks Czech, Russian, French,
Polish, German. (2007 ) Visiting Lecturer in the Humanities in First-Year Seminar.

Shelley Wyant The Arts

B.A., Brandeis University; M.F.A., Brooklyn College. Taught at Central Connecticut State University,
Smith College. Founding artistic director of Maskwork Unlimited, now Joy Presenters. Producer/director,
Romeo/Juliet, presented at Bard College and Rondout and Red Hook High Schools (2002, 2003, 2004),
published by Broadway Play Publishing (2004). Article, Mask and Ritual, in Movement for Actors
(Allworth Press, 2002). Numerous workshops and master classes using masks at Brown University, New
456 Faculty

York University, Stella Adler Conservatory, Actors Studio M.F.A. program at New School University,
Actors Movement Studio. Teaching artist, Lincoln Center Institute. Placed in the Fulbright Senior
Specialists Program (2007). (1999 ) Visiting Assistant Professor of Theater.

Youssef Yacoubi Languages and Literature

B.A., Ibn Zohr University, Agadir; M.A., University of Essex; Ph.D., University of Nottingham.
Dissertation topic: The Play of Reasons: Salman Rushdie, Theory and Islam. Has taught at Hofstra
University, Rutgers University, Princeton University, Nottingham Trent University, and University of
Nottingham. Recipient, Lisa Procter Graduate Fellow in comparative literature, Princeton (200102).
Articles published in Alif: Journal of Comparative Poetics; Journal of Arabic Literature; Culture, Theory,
and Critique Journal, others. (2006 ) Assistant Professor of Arabic and Comparative Literature.

Li-Hua Ying Languages and Literature

B.A., Yunnan Normal University, China; M.A., Ph.D., University of Texas, Austin. Instructor of
Chinese, Southwestern University (198890). Executive director, Calligraphy Education (2002 ).
(1998 ) Associate Professor of Chinese.

Ajit Zacharias Social Studies

B.A., Kerala University, India; M.A., University of Bombay, India; Ph.D., New School University.
Research interests include distribution of income and wealth, political economy, and time use.
Collaborating with Levy Institute scholars in developing and updating the Levy Institute Measure of
Economic Well-Being. Published works include articles in scholarly journals and Levy Institute publi-
cations. (1998 ) Senior Scholar, Levy Economics Institute.

Chongke Zhu Languages and Literature

B.A., M.A., Sun Yat-sen University, Guangzhou, China; Ph.D., National University of Singapore.
Academic interests include 20th-century Chinese literature; literary theories; Chinese literature of
Taiwan, Hong Kong, Singapore, and Malaysia. Author, A Study on Subjective Interventions in Lu Xun and
His Successors Fiction (Sanlian Shudian, 2006); Entanglement of Nativeness: Self-exile, Nan yang
Fiction, and Myths of Nativeness (Tangshan Press, 2004). Associate professor of Chinese, Sun Yat-sen
University (2005 ). (2007 ) Visiting Fellow in Chinese.
 Faculty of The Bard College Conservatory of Music 457

Faculty of The Bard College Conservatory of Music

Robert Martin, Director
Melvin Chen, Associate Director

Robert Martin Director

Vice President for Academic Affairs, Professor of Philosophy and Music, Bard College. For complete biogra-
phy, see undergraduate faculty listing.

Melvin Chen Associate Director

Associate Professor of Interdisciplinary Studies, Bard College. For complete biography, see undergraduate
faculty listing.

Laura Ahlbeck
Oboist. M.M., The Manhattan School of Music (studied with Elaine Douvas); undergraduate study at
Ohio State University with William P. Baker. Principal oboe, Boston Pops Esplanade, Lyric Opera, Bard
Festival Orchestra. Member, Metropolitan Opera Orchestra (198490); has also been a member of the
Columbus Symphony Orchestra, Orchestra Sinfnica de Maracaibo, Eastern Music Festival Orchestra.
Has played with the Zephyr Woodwind Quintet, Walden Chamber Players, and other chamber groups.
Teaches at Boston University Tanglewood Institute, New England Conservatory of Music, Boston
Conservatory.

Alan Baer
Tubist. B.Music, Cleveland Institute of Music (studied with Ronald Bishop); graduate studies at
Indiana University of Pennsylvania (with Gary Bird), University of Southern California, Cleveland
Institute of Music, and California State University, Long Beach (with Tommy Johnson). Joined New
York Philharmonic as principal tuba (2004); formerly principal tuba with Milwaukee Symphony
Orchestra, Long Beach Symphony Orchestra, and Louisiana Philharmonic Orchestra. Other credits
include recordings with Cleveland Orchestra led by Vladimir Ashkenazy and performances with
Peninsula Music Festival, Wisconsin; New Orleans Symphony; Los Angeles Concert Orchestra; Ojai
Festival Orchestra, California; Los Angeles Philharmonic; and Chicago Symphony Orchestra. Has
also performed as a featured soloist, touring Switzerland, Austria, Germany, and France.

James Bagwell
Associate Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Edith Bers
Vocalist. B.A., M.A., Columbia University. Studied voice with Tourel, Callas, Popper, Berl, Guth,
Faull, B. P. Johnson, Cuenod, Brown, Hotter, and Stader; studied acting with Stella Adler.
Performance credits include the U.S. premiere of Schumanns Des Sangers Fluch and the television
production of Brittens The Turn of the Screw. Has presented master classes and served on juries at the
Symposium on the Care of the Professional Voice, Aspen Music Festival, Metropolitan Opera
Auditions, Queen Elisabeth International Music Competition (Brussels), Korean Broadcasting
System, and Bel Canto Institute (Florence). Chair of the voice department at The Juilliard School
(199195); teaches at Juilliard, Manhattan School of Music, and New York University.

Sharon Bjorndal
Visiting Instructor of Music, Bard College. For complete biography, see undergraduate faculty listing.
458 Faculty

Frank Corliss
Pianist. Former director of music at Walnut Hill School and staff pianist for Boston Symphony
Orchestra and Tanglewood Festival Chorus. Frequent performer in the Boston Symphony Prelude
Concert series; also performs throughout the United States as a chamber musician and collaborative
pianist. Has worked as a musical assistant for Yo-Yo Ma and has assisted Ma in the musical prepara-
tion of many new works for performance and recording, including concertos by Elliot Carter, Richard
Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse, and John
Williams. Recordings include Yo-Yo Mas Grammy-winning Soul of the Tango and the Koch
International CD of music by Elliot Carter for chorus and piano with the John Oliver Chorale.

Richard Dallesio
Oboist. B.Music, New England Conservatory; also studied at The Juilliard School. Teachers have
included John Mack, Elaine Douvas, Joseph Robinson, Lawrence Thorstenberg, and Wayne Rapier.
Plays oboe and English horn for the New Jersey Symphony; formerly served as principal oboe with
Honolulu Symphony and Virginia Symphony. Faculty, Mannes College of Music and Juilliard School,
Pre-College Division.

Marji Danilow
Double bassist. B.M., Juilliard School (studied with Homer Mensch and David Walter). Associate
principal bass, New York City Ballet; former principal bass, New Jersey Symphony. Performs and tours
regularly with the Metropolitan Opera Orchestra (1989 ) and performs and records with Orpheus
Chamber Orchestra (1984 ). Has performed at Santa Fe Chamber Music Festival and La Jolla
Summerfest; in the Bargemusic series; and with Smithsonian Chamber Players and Santa Fe Pro Musica,
among others. Has recorded Schuberts Trout Quintet and other works for Sony Classical, with Anner
Bylsma and his chamber group, LArchibudelli. Faculty, Mannes College of Music.

Jeremy Denk
Pianist. B.A., Oberlin College; B.M., Oberlin Conservatory; M.M., Indiana University; Ph.D. (piano
performance), The Juilliard School. Recipient, Avery Fisher Grant (1998); winner, Young Concert
Artists International Auditions (1997). Made New York recital debut at Alice Tully Hall in April
1997. Has appeared with Philadelphia Orchestra, Dallas Symphony, others; made debut with St.
Louis, Houston, and San Francisco Symphonies in 2006. Tours with Orpheus Chamber Orchestra.
Frequent collaborator with Joshua Bell, among others. Featured artist in residence on NPRs
Performance Today. Has premiered works by Leon Kirchner, Libby Larsen, Mark OConnor, Kevin
Puts, Ned Rorem, others.

Laura Flax
Clarinetist. B.M., M.M., Juilliard School (studied with Augustin Duques and Leon Russianoff).
Principal clarinetist, New York City Opera and American Symphony Orchestra. Performs regularly
with the New York Philharmonic and has been a member of the San Diego and San Francisco
Symphonies. Has premiered works by Elliott Carter, Philip Glass, Shulamit Ran, Joan Tower, others.
Faculty, Juilliard School, Pre-College Division. Gives master classes and recitals throughout the
United States.

Kyle Gann
Associate Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Christopher H. Gibbs
James H. Ottaway Jr. Professor of Music, Bard College. For complete biography, see undergraduate fac-
ulty listing.
 Faculty of the Bard College Conservatory of Music 459

Marc Goldberg
Bassoonist. B.M., M.M., Juilliard School (studied with Harold Goltzer). Member, New York Woodwind
Quintet; former associate principal bassoonist, New York Philharmonic; former acting principal bassoon,
New York City Opera. Extensive freelance career includes numerous appearances with the Metropolitan
Opera, Boston Symphony Orchestra, Orchestra of St. Lukes, New York City Opera, American
Symphony Orchestra, others; has toured and recorded with most of the preceding groups. Active in com-
mercial and movie recording in New York. Faculty, Juilliard (1988 ); Hartt School of Music (1994 );
Mannes College of Music and Columbia University (2000 ); SUNY Purchase (2005 ).

Richard Goode
Pianist. Studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College
of Music, and with Rudolf Serkin at the Curtis Institute. Prizes include the Young Concert Artists
Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award
(with clarinetist Richard Stoltzman). Performed all five Beethoven concerti with the Baltimore
Symphony and the complete cycle of Beethoven sonatas at New Yorks 92nd Street Y and Kansas
Citys Folly Theater. Has made more than two dozen recordings. Artistic codirector of the Marlboro
Music School and Festival, Marlboro, Vermont.

Mark Gould
Trumpeter. B.A., Boston University. Principal trumpet, Metropolitan Opera Orchestra (19742003).
Participated in more than 40 Live from Lincoln Center performances on PBS and in many recordings
of operas and symphonic works under the direction of James Levine. Founding member, The Graham
Ashton Brass Ensemble; performs and records with Speculum Musicae, Chamber Music Society of
Lincoln Center, Metropolitan Chamber Ensemble. Has conducted or served as soloist with Seattle
Symphony, San Diego Symphony, Colorado Philharmonic, and Buffalo Symphony, as well as
Waterloo, Caramoor, and Vermont Mozart Festival Orchestras. Has performed and recorded Bachs
Brandenburg Concerto No. 2 with Philharmonia Virtuosi, in addition to other CDs. Teaches master
classes throughout the United States, Japan, and Europe and gives clinics for the Yamaha Corporation;
also teaches at The Juilliard School (1982 ) and Manhattan School of Music (2004 ).

John Halle
Composer, theorist. Former music faculty, Yale University. Recent compositions have been performed
by the Meridian Arts Ensemble, Cygnus Ensemble, Bang on a Can All-Stars, Locrian Ensemble,
Fulcrum Point, Now Ensemble, and flutists Ransom Wilson and Tara Helen OConnor, among others.
His chamber work Mortgaging the Earth, based on a text by Lawrence Summers, has received more than
20 performances and is included on Sequitur Ensembles Koch International CD. Founding member,
Common Sense, a composers collective. Scholarship focuses on connections between the mental rep-
resentation of language and music; his work in this vein has been published in scholarly journals and
presented in invited talks at Stanford University, CNRS (Paris), University of Missouri, and Columbia
University.

Frederick Hammond
Irma Brandeis Professor of Romance Cultures and Music History, Bard College. For complete biography,
see undergraduate faculty listing.

Kayo Iwama
Pianist. B.Music, Oberlin Conservatory of Music; M.Music, SUNY Stony Brook (studied with Gilbert
Kalish); also studied with Margo Garrett, Martin Isepp, Graham Johnson, Martin Katz, and Erik
Werba. Served on music staffs of the Steans Institute at Ravinia Festival and Boston Symphony
Orchestra; has taught at Hartt School of Music, New England Conservatory of Music, and Boston
460 Faculty

Conservatory. Recordings on the Well-Tempered label, with baritone Christpheren Nomura in

Schuberts Die Schne Mllerin, and on two ISMM discs devoted to French melodies and the songs of
Schumann, with tenor Ingul Ivan Oak. Has performed extensively with singers throughout North
America, Europe, and Japan, in venues including Walter Reade Theater at Lincoln Center, Weill
Recital Hall, Seiji Ozawa Hall at Tanglewood, Kennedy Center, and Thtre du Chtelet, Paris,
among others. Coordinates opera and vocal studies programs at Tanglewood Music Center. Former
pianist and music director, Cantata Singers Chamber Series.

Ani Kavafian
Violinist. M.M., Juilliard School (studied with Ivan Galamian). Has performed with most of Americas
leading orchestras and chamber ensembles in her 31 years as a soloist, recitalist, and chamber musi-
cian. In 2005, performed 42 different works at eight festivals; recent recordings include Bachs com-
plete sonatas for violin and pianoforte with Kenneth Cooper and string trios of Beethoven and Mozart
with the daSalo String Trio. Recipient, Avery Fisher Prize; winner, Young Concert Artists
International Auditions. Has appeared at the White House on three occasions and has been featured
on network and PBS television programs.

Ida Kavafian
Violinist. M.M., Juilliard School (studied with Oscar Shumsky). New York debut at the 92nd Street
Y, with pianist Peter Serkin, as winner of Young Concert Artists International Auditions; has since
appeared with leading orchestras and chamber ensembles throughout the world. Member, Chamber
Music Society of Lincoln Center; Opus One; former violinist of Beaux Art Trio. Artistic director,
Music from Angel Fire; founder and former music director, Bravo! Vail Valley Music Festival. Has pre-
miered works by Toru Takemitsu, Chick Corea, Wynton Marsalis. Performs regularly with her sister,
violinist Ani Kavafian. Faculty, Curtis Institute.

David Krakauer
Clarinetist. B.A., Sarah Lawrence College; M.M., Juilliard School. Tours internationally with his
Klezmer Madness! ensemble. Former member of The Kelzmatics, Continuum, Aspen Wind Quintet.
Guest artist with Kronos Quartet,Tokyo Quartet, Eroica Trio, Trio Solisti, Music from Marlboro, many
others. Has recorded for Nonesuch, Label Bleu, Piranha, Tzadik, Angel, Deutsche Grammophon.
Recipient, Concert Artists Guild Prize (1985); Naumburg Chamber Music Award (1984). Clarinet
and chamber music faculty, Manhattan School of Music and Mannes College of Music.

Julie Landsman
Hornist. Studied with James Chambers at The Juilliard School. Principal horn, Metropolitan Opera
Orchestra (1985 ); former principal horn, St. Paul Chamber Orchestra, and coprincipal horn,
Houston Symphony. Has performed and recorded with the New York Philharmonic, Metropolitan
Opera Orchestra, others; soloist with the Greenwich Symphony, Houston Symphony, Rice University
Orchestra, Santa Fe Festival Chamber Ensemble. Faculty, The Juilliard School (1989 ).

Jeffrey Lang
Hornist. Principal horn, American Symphony Orchestra; acting principal horn, Philadelphia
Orchestra; principal horn, Stamford Symphony and Disneys Beauty and the Beast on Broadway.
Former principal horn, Israel Philharmonic. Performs regularly with the Orpheus Chamber Orchestra
and Metropolitan Opera Orchestra. Has performed chamber music with Canadian Brass, Bella
Davidovich, Israel Piano Trio, Musica Nova, others; also performs on many commercial recordings for
television and film.
 Faculty of The Bard College Conservatory of Music 461

Weigang Li
Violinist. Studied at Shanghai Conservatory, San Francisco Conservatory, Northern Illinois Univer-
sity, Juilliard School. Faculty, Juilliard, and teaching assistant to the Juilliard Quartet (198789). Has
been featured soloist with the Asian Youth Orchestra, BBC Scottish Symphony, BBC Symphony
Orchestra, Shanghai Symphony. Founding first violinist, Shanghai String Quartet. Featured in the
film From Mao to Mozart: Isaac Stern in China.

Patricia Misslin
Vocalist. B.A., M.A., Boston University; studied with Anna Hamlin, Ludwig Bergman, Polyna Stoska,
Fausto Cleva, and Felix Wolfes. Has performed with the New York Chamber Music Artists, Canticum
Novum Singers, and Boston Opera and in many major concert halls and opera houses, including Alice
Tully Hall, Merkin Hall, and Town Hall in New York and Symphony Hall, Boston. Cofounder and
board member, Music Theatre North and Institute of American Studies. Has taught at Curtis
Institute, St. Lawrence University, SUNY Purchase, and Potsdam College; currently teaches at
Manhattan School of Music and New England Conservatory.

Lorraine Nubar
Vocalist. B.A., M.A., The Juilliard School. Studied with Jennie Tourel, William Vennard, Daniel
Ferro, Martial Singher, Frank Corsaro, Gerard Souzay, Elly Ameling, Jeanine Reiss, and pianist Dalton
Baldwin, with whom she conducts annual master classes at Vermont Opera Theaters Foliage Art
Song festival. First American to be appointed to the voice faculty of the Paris Conservatory; has pre-
pared singers for the Paris and Lyon Operas and regularly conducts summer master classes at
Foundation Royaumont in Val dOise, Centre International de Formation Musicale in Nice, and sum-
mer vocal chamber music program at Les Azuriales Opera. Has served as juror for Young Concert
Artists International competition, Paris Concours, and Marseille Concours. Teaches at Juilliard and
New England Conservatory.

Tara Helen OConnor

Flutist. Ph.D., SUNY Stony Brook (studied with Samuel Baron, Robert Dick, Julius Levine, Keith
Underwood). Founding member, New Millennium Ensemble, which won the Naumburg Award in
1995; flute soloist, Bach Aria Group. First wind player chosen to participate in the Chamber Music
Society of Lincoln Centers Chamber Music Society Two program for emerging artists. Performs regu-
larly at Chamber Music Northwest, Music from Angel Fire, Santa Fe Chamber Music Festival, others.

John Rojak
Trombonist. B.M., Juilliard School; fellowship student at Tanglewood and Waterloo Music Festivals.
Studied with John Coffey, Don Harwood, Sam Pilafian. Member, American Brass Quintet (1991 ),
with which he tours internationally and has residencies at Juilliard and Aspen Music Festival. Bass
trombonist for Orchestra of St. Lukes, Orpheus Chamber Orchestra, Little Orchestra Society, Solisti
New York; original member of orchestra for Broadways Les Misrables. Recent solo recordings include
The Romantic Bass Trombone with pianist Robert Koenig; Rhapsody for Bass Trombone and Strings by
Eric Ewazen, with the Czech Radio Chamber Orchestra; Trombone Concerto No. 2 by Walter Ross,
with New York Chamber Symphony. Faculty, Rutgers University and SUNY Purchase.

Peter Serkin
Pianist. Studied at Curtis Institute of Music with Lee Luvisi, Mieczyslaw Horszowski, and Rudolf
Serkin; also studied with Ernst Oster, Marcel Moyse, and Karl Ulrich Schnabel. Has performed with
the worlds major symphony orchestras and collaborated with Jaime Laredo, Pamela Frank, Yo-Yo Ma,
Alexander Schneider, among others, and the Budapest, Guarneri, and Orion String Quartets.
Founding member, TASHI. Has had many pieces written for him by Charles Wuorinen, Elliott Carter,
Toru Takemitsu, and others. Recent recordings include The Ocean that Has No West and No East (Koch
462 Faculty

Records), with music by Webern, Wolpe, Messiaen, Takemitsu, Knussen, Lieberson, and Wuorinen,
and the complete solo piano works of Arnold Schoenberg (Arcana).

Sophie Shao
Cellist. B.A., Yale University; M.M, Yale School of Music. Awards include top prizes at the
Rostropovich International Violoncello Competition (2001) and the XII International Tchaikovsky
Competition (2002), and an Avery Fisher Career Grant (1996). Has performed as soloist with the
Abilene Philharmonic, Erie Symphony, Houston Symphony, Russian State Academic Symphony
Cappella, others. Festival appearances include Caramoor, Marlboro, Music from Angel Fire, Ravinia,
Sarasota. Former member, Lincoln Centers Chamber Music Society Two.

Laurie Smukler
Violinist. B.M., Juilliard School (studied with Ivan Galamian). Widely active soloist and recitalist; has
premiered works by Bruce Adolphe, Steven Paulus, Shulamit Ran, Ned Rorem, Morton Subotnick.
Founding member, Mendelssohn String Quartet; codirector, Collection in Concert series, Morgan
Library and Museum. Faculty, Conservatory of Music, SUNY Purchase; teaches and performs at the
Kneisel Hall Festival, Blue Hill, Maine.

Arnold Steinhardt
Violinist. Studied with Ivan Galamian at Curtis Institute of Music and with Josef Szigeti, under the spon-
sorship of George Szell, in Switzerland. Winner, Leventritt Competition (1958); bronze medalist, Queen
Elisabeth International Competition, Brussels. Debuted at age 14 with the Los Angeles Philharmonic;
has subsequently appeared with many major orchestras. Founding member, Guarneri String Quartet.
Author, Indivisible by Four: A String Quartet in Pursuit of Harmony (Farrar, Straus and Giroux, 1998).
Professor of violin at Curtis Institute of Music and Rutgers University.

Steven Tenenbom
Violist. Studied with Milton Thomas at the University of Southern California and with Michael Tree
and Karen Tuttle at Curtis Institute of Music. Member, Orion String Quartet, TASHI, Opus One. Has
worked with Lukas Foss and Chick Corea; appeared as guest artist with Guarneri and Emerson String
Quartets, Beaux Arts and Kalichstein-Laredo-Robinson Trios, and Chamber Music Society of Lincoln
Center. Soloist with the Utah Symphony, Rochester Philharmonic, Cincinnati Chamber Orchestra;
toured with Brandenburg Ensemble throughout United States and Japan; has performed extensively
at major festivals. Faculty, Mannes College of Music and Curtis Institute of Music. Has recorded for
RCA Records, Arabesque, Delos, Sony Classical, and other labels.

Joan Tower
Asher B. Edelman Professor in the Arts, Bard College. For complete biography, see undergraduate faculty
listing.

Michael Tree
Violist. Studied with Efrem Zimbalist at Curtis Institute of Music. Subsequent to his Carnegie Hall
debut, he has appeared as violin and viola soloist with many major orchestras. Founding member,
Marlboro Trio and Guarneri String Quartet. Has recorded more than 80 chamber music works, includ-
ing 10 piano quintets and quartets with Artur Rubinstein. Faculty, Curtis Institute of Music,
Manhattan School of Music, University of Maryland School of Music, Rutgers University.

George Tsontakis
Distinguished Composer in Residence, Bard College. For complete biography, see undergraduate faculty listing.
 Faculty of The Bard College Conservatory of Music 463

Dawn Upshaw
Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor of the Arts and Humanities, Bard College.
For complete biography, see undergraduate faculty listing.

Ira Weller
Violist. B.M., M.M., Juilliard School (studied with Ivan Galamian). Member, Metropolitan Opera
Orchestra; plays regularly in New York at the Metropolitan Museum of Art and with the Festival
Chamber Players and the Bard Festival Quartet. Artistic director, Collection in Concert series,
Morgan Library and Museum. Founding member, Mendelssohn String Quartet. Invited artist,
Chamber Music Northwest, Music from Marlboro, New York Chamber Soloists, Santa Fe Chamber
Music Festival, others. Discovered rare 18th-century original viola sonata by Felice Giardini, subse-
quently published by International Music.

Peter Wiley
Cellist. Attended Curtis Institute of Music at age 13, under tutelage of David Soyer. Appointed prin-
cipal cellist of the Cincinnati Symphony at age 20. Awarded Avery Fisher Career Grant; nominated
(with the Beaux Arts Trio) for a Grammy Award (1998). Faculty artist, Caramoors Rising Stars pro-
gram. Faculty, Curtis Institute of Music; has also taught at Cincinnati College Conservatory of Music,
Mannes College of Music, Manhattan School of Music. Member, Guarneri String Quartet.
464 Faculty

Faculty of the Workshop in Language and Thinking

Joan Retallack Director, Workshop in Language and Thinking
John D. and Catherine T. MacArthur Professor of Humanities, Bard College. For complete biography, see
undergraduate faculty listing.

Teresa J. Vilardi Director, Institute for Writing and Thinking

B.A., Barnard College; M.A., medieval and Renaissance history, Columbia University. Taught First-
Year Seminar at Bard College; history at SUNY Binghamton and College of Wooster, Ohio; history and
womens studies at Vassar College and Broome County Community College. Project director, NEH
Seminar, Reading Narratives in Four Religious Traditions (200506). Coeditor, New Methods in
College Writing Programs (1986), Writing to Learn Mathematics and Science (1989). Associate Dean for
Academic Affairs, Bard College (198183).

Susan Aberth
Assistant Professor of Art History, Bard College. For complete biography, see undergraduate faculty listing.

Thomas Bartscherer
B.A., University of Pennsylvania; M.A., Ph.D. candidate, University of Chicago. Explores the intersec-
tion of literature and philosophy in ancient Greek and modern German traditions, focusing on tragic
drama, aesthetics, and performance theory; also writes on technology and new media issues. Coeditor,
Erotikon: Essays on Eros Ancient and Modern (University of Chicago Press). Essays and translations have
appeared in many American and European publications. Research fellowships at cole Normale
Suprieure, Paris, and the University of Heidelberg; recipient,Woodrow Wilson Foundation Newcombe
Fellowship. Faculty, Humanities Collegiate Division, University of Chicago.

Anne Bertrand-Dewsnap
B.A., Smith College; M.A., Ph.D., University of Pittsburgh. Adjunct assistant professor of art history at
Vassar and Marist Colleges. Specializes in 17th-century French and Italian art. Publications include the
online exhibition catalogue The Prints of Jacques Callot (15921635).

Paul Blaney
B.A., M.A, Oxford University; M.F.A., University of Oregon. Cofounder and director of Tales of the
Decongested, a monthly short-story reading event based in London. Stories have appeared in antholo-
gies by Pretext, Fish Publishing, and Biscuit Publishing.

David Buuck
B.A., Brown University; M.F.A., San Francisco State University; Ph.D. candidate, University of
California, Santa Cruz. Has published poetry, fiction, essays, and reviews in many books, journals, and
magazines, including Research in African Literatures and Chain. Editor of Tripwire, a journal of poetics; con-
tributing editor, Artweek. Oversees the Bay Area Research Group in Enviro-aesthetics (BARGE),
Oakland, California. Plays in a jazz trio and is at work on his second musical, Operation Desert Survivor.

Megan Callaghan
Visiting Assistant Professor of Anthropology, Bard College. For complete biography, see undergraduate fac-
ulty listing.

Rebecca Chace
Visiting Lecturer in First-Year Seminar, Bard College. For complete biography, see undergraduate faculty
listing.
 Faculty of the Workshop in Language and Thinking 465

Anna Dolan
B.A., Friends World College; M.F.A. (directing), University of Massachusetts, Amherst; M.F.A. (play-
writing), Yale University. Assistant professor of English and theater, Central Connecticut State
University; has also taught at Bard College (199497), Bennington College, SUNY Oneonta. Plays
produced and/or commissioned by The Magic Theater, Steppenwolf Theater, Theater Emory, Manhattan
Theatre Club, Sleeveless Theater, Charter Oaks, Yale Cabaret; has performed her large masked and
puppet works in Ethiopia, Kenya, Venezuela, Benin, and Guatemala. IFESH fellow, Debub University,
Ethiopia (2003). Faculty, Young Writers Workshop, Bard College at Simons Rock: The Early College.

Tonya Foster
B.A., Tulane University; M.F.A., University of Houston. Writer in residence, Writers in the Schools,
Houston (198994); poetry editor and production manager, Gulf Coast: A Journal of Literature and Art.
Taught in Bridge to Medicine Program, City College of New York; also taught at Cooper Union.

Sandra Friedman
Ph.D., New York University. Assistant professor of writing, George Washington University,
Washington, D.C. (2005 ); has also lectured and taught a seminar on individual and collective mem-
ory in the Writing Program, Princeton University. Chair, 200708 film discussion series, Narrative
Disorder: Psychoanalysis and Postmodern Film, Washington Center for Psychoanalysis.

Madeleine George
B.A., Cornell University; M.F.A., New York University. Playwright and novelist. Plays staged at New
York Theatre Workshop, Public Theater, Playwrights Horizons, Eugene ONeill Theater Center, among
others. Founding member, 13P (Thirteen Playwrights, Inc.), Obie Awardwinning playwrights collec-
tive. Has taught writing at Barnard College, University of Rochester, New School for Social Research,
College of New Rochelle, NYU, and several New York City public schools and correctional facilities.
Site director, Bard Prison Initiatives campus at Bayview Correctional Facility for Women, Manhattan.

Katherine Gould-Martin
B.A., Brandeis University; M.A., SUNY Buffalo; Ph.D., Rutgers University. Has taught anthropology
at Whittier College; medical anthropology at University of Southern California and Otis-Parsons;
English at Taiwan National Normal University. Conducted epidemiological research, USC Cancer
Center (197580), and mammorgraphy study, H. Claude Hudson Comprehensive Health Center, USC
(198186). Administrative coordinator, NOAA, Hudson River National Estuarine Research Reserve
(19972000). Project director, Freeman Foundation Undergraduate Asian Studies Initiative, Bard
College (200106); managing director, Bard in China (2000 ).

Rebecca Granato
B.A., Bard College; Ph.D. candidate, City University of New York. Teaches history at Queens College
and St. Josephs College, Brooklyn; also teaches in the writing center at St. Francis College. Author,
The Second Crusade: The War Council of Acre, 1148 (forthcoming), part of the Reacting to the
Past teaching series.

Robert Halpern
B.A., Evergreen State College; M.A., Ph.D. candidate, University of California, Santa Cruz. Author,
Rumored Place, nominated for California Book Award (2004). Poetry, fiction, and criticism in Tripwire,
Viz, and other journals. Teaches American poetry and poetics at the University of San Francisco.

Madhu Kaza
B.A., University of Michigan; M.A., Ph.D. candidate, New York University. Has taught courses in writ-
ing and literature at NYU.
466 Faculty

James Keller
B.A., University of California, Berkeley; Ph.D., SUNY Stony Brook. Postdoctoral teaching fellow,
SUNY Stony Brook. Faculty, Department of Writing, Rhetoric, and American Cultures, Michigan
State University. Assistant editor, Continental Philosophy book series (Routledge); contributor to The
Middle Generation in American Poetry; Poetry and Pedagogy: The Challenge of the Contemporary; The
Encyclopedia of American Poetry. Research interests include American literature, contemporary poetry,
and Continental philosophies of language.

Nancy S. Leonard
Professor of English, Bard College. For complete biography, see undergraduate faculty listing.

Matt Longabucco
B.A., Binghamton University; Ph.D. candidate, English, New York University. Teaches in the
Expository Writing Program at NYU.

Sharon Marshall
B.A., Vassar College; M.A., City College of New York. Faculty, Program in Writing and Rhetoric,
SUNY Stony Brook. Writes fiction; has taught composition, creative writing, reading, and ESL at City
College, CUNY; Hostos Community College; Essex County College; College of New Rochelle; Fashion
Institute of Technology. Fiction published in Essence magazine. Recipient, W. K. Rose Fellowship; Jane
Spector Award for Creative Writing.

Dawn Lundy Martin

B.A., University of Connecticut; M.A., San Francisco State University; Ph.D. candidate, University of
Massachusetts, Amherst. Author, The Morning Hour (Poetry Society of America, 2003); coeditor, The
Fire This Time: Young Activists and the New Feminism (Anchor Books, 2004). Recipient, Massachusetts
Cultural Council Artists Grant (2002); Cave Canem Poetry Fellowship (199801). Cofounder, Third
Wave Foundation, New York City, and Black Took Collective.

Andrew McCarron
B.A., Bard College; M.A., Harvard Divinity School; Ph.D. candidate, City University of New York.
Poet; studied with John Ashbery and Jorie Graham. Poems published in Colorado Review, Hudson
Review, Octopus, Pebble Lake Review, others. Faculty member of the English and Religion Departments,
Trinity School (2002 ); poet in residence, Accompanied Library, National Arts Club.

Delia Mellis
B.A., Bard College; Ph.D., Graduate Center, CUNY. Taught at College of Staten Island, CUNY.
Fellowships include E. P. Thompson Fellowship in U.S. History (2004), Colonial Dames Dissertation
Fellowship (2003), CUNY Writing Fellowship (200002). Presentations include Literally Devoured:
Women in the Capitals Race War of 1919, American Studies Association Annual Meeting (2003);
Race and Rioting, Queensborough Community College (2005).

Miranda Mellis
B.A., Naropa University; M.A., Brown University. Has published works of fiction, nonfiction, and
poetry; reviews in American Book Review, Parabola, The Believer, and other publications. Teaches liter-
ature and creative writing at Brown University.

Carley Moore
B.A., Binghamton University; M.A., Ph.D., New York University. Teacher, NYU (1996 ). Faculty,
General Studies Program, NYU. Poetry published in Fence, Painted Bride Quarterly, La Petite Zine.
Associate producer, World of Poetry, Washington Square Arts/Films. Taught at Stuyvesant High School,
New York. Winner of Academy of American Poets 1996 Poetry Competition. Working on a book and a
collection of teaching stories based on her dissertation, Seventeen Magazine and the Girl Writer.
 Faculty of the Workshop in Language and Thinking 467

Philip Pardi
Director of College Writing; Visiting Instructor of Writing, Bard College. For complete biography, see under-
graduate faculty listing.

Peg Peoples
Visiting Assistant Professor in First-Year Seminar, Bard College. For complete biography, see undergraduate
faculty listing.

Nancy Kline Piore

B.A., Barnard College; Ph.D., Tufts University. Writer and translator; short stories, essays, translations,
and reviews have appeared widely. Books include The Faithful, a novel; a critical study of the poetry of
Ren Char; a biography of Elizabeth Blackwell, M.D.; translation of Paul Eluards Capital of Pain (with
Mary Ann Caws and Patricia Terry; Black Widow Press). Recipient, National Endowment for the Arts
Creative Writing Grant; First Prize, Minnesota Review Fiction Contest. Director, Writing Program,
Barnard College; also teaches in the English and French departments at Barnard.

Marika Pollack
B.A, Harvard University; M.F.A., Columbia University; Ph.D. candidate, Princeton University.
Cofounder, Southfirst Gallery, Brooklyn. Instructor of creative and expository writing, Columbia
(200305). Coeditor, Loop: Alles auf Anfang (KW/PS1, 2002); essays on art and reviews in Bridge,
Thing.net, Flash Art.

Joydeep Roy-Bhattacharya
B.A., Calcutta University; Ph.D. candidate, University of Pennsylvania. First novel, The Gabriel Club
(Granta Books, 1999; winner of Grand Jury Prize, Budapest Book Fair, and several other prizes; published
in 11 languages in 16 countries); second novel, Homeland, forthcoming. Essays include Literature and
Ennui, Npszabadsg; After Rilke: Poetry in a Destitute Time, Forum; After Bacon: Painting and
Truth, Du: Die Zeitschrift der Kultur. Lecturer in politics and philosophy, University of Pennsylvania
(199394); senior research associate, Wharton School, University of Pennsylvania (199497).

Kaia Sand
M.F.A., George Mason University. Author, interval (Edge Books, 2005; Small Press Traffic Book award);,
several chapbooks. Faculty, Willamette University, Pacific University, and St. Marys College of
Maryland program in Oxford, England. Coedits The Tangent, small press and reading series. Member,
PEN America.

Tyler Schmidt
B.S., University of Wisconsin, Madison; M.A., Columbia University; Ph.D. candidate, City University
of New York. Specializes in 20th-century African American literature and 20th-century American
poetry, race, and sexuality studies.

Benjamin Stevens
Assistant Professor of Classics, Bard College. For complete biography, see undergraduate faculty listing.

Dominic A. Taylor
Visiting Assistant Professor of Theater, Bard College. For complete biography, see undergraduate faculty listing.

Robert Tynes
B.F.A., New York University; M.A., University of Washington; Ph.D. candidate, political science,
SUNY Albany. Freelance journalist for the Daily Hampshire Gazette, Seattle Times, and KPLU/National
Public Radio, Seattle.
468 Faculty

Faculty of the Graduate Programs

Bard Center for Environmental Policy
Mara Ranville, Interim Director

Graduate Committee
Norton Batkin, ex officio
Jennifer Phillips
Mara Ranville
Gautam Sethi

Mara Ranville Interim Director

B.A., Macalester College; Ph.D., University of California, Santa Cruz. Research interests include indus-
trial emissions to the atmosphere, policy implications of cross-border transport of atmospheric pollu-
tion, chemical oceanography and marine contamination, economic geology. Former researcher, Flegal
Lab, UC, Santa Cruz; has also worked with U.S. Geological Survey and Michigan Department of
Natural Resources. Taught earth science and environmental toxicology at UC, Santa Cruz. Articles in
Applied Geochemistry; Marine Chemistry; Geochemistry, Geophysics, Geosystems. Member, American
Geophysical Union, Northern California Society of Environmental Toxicology and Chemistry, North
American Association of Environmental Educators.

Ana Arana
B.A., San Francisco State University; M.S., Columbia University Graduate School of Journalism.
Investigative journalist, media trainer, and consultant. Specializes in international criminal organiza-
tions, corruption, and drug trade in Latin America; consults for the Inter-American Press Association
on investigating the murder of journalists in Latin America. Articles have appeared in Marie Claire,
Foreign Affairs, Business Week, Village Voice, New York Daily News, Salon.com. Former foreign corre-
spondent for CBS News, Miami Herald, U.S. News and World Report, Baltimore Sun, San Jose Mercury
News, and Fort Lauderdale Sun-Sentinel.

Mark G. Becker
Director, Geospatial Technology Section, Center for International Earth Science Information Network,
Earth Institute, Columbia University. Responsible for development of geographic information systems
(GIS) applications for education, disaster mitigation, and public health research; overseeing project
budgets; and managing GIS and remote-sensing specialists. Adjunct professor, Columbia University
Graduate School of Architecture, Planning, and Preservation. Founder of NorthStar Mapping, a GIS
and global positioning system consulting group that assists local government and educators. Member,
Meadowlands Conservation Board of Trustees (2000 ). Codirector, Bergen SWAN, a community-
based watershed association (1988 ).

Peter Berle
B.A., Harvard College; L.L.B., Harvard Law School. President, Sky Farm Productions, Inc., which pro-
duces environmental programming for public television. Former host and director, The Environment
Show, weekly radio broadcast aired on more than 200 public radio and ABC Radio Network stations. Past
commissioner, New York State Department of Environmental Conservation; past president and CEO,
National Audubon Society. One of the five U.S. members of the Joint Public Advisory Committee to the
North American Commission on Environmental Cooperation. Member of the Bar of the State of New
York, the Federal District Courts in New York, the U.S. Court of Appeals for the Second Circuit, and the
U.S. Supreme Court.
 Faculty of the Bard Center for Environmental Policy 469

Lee Breckenridge
B.A., Yale University; J.D., Harvard Law School. Professor of Law, Northeastern University School
of Law. Former assistant attorney general for the Environmental Protection Division of the
Massachusetts Attorney Generals Office and for the State of Tennessee. Interests focus on environ-
mental and natural resources law. Teaches courses on environmental decision making, hazardous waste
law, water and wetlands law, environmental advocacy, land-use planning. Published work addresses
biological diversity, water rights, national/state relations in environmental law, and the roles of non-
profit organizations in ecosystem management.

Hillary Brown
B.A., Oberlin College; M.Arch., Yale University. Loeb Fellow, 19992000, Harvard University
Graduate School of Design. Principal, New Civic Works, a consulting organization that implements
sustainable design practices in the construction industry. Former assistant commissioner, New York City
Department of Design and Construction; founder, Office of Sustainable Design, New York Citys first
dedicated initiative in energy- and resource-efficient public facilities, implementing demonstration pro-
jects, policy development, educational programs, and public outreach. Published City of New Yorks
High Performance Building Guidelines, which involved collaboration among public, private, non-
governmental, and academic sectors. Teaches sustainable design at Columbia University Graduate
School of Architecture, Planning and Preservation. Member, board of directors, Scherman Foundation
and U.S. Green Building Council, New York chapter. Former director, U.S. Green Building Council;
former cochair of its State and Local Government Committee.

Paula Di Perna
B.A., M.A., New York University. Public policy analyst and consultant. Former president, Joyce
Foundation; former vice president for international affairs, chief policy adviser, and liaison on environ-
mental issues, Cousteau Society. Member, Council on Foreign Relations. Has taught writing and media
analysis at various institutions, including Ohio State University School of Journalism. Author of many
magazine and newspaper articles and nonfiction books, including Cluster Mystery, widely regarded as a
touchstone of environmental public health reporting. Has written and coproduced documentary films,
including an examination of the Exxon Valdez oil spill and its aftermath. Ran for U.S. Congress (1992).

Stuart E. G. Findlay
B.A., University of Virginia; M.S., University of South Carolina; Ph.D., University of Georgia.
Scientist, Institute of Ecosystem Studies. Research focuses on microbial ecology of subsurface stream
sediments, functional assessment of wetlands, and the Hudson River ecosystem. Member, New Jersey
Sea Grant Science Advisory Committee and Proposal Review Panel, Estuarine Research Federation,
Hudson River Museum, and Scientific and Technical Advisory Committee of Environmental
Protection Agency. Publications include articles in Ecological Applications, Estuaries, New Zealand
Journal of Marine and Freshwater Research, and Limnology and Oceanography.

Ann Goodman
B.A., M.A., Ph.D., University of Chicago. Columnist, Tomorrow magazine, on global environment
business; commentator on business and social responsibility, Marketplace (public radio). Staff positions
at Time Inc. (Fortune magazine), McGraw-Hill (Business Week group); editor in chief at United
470 Faculty

Newspapers. Numerous presentations and articles in media outlets including the New York Times,
Information Week, Fast Company. Cofounder, Womens Network for a Sustainable Future; member,
Global Society Dialogue; past director, Society of Environmental Journalists and National Summit
planning committee for Presidents Council on Sustainable Development.

Mary Evelyn Greene

B.S., B.A., J.D., University of Florida. Former Assistant Regional Counsel, U.S. Environmental
Protection Agency, New York and Atlanta. Instrumental in cases involving enforcement of
Conservation and Recovery Act, Clean Water Act, Safe Drinking Water Act; court experience also
includes defense of fishery regulations and offshore water and marine life protection. Prior to her work
with the EPA, served as Associate Attorney General for the State of Florida, in which capacity she lit-
igated and argued appellate cases related to inverse condemnation, federal preemption, sovereignty
lands, and other environmental and natural resource conservation issues, such as creation of Key Deer
Sanctuary and Floridas ban on the use of drift, purse seine, and gill nets.

Robert Henshaw
B.A., Ohio Wesleyan University; M.S., University of Michigan; Ph.D., State University of Iowa.
Adjunct professor, Department of Geography and Planning, SUNY Albany; has also taught at
Rensselaer Polytechnic Institute and Stanford University Alumni College. Associate aquatic and ter-
restrial ecologist, environmental management specialist, and staff development coordinator, New York
State Department of Environmental Conservation (197495). Former president and board member,
Hudson River Environmental Society. Principal, Assisted Environmental Decisions, which provides
environmental impact assessment and assistance in public participation and training in SEQR, Article
X, and related permit processes. Chair and coordinator of environmental symposia pertinent to the
Hudson Valley. Research and consulting on competing interests for natural resources and land uses;
environmental impacts of siting, construction, and operation of power plants, highways, and other
major developments.

Lori B. Knowles
B.C.L., LL.B., McGill University; M.A., Kings College, University of London, Centre of Medical Law
and Ethics; LL.M., University of Wisconsin Law School. Associate, Law & Bioethics; director, Education
and Outreach, The Hastings Center. Consultant to the Food and Drug Administration, National
Bioethics Advisory Commission, Canadian Biotechnology Advisory Committee. Board of Directors,
Institute of Forest Biotechnology. Principal investigator of international projects on agricultural
biotechnology and reproductive and genetic technologies. Research interests include international
health and bioethics law, property rights in the human body, and intellectual property and biotechnology.

Frederic B. Mayo
B.A., Amherst College; M.B.A., Syracuse University; Ph.D., Johns Hopkins University; diploma,
Institute for Educational Management, Harvard University. Principal, Mayo Consulting Services, Inc.
Extensive experience in strategic planning and certification program development, and training in the
field of hospitality education. Taught for 12 years at the Culinary Institute of America, implemented
new degree programs, led revisions of existing curricula, recruited and managed academic and admin-
istrative staff. Former chair, Master of Arts in Business and Policy Studies, Empire State College.
Member, Board of Directors, Poughkeepsie Institute; president, Phillies Bridge Farm Project.
Recipient, Chancellors Award for Excellence in Teaching; Carolyn Cash Award for Leadership in
Mental Health.

Lee Paddock
B.A., University of Michigan; J.D., Law Review, University of Iowa College of Law. Director,
Environmental Law Programs, Pace University School of Law; former director of environmental policy
and head of Agriculture and Natural Resources Division, Minnesota Attorney Generals Office; senior
 Faculty of the Bard Center for Environmental Policy 471

environmental counsel for the National Association of Attorneys General. Previous consultancy and
research positions include visiting scholar, the Environmental Law Institute; senior consultant,
National Academy of Public Administration; consultant, U.S. Environmental Protection Agency.
Taught at University of Minnesota, University College, William Mitchell College of Law. Law clerk for
the U.S. Eighth Circuit Court of Appeals. Author of numerous technical papers and publications on
compliance, enforcement programs, and policy analyses of environmental policies.

Jennifer G. Phillips
B.S., Hunter College; M.S., Ph.D. in soil, crop, and atmospheric science, Cornell University; postdoc-
toral research, NASA Goddard Institute for Space Studies. Former research associate at the
International Research Institute for Climate Prediction at Columbia Universitys Lamont-Doherty
Earth Observatory. Areas of research: farming systems, climate change and seasonal climate variability,
use of climate information in agricultural management, decision making under climate uncertainty, sus-
tainable food-production systems. Regions of interest: east and southern Africa and the northeastern
United States. Articles in Agricultural Systems, International Journal of Climatology, Agriculture and Forest
Meteorology, and others.

Zygmunt Jan Broel Plater

A.B., Princeton University; J.D., Yale University; LL.M., S.J.D., University of Michigan. Professor,
Boston College Law School. Member of the bar, District of Columbia and Tennessee; teaches and writes
on environmental law, property and land-use law, and administrative process. Has taught on seven law
faculties; has served as consultant on environmental and land-use law issues in Ethiopia, Costa Rica,
Colombia, Nepal, and Japan. Litigated the case of the endangered snail darter fish vs. TVAs Tellico
Dam in federal district court, appeals court, and the Supreme Court, and through extended administra-
tive and congressional hearings. Former chair, State of Alaskas Oil Spill Commission legal research task
force responding to the Exxon-Valdez disaster. Author of Environmental Law and Policy: Nature, Law,
and Society (third edition 2004, Aspen Publishing). Recipient, Boston College Law Schools Faculty
Excellence Award (2000); David Brower Lifetime Achievement Award at the 23rd International Public
Interest Environmental Law Conference (2005).

Jerome Delli Priscolli

B.A., Tufts University; Ph.D., Georgetown University. Senior adviser, Institute for Water Resources,
U.S. Corps of Engineers. Recognized leader in conflict management, water resources, and security.
Extensive involvement with the U.S. government, NATO, World Bank, UNESCO, WHO, UNEP, and
other international organizations. Key facilitator in multilateral negotiations concerning water
resources on every continent. Founding member, Board of Governors, World Water Council. Adviser
to the European Development Bank, International Academy for the Environment in Geneva,
International Hydrologic Program. Cofounder and member, Committee to Save Venice. Received the
Hammer Award for Efficiency in Government from Vice President Al Gore. Maintains a working rela-
tionship with ministers of water resources/environment throughout the world. Editor in chief, Water
Policy, published by the World Water Council. Books include Water and Civilization and Conflict
Resolution in Water Resources (forthcoming).

Andrew Revkin
B.A., Brown University; M.A., Columbia University. One of Americas most honored science writers.
Reporter, New York Times (1995 ), covering regional and global environmental issues; awarded
Investigative Reporters and Editors Award and inaugural National Academies Communication Award.
Author, The Burning Season (Island Press; new edition 2004), which won Sidney Hillman Foundation
Book Prize and Robert F. Kennedy Book Award and was basis for award-winning HBO film; also wrote
Global Warming: Understanding the Forecast (Abbeville, 1992). Formerly senior editor, Discover; staff
writer, Los Angeles Times; senior writer, Science Digest. Adjunct professor, Columbia University School
of Journalism. Invited member, New York Academy of Sciences.
472 Faculty

David S. Sampson
J.D., SUNY Albany. Attorney specializing in land-use issues and community development with Martin
Law Firm, Troy, New York. Adjunct professor, Columbia University Graduate School of Architecture,
Planning and Preservation. Founding director, Hudson River Valley Greenway Council, a New York
Stateinitiated study that led to creation of the Hudson River Valley Greenway in 1991 and the
Hudson River Valley National Heritage Area in 1996. Past chair, Environmental Law Section of New
York State Bar Association and New York State Freshwater Wetlands Appeals Board. Adviser to
Rockefeller Brothers Fund on Central and Eastern European Greenway programs. Former journalist
with Associated Press.

Gautam Sethi
B.A., University of Delhi; M.A., Delhi School of Economics; M.Phil., Jawaharlal Nehru University,
New Delhi; Ph.D., University of California, Berkeley (Outstanding Graduate Student Instructor
Award). Fellow, University of Texas, Austin. Research interests include natural resource and environ-
mental economics, applied microeconomics, game theory, philosophy of economics, history of eco-
nomic thought. Worked in India on energy-economy-environment linkages and associated policy
issues. Designed and taught a Rethinking Economics course at UC, Berkeley. Author, working papers
on climate-change policy impacts at Redefining Progress, San Francisco, and a companion volume to
Jeffrey Perloffs Microeconomics. Has given talks at academic institutions, research institutes, policy
forums, and professional society meetings.

Eleanor Jane Sterling

B.A., M.Phil., Ph.D., Yale University. Program director (19962002), director (2002 ), Center for
Biodiversity and Conservation, American Museum of Natural History, New York. Spearheaded estab-
lishment of Network of Conservation Educators and Practitioners, with programs in Bolivia, Madagascar,
Mexico, and the United States. Served as programming consultant and environmental education trainer
with U.S. Peace Corps, Madagascar, and conservation education specialist, Ivoloina Zoological Park,
Toamasina, Madagascar (199496). Board member, IUCN World Commission on Protected Areas,
Center for Environmental Research and Conservation, Society for Conservation Biology, Lemur
Conservation Foundation, others. Awards include Echoing Green Public Service Fellowship (199496),
NATO Postdoctoral Fellowship (199394), John W. Mellon Fellowship (199192). Has taught conser-
vation biology at Columbia University since 1997.

Kathleen Weathers
B.A., Albion College; M.F.S., Yale University; Ph.D., Rutgers University. Senior scientist, Institute of
Ecosystem Studies. Adjunct faculty, Cornell University. Research interests include quantifying cross-
boundary nutrient fluxes, examining influence of landscape structure on atmospheric inputs, and under-
standing controls on nutrient and pollutant cycling within forest ecosystems. Research sites in Acadia
and Great Smoky Mountains National Parks; Catskill Mountains; Chiloe Island, Chile; Namibia,
Africa (pilot project); and Dutchess County, New York. Publications include articles in Science, Nature,
Trends in Evolution and Ecology, BioScience, and Ecological Applications.

Iddo Wernick
B.S., University of California, Los Angeles; M.S., Ph.D., Columbia University. Senior associate, World
Resources Institute (2002 ), vice president of content development, Ecos Technologies (200002);
associate research scientist, Earth Institute, Columbia University (19972000); research associate,
Program for the Human Environment, The Rockefeller University (199297); adjunct professor of
physics, Yeshiva University (199094). Awarded AT&T Industrial Ecology Faculty Fellowship (1999).
Publications include Material Flow Accounts: A Tool for Making Environmental Policy (with F. H. Irwin,
The World Resources Institute, forthcoming); Environmental Knowledge Management, Journal of
Industrial Ecology (2003); Industrial Ecology and the Built Environment, Construction Ecology: Nature
as a Basis for Green Buildings (2001, Spon Press).
 Faculty of the Bard Graduate Center 473

The Bard Graduate Center for Studies in the Decorative Arts,

Design, and Culture
Susan Weber Soros, Founder and Director

Graduate Committee
Susan Weber Soros
Peter N. Miller, Chair of Academic Programs
Elena Pinto Simon, Associate Dean
Kenneth Ames
Norton Batkin, ex officio
Jeffrey Collins
Pat Kirkham
Deborah Krohn
Franois Louis
Michele Majer
Peter Miller
Amy F. Ogata
Elizabeth Simpson
Kevin L. Stayton
Catherine Whalen

Susan Weber Soros Founder and Director

A.B., magna cum laude, Barnard College; M.A., Cooper-Hewitt National Design Museum/Parsons School
of Design; Ph.D., Royal College of Art, London. Founder and publisher, Source: Notes in the History of Art;
lecturer on 18th- and 19th-century decorative arts topics for Royal Oak Foundation and Irish Georgian
Society; director, Philip Colleck of London, specialists in English antiques; assistant director, New York:
The State of Art, New York State Museum; associate producer of documentary films In Search of Rothko
and The Big Picture; executive director, Open Society Fund. Publications include H. W. Batley: Artist and
Designer, Studies in the Decorative Arts (spring 1999); The Secular Furniture of E. W. Godwin (1999);
E. W. Godwin: Aesthetic Movement Architect and Designer (1999); Edward William Godwin, New
Dictionary of National Biography (2000); Thomas Jeckyll: Architect and Designer, 18271881 (coauthor,
2003); The Castellani and Italian Archaeological Jewelry (coauthor, 2004); Building an International
Reputation: The Georg Jensen Phenomenon in the United States, 19151973, Georg Jensen Jewelry
(2005); James Athenian Stuart (editor, forthcoming). Awards include Mecenate, Premio Universit degli
Orafi di Roma (2005); Henry Russell Hitchcock Award from the Victorian Society in America (2000,
2004); Philip C. Johnson Award of the Society of Architectural Historians (2000, 2004); AFA Cultural
Leadership Award (2003); Educator in the Arts, Bezalel Academy of Arts and Design, Jerusalem (2001);
House Beautiful Giants of Design Award (2001); George Wittenborn Memorial Book Award (2000); Spirit
of the City Award, Cathedral Church of St. John the Divine (1999); Woman of Achievement Award,
Barnard College (1997); National Arts Club Gold Medal Award (1997). The Iris Horowitz Professor in the
History of the Decorative Arts.

Peter N. Miller Chair of Academic Programs and Professor

B.A., Harvard College; M.A., Harvard University; Ph.D., University of Cambridge. Assistant professor,
University of Maryland; Mellon Instructor, University of Chicago; research fellow, University of
Cambridge. Fellowships include John D. and Catherine T. MacArthur Foundation; National
Endowment for the Humanities; John Simon Guggenheim Foundation. Publications include Peirescs
Europe: Learning and Virtue in the Seventeenth Century (2000); Defining the Common Good: Empire,
Religion and Philosophy in Eighteenth-Century Britain (1994); The Song of the Soul: Understanding Poppea
(coauthor, 1992); numerous articles and reviews.
474 Faculty

Kenneth L. Ames Professor

B.A., Carleton College; M.A., Ph.D., University of Pennsylvania. Recipient, National Endowment for
the Humanities fellowships and American Philosophical Society grants. Publications include Beyond
Necessity: Art in the Folk Tradition; Death in the Dining Room and Other Tales of Victorian Culture; Victorian
Furniture (editor); Decorative Arts and Household Furnishings in America, 16501920: An Annotated
Bibliography (coeditor); Ideas and Images: Developing Interpretive History Exhibits (coeditor); and numer-
ous chapters, articles, and reviews.

Pat Kirkham Professor

B.A., University of Leeds; Ph.D., University of London. Professor of design history and cultural studies,
De Montfort University; founding board member, Journal of Design History; international advisory board,
Art History and Visual Culture in Britain; editorial adviser, Studies in the Decorative Arts. Grants include
Leverhulme Fellowship, South Square Fellowship (Royal College of Art),WolfsonianFlorida
International University Fellowship, Getty Senior Scholar. Writes widely on design, gender, and film;
publications include Women Designers in the U.S.A. 19002000: Diversity and Difference; Charles and Ray
Eames: Designers of the Twentieth Century; Harry Peach, Dryad, and the DIA; The London Furniture Trade;
Saul Bass: A Life in Design and Film.

Deborah L. Krohn Associate Professor

A.B., M.F.A., Princeton University; Ph.D., Harvard University. Visiting assistant professor, University
of Maryland at College Park; associate museum educator, Metropolitan Museum of Art; adjunct profes-
sor, Cooper-Hewitt National Design Museum/Parsons School of Design. Fellowships include ACLS
Travel Grant; Peter KruegerChristies Fellowship, Cooper-Hewitt Museum; Harvard Whiting Fellowship;
Fulbright Fellowship; American Association of University Women Fellowship. Selected publications:
Between Legend, History, and Politics: The Santa Fina Chapel in San Gimignano in Stephen
Campbell and Stephen Milner, eds., Italian Renaissance Cities: Cultural Translation and Artistic Exchange;
Taking Stock: Evaluation of Works of Art in Renaissance Italy, The Art Market in Italy; The Gavet-
Vanderbilt-Belmont Collection, John Ringling: Dreamer, Builder, Collector; The Framing of Two Tondi
by Filippino Lippi in San Gimignano, Burlington Magazine.

Franois Louis Assistant Professor

M.A., Ph.D., University of Zurich. Editor-in-chief, Artibus Asiae. Lecturer, University of Zurich; assis-
tant curator, Museum Rietberg Zurich. Books include Die Goldschmiede der Tang- und Song-Zeit; An
Index of Gold and Silver Artifacts Unearthed in the Peoples Republic of China (coauthor); Chinesisches Gold
und Silber: Die Sammlung Pierre Uldry (editor and contributing author). Articles in Ars Orientalis, Arts
of Asia, Asiatische Studien, Harvard Journal of Asiatic Studies, Georges-Bloch-Jahrbuch, Journal of Sung-
Yuan Studies.

Michele Majer Assistant Professor

A.B., Barnard College; M.A., New York University. Assistant curator, Costume Institute, Metropolitan
Museum of Art; research associate, Cora Ginsburg, LLC; adjunct faculty, NYU. Publications include
articles in Wrights Ferry Mansion (2005), Encyclopedia of Clothing and Fashion (2005), Cora Ginsburg
Catalogue (200006), The Age of Napoleon: Costume from Revolution to Empire, 17891815 (1989) and
Romance and Chivalry: History and Literature Reflected in Early Nineteenth-Century French Painting (1996).

Andrew Morrall Professor

B.A., St. Johns College, Oxford University; M.A., Ph.D., Courtauld Institute of Art, London
University. Recipient, British Academy scholarship, London University research grants, Samuel H.
Kress Award. Publications include Jrg Breu the Elder; Art, Culture and Belief in Reformation Augsburg
(2001); numerous articles on aspects of northern Renaissance fine and applied arts, aesthetics and the
theory of representation, art and Reformation society, and the history of collecting.
 Faculty of the Bard Graduate Center 475

Amy F. Ogata Associate Professor

B.A., Smith College; M.A., Ph.D., Princeton University. Publications include Art Nouveau and the Social
Vision of Modern Living (2001); articles in Winterthur Portfolio, The Journal of Design History; The Arts and
Crafts Movement in Europe and America, 18801920: Design for the Modern World; Policing the Boundaries
of Modernity/Antimodernism and Artistic Experience; Belgium: The Golden Decades; Encyclopedia of Interior
Design; The Built Surface: Architecture and Pictures from Antiquity to the Millennium.

Sarah B. Sherrill Editor, Studies in the Decorative Arts

B.A., Phi Beta Kappa, Smith College; postgraduate study, Columbia University; Institute of Fine Arts,
New York University; University of Delaware/Winterthur Museum; Attingham Summer School.
Recipient, Joseph V. McMullan Award (2000) for scholarship on Oriental carpets. Publications: Carpets
and Rugs of Europe and America (1996); articles and reviews in Studies in the Decorative Arts, Oriental
Carpet and Textile Studies, Hali, The Magazine Antiques, Encyclopedia Iranica; essays in exhibition cata-
logues: The Warp and Weft of Islam (1978) and Transitory Splendour: Furnishing Textiles in Western Europe
from 1600 to 1900 (2001).

Elizabeth Simpson Associate Professor

B.A., M.A., University of Oregon; Ph.D., University of Pennsylvania. Director, Gordion Furniture
Project, and research associate, University of Pennsylvania Museum; guest lecturer, Furniture Conser-
vation Training Program, Smithsonian Institution; visiting professor, Duke University; guest faculty,
Sarah Lawrence College; assistant curator, Department of Ancient Near Eastern Art, Metropolitan
Museum of Art; traveling lecturer, Archaeological Institute of America. Grants include American
Council of Learned Societies; National Geographic Society; National Endowment for the Humanities;
Getty Grant Program; Samuel H. Kress Foundation; Archaeological Institute of America; American
Research Institute in Turkey; British Academy. Publications include Gordion Wooden Furniture; The
Wooden Furniture from Tumulus MM, Gordion; The Spoils of War; and articles in Expedition; Archaeology;
Source; Journal of Field Archaeology; Civilizations of the Ancient Near East.

Catherine Whalen Assistant Professor

B.S., Cornell University; M.A., Winterthur Program in Early American Culture, University of Delaware;
M.A., M.Phil., Ph.D., Yale University. Fellowships include Whiting Fellowship in the Humanities,
Smithsonian Institution Predoctoral Fellowship, Yale College Prize Teaching Fellowship, and Henry S.
McNeil Fellowship in American Decorative Arts. Dissertation on The Alchemy of Collecting: Material
Narratives of Early America, 18901940. Articles include Finding Me, Afterimage; American
Decorative Arts Studies at Yale and Winterthur: The Politics of Gender, Gentility, and Academia,
Studies in the Decorative Arts; The Pickman Family Vues dOptique, Winterthur Portfolio; Philadelphia
Cabinetmaker Isaac Jones and the Vansyckel Bedchamber Suite, Nineteenth Century; Nature
Transformed: American Arts & Crafts and California Plein Air Paintings of the Early 1900s, Revisiting
Landscape; and other essays and reviews.

Visiting Faculty

Johanna Elizabeth Bauman

B.A., George Mason University; M.A., Ph.D., University of Virginia. Project coordinator: Catena, the
Digital Archive of Historic Gardens and Landscapes, BGC. Publications: Tradition and Transformation:
The pleasure garden in Piero de Crescenzis Liber ruralium commodorum, Studies in the History of Gardens
and Designed Landscapes (complete issue); translation of On Historical Time, by Erwin Panofsky,
Critical Inquiry; translation of Garten des Mittelalters, by Dieter Hennebo (forthcoming); and other trans-
lations and book reviews.
476 Faculty

Timothy Benton
B.A., M.A., Cambridge University; M.A., Courtauld Institute of Art, University of London. Professor of
art history, former Head of Department and Dean of Arts, The Open University, Milton Keynes, U.K.
Academic committees include Council of National Academic Awards; Higher Education Funding
Council; chairman, Design History Publications Committee, Association of Art Historians; editorial
board member, Art History. Publications include PEL and Tubular Steel Furniture of the Thirties (coauthor);
Tubular Steel Furniture (coauthor); Art Nouveau Furniture (contributor); Les Villas de Le Corbusier et Pierre
Jeanneret: 19201930; Le Corbusier: La Villa La Roche; Villa Savoye and the Architects Practice, Le
Corbusier Villa Savoye and Other Buildings, 19291930; and numerous other articles. Exhibitions include
Thirties: British Art and Design Before the War (cocurator); Le Corbusier: Architect of the Century; Le
Corbusier: La Ricerca Paziente; LAventure Le Corbusier: 18871965; Art and Power: Europe Under the
Dictators 19301945; and Art Deco.

Marcus Burke
B.A., Princeton University; M.T.S., Harvard University; M.A., Ph.D., New York University Institute of
Fine Arts. Curator of paintings, drawings, and metalwork at The Hispanic Society of America, New
York. Former adjunct professor of fine arts, NYU Institute of Fine Arts; former faculty, Yale University,
SUNY Purchase, Southern Methodist University, University of Texas, Stephen F. Austin State
University, Saint Peters College, Rutgers University, Cooper-Hewitt National Design Museum Masters
Degree Program in the Decorative Arts. Taught hybrid history studio courses in old master materials and
techniques as well as more traditional art history classes. Awards include J. Clawson Mills Research
Fellowship, The Metropolitan Museum of Art. Cocurator, Mexico: Splendors of Thirty Centuries; guest
curator, Art Museum of South Texas and Davenport Museum of Art; chief curator and assistant director
of Meadows Museum, Southern Methodist University.

Jeffrey L. Collins
B.A., Ph.D., Yale University; B.A., M.A., University of Cambridge. Fellow of American Academy in
Rome, recipient of Fulbright, NEH, and American Philosophical Society grants. Publications include
Papacy and Politics in Eighteenth-Century Rome: Pius VI and the Arts (Cambridge University Press); con-
tributions to Burlington Magazine, Journal of the Society of Architectural Historians, Memoirs of the American
Academy in Rome, Eighteenth-Century Studies, Ricerche di Storia dellArte, Kunstchronik, and anthologies
including The Impact of Italy: The Grand Tour and Beyond; Amor y Desamor en las Artes; Pocket Cathedrals:
Pre-Raphaelite Book Illustration; American Artifacts: Essays in Material Culture.

Tracy Ehrlich
B.A., Princeton University; Ph.D., Columbia University. Specialist in Italian Renaissance and Baroque
art, architecture, and landscape history. Publications include Landscape and Identity in Early Modern
Rome: Villa Culture at Frascati in the Borghese Era (Cambridge University Press, 2002; Salimbeni Prize
for best book on Italian art); articles on Hadrians Villa near Tivoli, Villa Borghese in Rome, and Villa
Mondragone near Frascati. Has taught at Vassar College, Colgate University, Rutgers University.

Juliet Kinchin
B.A., M.A., University of Cambridge; M.A., Courtauld Institute of Art, London University. Lecturer,
reader, founding director, Postgraduate Decorative Arts Programme, Glasgow University; former lec-
turer in historical and critical studies, Glasgow School of Art; former senior curator, Glasgow Museums
and Galleries. Recipient, Wolfsonian/FIU Foundation Fellowship, British Council Fellowships, Getty
Foundation Grant. Publications include Glasgows Great Exhibitions, 1888, 1901, 1911, 1938, 1988;
Britain and Hungary: Contacts in Architecture and Design during the Nineteenth and Twentieth Centuries (ed.
G. Ernyey); Godwin and Modernism, in E. W. Godwin (ed. Susan W. Soros); Mackintosh and the
City, Charles Rennie Mackintosh (ed. W. Kaplan); also essays in The Scottish Home (ed. A. Carruthers);
The Gendered Object (ed. Pat Kirkham); Glasgow GirlsWomen in Art and Design 18801920
 Faculty of the Bard Graduate Center 477

(ed. J. Burkhauser); others. Journal reviews and articles, including Modernity and Tradition in
Hungarian Furniture, 19001938, The Journal of Decorative and Propaganda Arts.

Caroline Maniaque
Matrise dArts Plastique; Diplme dEtudes Approfondies en Histoire de lArt, Architecte D.P.L.G.,
Ecole darchitecture, Paris; Diplme dEtudes Approfondies en Architecture, Ecole darchitecture de
Paris-Belleville; Doctorat en Architecture et Urbanisme, Universit de Paris (in progress). Matre-
assistant titulaire en histoire et cultures architecturales, Ecole darchitecture de Lille; Program
Organizer, 20th-Century Architectural History, School of Architecture of the University of Illinois at
Urbana-Champaign Program in Versailles. Publications include La fabrique dune architecture: les
Maisons Jaoul de Le Corbusier (195155) (forthcoming); La Maison Fisher (1965); Louis Kahn et lhabitat
individuel (forthcoming); Hard et Soft America: Perspectives franaises, Les Cahiers de la recherch
architecturale et urbaine; Graduate School of Design, Lenseignement de larchitecture; Nons et cath-
odes, Lumires; and numerous other articles.

William Rieder
B.A., Yale University; M.A., Harvard University. Curator, Department of European Sculpture and
Decorative Arts, Metropolitan Museum of Art; head, photo archive, Getty Center. Fellowships:
Clawson Mills Fellow, Metropolitan Museum of Art; Samuel H. Kress Foundation, Department of
Furniture and Woodwork, Victoria and Albert Museum; CINOA. Publications include An
Eighteenth-Century Augsburg Cabinet, The Burlington Magazine; Furniture Smuggling for a Duke,
Apollo; Pierre Langlois: bniste, The Connoisseur (coauthor); A Baroque Pier Table, The Antique
Collector; and numerous other essays, reviews, and articles. Forthcoming catalogue: The Robert Lehman
Collection, French and Italian Furniture.

Maria Ruvoldt
B.A., Smith College; M.A., M.Phil., Ph.D., Columbia University. Mellon Postdoctoral Fellow,
University of Pennsylvania; adjunct professor, Cooper-Hewitt National Design Museum/Parsons School
of Design; Columbia University. Recipient, Wittkower Fellowship and Presidents Fellowship,
Columbia University. Publications include The Italian Renaissance Imagery of Inspiration: Metaphors of
Sex, Sleep, and Dream; Michelangelos Dream, Art Bulletin; Sacred to Secular/East to West: The
Renaissance Study and Strategies of Display, Renaissance Studies (forthcoming), and an essay on the
state of Renaissance art history in a forthcoming volume edited by James Elkins and Robert Williams.

Kevin L. Stayton
B.A., Ohio State University; M.A., M.Phil., Yale University. Curator, Department of Decorative Arts,
and chief curator, Brooklyn Museum of Art; cocurator, The Treasures of San Gennaro: Baroque Silver from
Naples; Back to Brooklyn (decorative arts section); Converging Cultures: Art & Identity in Spanish America
(project director); Vital Forms: American Art in the Atomic Age, 19401960, Brooklyn Museum of Art.
Author, Dutch by Design: Tradition and Change in Two Historic Brooklyn Houses.
478 Faculty

Center for Curatorial Studies and Art in Contemporary Culture

Tom Eccles, Executive Director
Maria Lind, Director, Graduate Program

Graduate Committee
Rhea Anastas
Norton Batkin, ex officio
Lynne Cooke
Thelma Golden
Ivo Mesquita
Robert Storr
David Levi Strauss

Tom Eccles Executive Director

M.A., University of Glasgow. Former public art consultant and project manager, Art in Partnership,
Edinburgh, Scotland. Director, Public Art Fund, New York (19962005); has organized innovative
contemporary art exhibitions for Rockefeller Center, Battery Park City, Park Avenue, Doris C.
Freedman Plaza in Central Park, and other city venues; established partnerships with major New York
City museums; initiated the In the Public Realm program for emerging artists, and Tuesday Night
Talks, a lecture series promoting dialogues between artists, curators, art critics, students, and the pub-
lic. Has written extensively about contemporary art and lectured at colleges and universities through-
out the United States.

Maria Lind Director, Graduate Program

M.A., University of Stockholm. Studied at the Whitney Museum Independent Studies Program.
Director, International Artists Studio Program in Sweden (IASPIS), Stockholm; former director, Munich
Kunstverein (20022004). Curator, Moderna Museet, Stockholm (19972001); has curated or cocu-
rated exhibitions in Slovenia, Macedonia, Liechtenstein, Norway, Brazil, the Netherlands, France,
Germany, Scotland, and the United States. Served as critic at the Swedish daily Svenska Dagbladet
(19931997) and as coeditor of the Nordic review Index (19951998). Has published in Frieze, Art
Monthly, Parkett, and Flash Art, among others, and contributed to Fresh Cream (Phaidon, 2000).

Marcia Acita Assistant Director, Hessel Museum of Art

B.F.A., University of Colorado, Boulder; M.F.A., University of North Carolina, Chapel Hill. Guest lec-
turer, School of Contemporary Arts, Ramapo College of New Jersey. Registrar and exhibition coordi-
nator, Edith C. Blum Institute, Bard College (198892); registrar (1992 ) and acting director of the
museum (199798), Center for Curatorial Studies and Art in Contemporary Culture. Curator, Alighiero
e Boetti (1998), Gabriel Orozco: Selections from the Marieluise Hessel Collection (2000), Works through the
Windows (2004); numerous artists book exhibitions and video presentations.

Rhea Anastas
B.A., M.A., Columbia University; Ph.D., Graduate School and University Center, City University of
New York. Lecturer, Visual Arts Department, Mason Gross School of the Arts, Rutgers University
(2001 ). Cofounder, Rclame Lecture Series, New York (1998 ). Coeditor, Dan Graham: Works
19652000 (2001). Publications include articles and exhibition catalogue on postwar and contemporary
art, criticism, and theory, including monographic essays on Dan Graham, Christian Marclay, Allan
McCollum, Christian Phillip Mller, and others; articles and reviews in Art Journal, Art Nexus, Documents,
Texte zur Kunst.
 Faculty of the Center for Curatorial Studies and Art in Contemporary Culture 479

Julie Ault
Artist. Recent exhibitions include Information (with Martin Beck), Storefront for Art and Architecture,
New York City (2006); Mirage (with Martin Beck), Alexander and Bonin Gallery, New York City
(2005); Points of Entry, Queens College, City University of New York (2004). Visiting lecturer, Critical
Studies Program, Malm, Sweden. Author, Come Alive: The Spirited Art of Sister Corita Kent (2006);
coauthor (with Martin Beck), Critical Condition: Selected Texts in Dialogue (2003).

Michael Brenson
B.A., Rutgers University; M.A., Ph.D., Johns Hopkins University. Independent critic. Art critic, New
York Times (198291). Curated exhibitions of Magdalena Abakanowicz, P.S. 1, (1993); Ryoji Koie,
Gallery at Takashimaya (1994); Jonathan Silver, Sculpture Center (1995). Publications include
Visionaries and Outcasts: The NEA, Congress, and the Place of the Visual Artist in America (2001); Sol
LeWitt: Concrete Block Structures (2002); museum catalogues on Elizabeth Catlett, Mel Edwards, Maya
Lin, Juan Munoz, Martin Puryear, and David Smith; numerous essays on modern and contemporary
sculpture, public art, and contemporary art and its institutions. Currently working on a biography of
David Smith. Faculty, Milton Avery Graduate School of the Arts, Bard College.

Johanna Burton
B.A., University of Nevada, Reno; M.A., SUNY Stony Brook; M.Phil., New York University; Ph.D.
candidate, Princeton University. Teaching Fellow, Whitney Museum of American Art (2004 ).
Cocurator, Videodrome II, New Museum of Contemporary Art (2002); Super-ficial: The Surfaces of
Architecture in a Digital Age, New Museum of Contemporary Art (2003). Recipient, Helena Rubinstein
Critical Studies Fellow, Whitney Independent Studies Program (200001); Joanne Leonhardt Cassullo
Curatorial Fellow, New Museum of Contemporary Art (200102); Frank J. Mather Jr. Fellow, Princeton
University (200304). Has written many catalogue essays and published articles on contemporary art
and artists in publications such as Artforum, Grand Street, Time Out New York.

Lynne Cooke
B.A., University of Melbourne; M.A., Courtauld Institute of Art; Ph.D., London University. Curator,
Dia Art Foundation, New York. Lecturer, History of Art Department, University College, London
(197989); visiting lecturer, Visual Arts Department, Syracuse University (1987), and Graduate
Sculpture School, Yale University (1990, 1992, 1998); visiting graduate critic, School of the Arts,
Columbia University (200102). Cocurator, Aperto, Venice Biennale (1986), and Carnegie
International (1991); artistic director, Biennale of Sydney (1996). Curated exhibitions at the Arnolfini
Gallery, Bristol; Whitechapel Art Gallery and Hayward Gallery, London; Third Eye Center, Glasgow;
Institute of Contemporary Art, Boston; and elsewhere. Articles on contemporary art in exhibition cat-
alogues and in Art Monthly, Burlington Magazine, Parkett, and other journals.

Joshua Decter
B.A., SUNY Purchase; graduate study, New York University and City University of New York. Has
taught at Bennington College; Graduate School of Art, NYU; Graduate School and University Center,
CUNY; Art Center College of Design, Pasadena; University of California, Los Angeles; others. Program
coordinator/assistant curator, P.S. 1 Contemporary Art Center (198688). Publications include cata-
logue essays for MAK, Vienna; Centre National dArt Contemporain, Grenoble; The Photographers
Gallery, London; and articles and reviews in Artforum, Flash Art, Texte zur Kunst, others.

Thelma Golden
B.A., Smith College. Deputy director for exhibitions and programs, The Studio Museum in Harlem,
New York (2000 ). Visual arts director, Jamaica Arts Center, Jamaica, New York (198991); director
and exhibition coordinator, Whitney Museum of American Art at Philip Morris (199193); associate
curator, director of branch museums (199396) and curator (199698), Whitney Museum of American
480 Faculty

Art; special projects curator, Peter Norton Family Foundation (199899). Organized exhibitions of
Romare Bearden, Jane Dickson, Jacob Lawrence, Suzanne McClelland, Lorna Simpson, Matthew
McCaslin, Glenn Ligon, and others at the Whitney Museum of American Art at Philip Morris.
Cocurator, 1993 Biennial Exhibition; curator, Black Male: Representations of Masculinity in Contemporary
American Art (1994) and Bob Thompson: A Retrospective (1998), all at the Whitney Museum of
American Art; curator, Isaac Julien: Vagabondia (2000), Martin Puryear: The Cane Project (2000),
Material and Matter (2001), Black Romantic (2002), among others, at Studio Museum in Harlem.
Publications include essays for Artforum, ACME, Poliester.

Chrissie Iles
B.A., University of Bristol; postgraduate diploma in arts administration, City University, London.
Curator, Film and Video, Whitney Museum of American Art. Adjunct professor, Columbia University.
Head of exhibitions, Museum of Modern Art, Oxford (198897). Curator, Signs of the Times: Film,
Video, and Slide Installations in Britain in the 1980s (1990), Scream and Scream Again: Film in Art (1996),
and exhibitions of Sol LeWitt, John Latham, Gary Hill, Donald Judd, Marina Abramovic, Louise
Bourgeois, and Yoko Ono, Museum of Modern Art, Oxford; Into the Light: The Projected Image in
American Art 19641977 (2001), Jack Goldstein: Films and Performance (2002), and Riverrun (2002),
Whitney Museum of American Art; and The Age of Anxiety (2002), Santa Monica Museum of Art.
Cocurator, Flashing into the Shadows: The Artists Film after Pop and Minimalism 19661976 (2000), and
the 2002 and 2004 Biennial Exhibitions, Whitney Museum of American Art. Author of numerous
exhibition catalogue essays and articles in Artforum, Art Journal, Art Monthly, Flash Art, Parkett, others.

Nico Israel
B.A., University of California, Los Angeles; Ph.D., Yale University. Associate professor of English and
comparative literature, Hunter College, City University of New York. Assistant professor or visiting
assistant professor, New York University (199598), Williams College (199899), Columbia University
(2001), and Duke University (2002). Publications include Outlandish: Writing between Exile and
Diaspora (2000); academic articles on Joseph Conrad, Theodor Adorno, Salman Rushdie, and Wallace
Stevens; several exhibition catalogue essays; and numerous articles in Artforum and Bookforum.

Kay Larson
B.A., Pomona College. Adjunct instructor, Department of Fine Arts, New York University (199097).
Publications director, Hayden Gallery, Massachusetts Institute of Technology (197172); art critic, The
Real Paper, Cambridge, Massachusetts (197275); associate editor, ARTnews (197578); art critic,
Village Voice (197980); art critic and contributing editor, New York magazine (198094). Regularly
contributes features and reviews to the New York Times.

Ann Lauterbach
David and Ruth Schwab Professor in Languages and Literature, Bard College. Faculty, Milton Avery Graduate
School of the Arts. For complete biography, see undergraduate faculty listing.

Diane Lewis
B.Arch., Irwin S. Chanin School of Architecture, Cooper Union. Professor, Irwin S. Chanin School of
Architecture, Cooper Union. Recipient, Rome Prize in Architecture (197677), American Academy
in Rome. Assistant professor, University of Virginia (197778) and Graduate School of Architecture
Yale University (197882). Lectured at Graduate School of Design, Harvard University; Architectural
Association, London; Royal Academy, Copenhagen; and universities and art schools throughout the
United States. Visiting critic, Sommerakademie, Salzburg, Austria (1984), and Royal Melbourne Institute
of Technology, Australia (1990). Architectural practice has included residences, private libraries, art
galleries, and museums.
 Faculty of the Center for Curatorial Studies and Art in Contemporary Culture 481

Cuauhtmoc Medina
B.A., National University of Mexico; Ph.D., University of Essex. Researcher, Instituto de
Investigaciones Estticas, National University of Mexico, Mexico City; associate curator, Latin
American art collections, Tate Gallery, London. Member, Teratoma, group of curators, critics, and
anthropologists based in Mexico City. Organizer, Francis Alss Where Faith Moves Mountains (Lima,
Peru, 2002); curator, 20 Million Mexicans Cant Be Wrong, South London Gallery (2002); researcher,
International show at Liverpool Biennial (2002). Recent articles include Sobre el Abrumador deseo
de Poner Orden/The Overwhelming Desire for Order in Iigo Manglano (Mexico-Monterrey: Museo
TamayoMuseo de Arte Contemporneo de Monterrey, 2004); Gerzso and the Indo-American
Gothic: From Eccentric Surrealism to Parallel Modernism in Risking the Abstract: Mexican Modernism
and the Art of Gunther Gerzso (Santa Barbara Museum of Art, 2003).

Ivo Mesquita
B.A., M.A., So Paulo University, Brazil. Curator, Projeto Octgono at Pinacoteca do Estado, So
Paulo (2003 ). Researcher and assistant curator (198088) and director (19992000), So Paulo
Bienal Foundation; director, Museu de Arte Moderna, So Paulo (200102). Curator, Voyage to Dakar:
Three Artists from the Americas, VI Dakar Biennale (2004); Iigo Manglano-Ovalle: Climate, Fundacin
la Caixa, Madrid (2003); Alair Gomes, fotgrafo, Museu da Imagem e do Som, So Paulo (1999); Stills:
Works from the Marieluise Hessel Collection, CCS, Bard College (1997); among others. Cocurator,
F[r]icciones, Museo Reina Sofia, Madrid (2000); inSite 1997 and inSite 2000, San Diego/Tijuana;
Roteiros . . . , 24th So Paulo Bienal (1998). Publications include Eliane Prolik: Noutro Lugar (2005);
F[r]icciones (with Adriano Pedrosa, 2001); Daniel Senise: ela que no est (1998); Leonilson: use lindo,
eu garanto (1997); catalogue essays.

Christian Rattemeyer
Faculty, Milton Avery Graduate School of the Arts, Bard College. For complete biography, see Milton Avery
Graduate School of the Arts faculty listings.

David Levi Strauss

Visiting Professor of Studio Art, Bard College; faculty, Milton Avery Graduate School of the Arts, Bard College.
For complete biography, see undergraduate faculty listings.
482 Faculty

The Conductors Institute at Bard

Harold Farberman, Director

Harold Farberman Director

B.M., The Juilliard School; M.A., New England Conservatory. Composer of diverse works for orches-
tra, three operas, numerous chamber works, an Academy Awardwinning documentary film score,
music for dance companies. Works performed internationally; three CDs released by Albany Records.
Recipient of the Ives Award for definitive interpretations of the work of Charles Ives. Recordings of
works by Irwin Bazelon, Michael Haydn, Ives, and Mahler, as well as his own music, have earned inter-
national recognition. Founder of the Conductors Guild. Author of The Art of Conducting Technique: A
New Perspective. Founder and artistic director of the Conductors Institute.

James Bagwell
Associate Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Kyle Gann
Associate Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Christopher H. Gibbs
James H. Ottaway Jr. Professor of Music, Bard College. For complete biography, see undergraduate fac-
ulty listing.

Franz R. Kempf
Professor of German, Bard College. For complete biography, see undergraduate faculty listing.

Laurence D. Wallach
A.B., M.A., Ph.D., Columbia University. Areas of interest: music composition, piano performance,
musicology. Compositions performed in New York, Boston, and western Massachusetts. Active as a
chamber music pianist; performs on harpsichord and organ with the Berkshire Bach Society. Writings
about Charles Ives published in Musical Quarterly and Dictionary of Twentieth-Century Music; articles
about Brahms published in The Compleat Brahms. Music faculty, Bard College at Simons Rock: The Early
College (1973 ).
 Faculty of the ICPBard Program in Advanced Photographic Studies 483

ICPBard Program in Advanced Photographic Studies

Nayland Blake, Chair

Graduate Committee
Norton Batkin, ex officio
Phillip S. Block
Nancy Davenport
Arthur Gibbons
Willis E. Hartshorn
Suzanne Nicholas
Stephen Shore

Core Faculty

Nayland Blake Chair

Faculty, Milton Avery Graduate School of the Arts, Bard College. For complete biography, see Milton
Avery Graduate School of the Arts faculty listing.

Nancy Davenport
B.F.A., York University, Toronto; M.F.A., School of Visual Arts. Represented by Nicole Klagsbrun
Gallery, New York. Exhibited at the 25th Bienal de So Paulo; PROA Fundacin in Buenos Aires;
Muse dHistoire de Luxembourg; Photo & Contemporary, Turin; Rockford Art Museum. Articles pub-
lished in October, Artforum, Art in America, Village Voice. Faculty, Graduate Photography Department,
School of Visual Arts, New York; also taught in the General Studies Program, International Center of
Photography.

Moyra Davey
M.F.A., University of California, San Diego; B.F.A., Concordia University, Montral; Whitney
Independent Study Program, New York. Recent solo exhibitions include American Fine Arts, Co.,
New York; Gallery Goodwater, Toronto; Rena Bransten Gallery, San Francisco. Recent group exhibi-
tions include Alexander and Bonin, Orchard, and Caren Golden Gallery, all New York; Aldrich
Museum; Art Gallery of Concordia University; Bard College; Newark Museum; Institute of
Contemporary Arts, Boston; International Center of Photography; New Museum of Contemporary
Art; and Photographers Gallery, London. Editor, Mother Reader: Essential Writings on Motherhood, an
anthology of texts on the intersection of motherhood and creative life. Author, The Problem of Reading
(2003). Taught in Programme dtudes Critical Curatorial Cybermedia, Geneva, and at University of
Arizona, Yale University, and Vermont College of the Union Institute.

David Deitcher
B.A., M.A., New York University; Ph.D., Graduate Center, City University of New York. Art histo-
rian, critic, writer. Essays published in Artforum, Art in America, Village Voice, Frieze, Parkett, and in
numerous anthologies and monographs on artists such as Felix Gonzalez-Torres, Wolfgang Tillmans,
Isaac Julien. Editor, The Question of Equality: Lesbian and Gay Politics in America since Stonewall.
Organizer, Dear Friends: American Photographs of Men Together, 18401917, International Center of
Photography (2001), and author of the accompanying catalogue, which won a Lambda Literary
Foundation Book Award (2001). Teaches contemporary art history and critical theory at Cooper
Union (1992 ). Taught at University of Rochester, California Institute of the Arts, Center for
Curatorial Studies at Bard College.
484 Faculty

Edward Earle
B.A., University of Notre Dame; M.F.A., Visual Studies Workshop, Rochester. Curator of digital media,
International Center of Photography. Former director of collections, American Museum of the Moving
Image, Queens, New York; former associate director for exhibitions, collections, and new media pro-
jects, California Museum of Photography, University of California, Riverside (198297). Widely
acknowledged for leadership in championing Internet-based art as a means for exposing a wider audi-
ence to traditional photographic imagery. Organized dozens of gallery and Internet exhibitions and con-
tributed to numerous publications throughout the last 20 years. Awarded the Reva and David Logan
Foundation grant for critical writing on photography (1986, 1987).

Marvin Heiferman
B.A., Brooklyn College, City University of New York. Curator, writer, book packager. Exhibitions
include John Waters: Change of Life, New Museum of Contemporary Art, New York (2004); Paradise
Now: Picturing the Genetic Revolution, Exit Art, New York (2000); Fame After Photography, Museum of
Modern Art (1999); others. Articles in Artforum, BOMB, and publications produced by MoMA, ICP,
Whitney Museum of American Art, and other institutions. Author, Love Is Blind, Im So Happy, Still
Life. Director, Castelli Photographs (197582); assistant director, Light Gallery, New York (197174).
Adjunct professor, MFA Program in Photography and Related Media, School of Visual Arts.

Christopher Phillips
B.A., University of North Carolina, Chapel Hill; M.F.A., Rochester Institute of Technology. Curator,
International Center of Photography. Former senior editor, Art in America. Widely published critic and
photography historian. Curated and organized numerous exhibitions including Between Past and Future:
New Photography and Video from China (2004); The Rise of the Picture Press (2002); Cosmos (1999), Voices
(1998), Montage and Modern Life (1992), The Metropolis and the Art of the Twenties (1991). Books
include Photography in Europe in the Modern Era, The New Vision (with Maria Morris Hambourg), and
Steichen at War.

Carol Squiers
B.A., University of Illinois. ICP curator, writer, editor. Exhibitions include the five-part series Imaging
the Future: The Intersection of Science, Technology, and Photography (200104). Former curator of pho-
tography, P.S. 1. Former senior editor, American Photo. Contributor to numerous publications, includ-
ing New York Times, Artforum, Vanity Fair, Aperture, Art in America, Vogue, Parkett, and Village Voice,
in addition to the exhibition catalogues Peek: Photographs from the Kinsey Institute and Barbara Kruger:
A Retrospective, among others. Contributor to Strangers: The First ICP Triennial of Photography and
Video; Barbara Kruger; Police Pictures: The Photograph as Evidence; Sandy Skoglund: Reality Under Siege;
Paul Graham; and The Contest of Meaning. Editor, The Critical Image: Essays on Contemporary
Photography and OverExposed: Essays on Contemporary Photography. Author, The Body at Risk:
Photography of Disorder, Illness, and Healing (2005).

Brian Wallis
B.A., Colgate University; M.A., University of Virginia. Chief curator and director of exhibitions,
International Center of Photography. Former curator, New Museum of Contemporary Art, New York;
former senior editor, Art in America. Noted writer and editor. Publications include Art Matters: How the
Culture Wars Changed America; Land Art; Constructing Masculinity; Rock My Religion: Writings and Art
Projects by Dan Graham, 19651990; Democracy: A Project by Group Material; Blasted Allegories: Writings
by Contemporary Artists; Art after Modernism: Rethinking Representation. Contributor to publications
including Artforum, Art in America, Aperture, Washington Post, New York Times, Village Voice. Taught at
Yale University, Williams College, New York University, City University of New York.
 Faculty of the ICPBard Program in Advanced Photographic Studies 485

Master Class Faculty

Vince Aletti
Photography critic for the Village Voice since 1987; columnist for Modern Painters (London) and
Photograph. Contributor, Aperture, Art Review, and Artforum. Featured writer, The Book of 101 Books:
Seminal Photographic Books of the Twentieth Century (2001). Former art editor, Village Voice (19942005).
Former rock critic, Rolling Stone, and columnist, Creem, Crawdaddy, Fusion, and Record World.
Cocurator, Settings & Players: Theatrical Ambiguity in American Photography (2000), White Cube 2 Gallery,
London; organizer, exhibition of Steven Kleins fashion work at the Muse de llyse, Lausanne,
Switzerland. Curator, Male (1998), Female (1999), Wessel + OConnor Gallery, New York. Coeditor,
Male/Female issue of Aperture (1999), which featured his interview with Madonna, later antholo-
gized in Da Capos Best Music Writing (2000).

Barbara Bloom
B.F.A., California Institute of the Arts. Solo and group exhibitions and installations include twirl
video, Petuelpark, Munich (commissioned); Absent-Present, Galleria Raffaella Cortese, Milan;
Vexations Carpet, Gorney, Bravin + Lee, New York; The Gaze, Parrish Art Museum, Southampton,
New York, and Margo Leavin Gallery, Los Angeles; among others. Taught at School of the Arts,
Columbia University; Yale University; School of Visual Arts; Rijksakademie, Amsterdam. Recipient,
Guggenheim Fellowship (1998), Louis Comfort Tiffany Foundation Award (1989), DAAD Fellowship
(1986), and National Endowment for the Arts fellowship (1986), among other awards.

Larry Fink
Professor of Photography, Bard College. For complete biography, see undergraduate faculty listing.

Jacqueline Hassink
Recipient, Prix No Limit dArles at the Rencontres de la Photographie in Arles, France. Known for
global photo projects that deal with economic power, focusing since 1993 on Fortune 500 companies;
these projects include The Table of Power and Female Power Stations: Queen Bees and Mindscapes.
Exhibited internationally, including Huis Marseille Foundation for Photography, Amsterdam;
Fotomuseum Winterthur, Zrich; Scalo Gallery, New York; Galerie Deux, Tokyo; and Photographers
Gallery, London. Collections include De Pont Foundation, Tilburg, The Netherlands; LaSalle Bank
Photography Collection, Chicago; and DG Bank, Frankfurt am Main. Visiting professor, cole darts
appliqus, Vevey, Switzerland, and The Academy of Art and Design, St. Joost, Breda, The Netherlands.

James Welling
B.F.A., M.F.A., California Institute of the Arts. Collected and exhibited extensively in the United
States and abroad, including midcareer retrospective at the Wexner Center for the Arts in Columbus,
Ohio, which traveled to the Museum of Contemporary Art, Los Angeles; retrospective at the Palais
des Beaux-Arts in Brussels; group exhibition, The Los Angeles Art Scene, 195585, at the Centre
Pompidou in Paris; and solo exhibitions at David Zwirner Gallery, New York; Wako Works of Art,
Tokyo; Galerie Nachst St. Stephan, Vienna; and numerous others. His three series Light Sources,
Screens, and Flowers address the centrality of light in the process of photography. Work published in
numerous catalogues, monographs, books, and publications, including New York Times, Time Out,
Village Voice, BOMB, Artforum. Professor, University of California, Los Angeles; lecturer,
Massachusetts Institute of Technology.
486 Faculty

Upcoming Master Class Faculty

Adam Fuss
Represented by Cheim & Read Gallery, New York. Solo exhibitions at Fotomuseum Winterthur,
Zrich; Galerie Karsten Greve, Paris and Cologne; Fraenkel Gallery, San Francisco; group shows
include Visions of America: Photographs from the Whitney Museum of American Art 19402001; The
Antiquarian Avant-Garde, Sarah Morthland Gallery, New York; The Crafted Image: Nineteenth-Century
Techniques in Contemporary Photography, Boston University Art Gallery. Collections: Victoria and
Albert Museum, Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American
Art, Denver Art Museum, others. Recipient, ICP Infinity Award for Art (2000).

Amanda Means
B.A., Cornell University; M.F.A., SUNY Buffalo; also studied at Visual Studies Workshop, Rochester,
New York. Represented by Ricco/Maresca Gallery, New York. Internationally collected, exhibited, and
published. Solo and group exhibitions include Zelda Cheatle Gallery, London; Metta Galeria, Madrid;
Museum of Fine Arts, Houston; New Museum of Contemporary Art, New York; others. Work included
in collections of Whitney Museum of American Art, San Francisco Museum of Modern Art, National
Gallery of Canada, Los Angeles County Museum of Art. Contributing editor, BOMB. Published in
Harpers, New Yorker, Oprah, GLOW, Exploring Color Photography. Master printer, 19852000; clients
included Robert Mapplethorpe, Roni Horn. Taught at New School University, International Center of
Photography, SUNY Plattsburgh, Hartford Art School, Pratt Institute. Executor, estate of John
Coplans.

Laurie Simmons
B.F.A., Tyler School of Art, Philadelphia. Exhibited internationally in solo and group shows at Sprengel
Museum, Hannover; Kunstrum Mnchen, Munich; Whitney Biennial; Museum of Modern Art;
Baltimore Museum of Art. Articles and books about her work include Linda Yablonskys Laurie
Simmons, BOMB, (1996); Bill Arnings Dream Works, World Art #15 (1997); Laurie Simmons,
interview by Sarah Charlesworth, New York: Artpress (1994); and Laurie Simmons: The Music of Regret,
Baltimore Museum of Art (1997).

Clarissa Sligh
B.F.A., M.F.A., Howard University; M.B.A., University of Pennsylvania. Widely exhibited independent
artist. Layered investigations involve photography, writing, drawing, computer manipulations.
Exhibitions include Toronto Photographers Workshop; Washington Project for the Arts; Museum fr
Angewandte Kunst, Frankfurt; Klingspor Museum, Offenbach; Museum of Photographic Arts, San
Diego; Smithsonian Institution. Work included in collections of Museum of Modern Art; Australian
National Gallery, Canberra; Corcoran Gallery of Art; Schomburg Center for Research in Black
Culture, New York; Museum of Fine Arts, Boston; Philadelphia Museum of Art. Artists books include
Reading Dick and Jane with Me; Wrongly Bodied Two; It Wasnt Little Rock; Voyage(r): A Tourist Map to
Japan; Whats Happening with Momma? Published in many collections, including Photography: A Cultural
History; The Black Female Body: A Photographic History; Reflections in Black: A History of Black
Photographers. Recent grants and awards: Anonymous Was a Woman (2001), Andrea Frank Foundation
(2000), New York Foundation for the Arts Fellowship in Photography (2000).

Carrie Mae Weems

B.A., California Institute of the Arts; M.F.A., University of California, San Diego. Solo exhibitions
include Carrie Mae Weems: The Hampton Project, Williams College Museum of Art (traveled to
International Center of Photography; High Museum of Art, Atlanta; Nelson-Atkins Museum of Art,
Kansas City, Missouri; University Art Museum, University of California; Hood Museum of Art,
Dartmouth College); The Kitchen Table Series, Contemporary Arts Museum, Houston; Carrie Mae
 Faculty of the ICPBard Program in Advanced Photographic Studies 487

Weems Reacts to Hidden Witness, J. Paul Getty Museum; among others. Visiting professor at Harvard
University, Williams College, California College of Arts and Crafts. Former artist in residence at
Wellesley College, Art Institute of Chicago, Rhode Island School of Design. Recipient, Photographer
of the Year Award from Friends of Photography, Ansel Adams Center, San Francisco, and a visual arts
fellowship from the National Endowment for the Arts.

Fred Wilson
B.F.A., SUNY Purchase. Represented by Pace Wildenstein, New York. Selected group exhibitions
include Speak of Me as I Am, American Representative, United States Pavilion, 50th Venice Biennale;
Collected, Photographers Gallery, British Museum; Museum Studies: Eleven Photographers Views, High
Museum of Art, Atlanta; Millennium Eve Dress, Contemporary Arts Center, Cincinnati; Heart, Mind,
Body, Soul: American Art in the 1990s, Whitney Museum of American Art. Work included in the col-
lections of Museum of Modern Art, Whitney Museum of American Art, Baltimore Museum of Art,
Denver Art Museum, Seattle Art Museum. Recipient, MacArthur Foundation Fellowship;
Distinguished Visiting Fellow in Object, Exhibition, and Knowledge, Skidmore College; 10th Larry
Aldrich Foundation Award; New York Foundation for the Arts Fellowship in Sculpture.
488 Faculty

The Master of Arts in Teaching (MAT) Program

Ric Campbell, Director

Ric Campbell Director

B.S., M.S., SUNY Cortland; graduate work, SUNY Albany, SUNY Brockport; Ph.D. candidate,
Harvard Graduate School of Education. Specialization: curriculum design and writing instruction for
teachers. Taught high school and elementary school in Chatham, Cortland, and Dryden, New York, and
in New York City; was director of education for Washington Houses Community Center, New York City.
Taught and supervised workshops for at-risk New York City adolescents through Bank Street College
and Liberty Partnership Program. As researcher for Project ASSERT at Harvard, developed curriculum
that addresses issues of race, class, and gender in the classroom. Associate director and faculty member,
Institute for Writing and Thinking (200103).

Myra Young Armstead

Professor of History, Bard College. For complete biography, see undergraduate faculty listing.

Ethan D. Bloch
Professor of Mathematics, Bard College. For complete biography, see undergraduate faculty listing.

Deirdre dAlbertis
Associate Professor of English, Associate Dean of the College, Bard College. For complete biography, see
undergraduate faculty listing.

Julia Emig
B.A., Kenyon College; M.A.T., Teachers College, Columbia University; Ed.D., Boston University
School of Education. Specialization: adolescent literacy with emphasis on urban education reform and
teacher education. Taught middle and high school English in New York City and Chelsea,
Massachusetts; cofounded and directed an alternative high school in Chelsea; codesigned literacy assess-
ment program at Boston University; conducted staff development in secondary literacy instruction for
the Boston Public Schools. With the National Urban Alliance for Effective Education, consults in urban
school districts across the country. Recipient, Andrew W. Mellon Fellowship; awarded grants from the
Jacob K. Javits Foundation and National Endowment for the Humanities; presented for the International
Reading Association, National Council of Teachers of English, American Educational Research
Association. Contributor to Great Beginnings: Reflections and Advice for New English Language Arts
Teachers and the People Who Mentor Them (1998) and Family Literacy: From Theory to Practice (2003).

Derek Lance Furr

B.A., Wake Forest University; M.Ed., M.A., Ph.D., University of Virginia. Research areas: Romantic
and modernist poetrytextuality, reception, history, and sound; reading assessment and instruction.
Essays and fiction in The Journal of Modern Literature, English Language Notes, The Literary Review, The
Reading Teacher, Fourth Genre, others. Awards: Dupont Fellow (University of Virginia); Andrew W.
Mellon Fellow. Teaching and research experience includes middle school teacher/reading specialist,
Charlottesville City Schools; teacher educator for TEMPO Graduate Education Program; research assis-
tant for Center for Improvement of Early Reading Achievement; and English writing instructor,
University of Virginia.
 Faculty of the Master of Arts in Teaching Program 489

Kelly Gaddis
B.A., SUNY New Paltz; M.S., Ph.D., Cornell University. Specializes in mathematics education. Grants
and awards from U.S. Department of Education, National Science Foundation, Mathematical
Association of America, Cornell University. Recent articles published in Using the Mathematics
Literature, New England Mathematics Journal. Faculty, Workshop in Language and Thinking.

Mark D. Halsey
Associate Professor of Mathematics, Associate Dean of the College, Bard College. For complete biography,
see undergraduate faculty listing.

Felicia Keesing
Associate Professor of Biology, Bard College. For complete biography, see undergraduate faculty listing.

Nancy S. Leonard
Professor of English, Bard College. For complete biography, see undergraduate faculty listing.

Lauren Lynn Rose

Associate Professor of Mathematics, Bard College. For complete biography, see undergraduate faculty listing.

Michael Sadowski
B.S., Northwestern University; Ed.M., Ed.D., Harvard University. Scholarly interests focus on how fac-
tors such as ability/disability, ethnicity, gender, race, sexual orientation, and socioeconomic status affect
adolescents identity formation and school experiences. Current research examines the school, family,
and peer relationships of gay, lesbian, bisexual, and transgender youth. Taught at Harvard Graduate
School of Education; editor, Harvard Education Letter. High school teacher in South Yarmouth and
Cambridge, Massachusetts. Vice-chair, Massachusetts Governors Commission on Gay and Lesbian
Youth. Recent edited books: Adolescents at School: Perspectives on Youth, Identity, and Education (2003);
Teaching Immigrant and Second-Language Students: Strategies for Success (2004). Recipient, 2004
Association of Educational Publishers Award; 2002 National Press Club Award for articles in the
Harvard Education Letter.

Wendy Urban-Mead
B.A., Carleton College; M.A., University at Albany; Ph.D., Columbia University. Areas of interest
include African history, with emphasis on southern Africa; European imperialism; history of
Christianity in Africa; religion and gender. Taught secondary school social studies for five years in Red
Hook and Arlington, New York, school districts. Member, American Historical Association, African
Studies Association, Coordinating Council of Women Historians. Awards: German Academic
Exchange Service Grant (198485), Richard Hofstadter Fellowship (19952000), Columbia University
Graduate School of Arts and Sciences Dissertation Research Grant (1999). Editorial board, Le Fait
Missionaire (Lausanne, Switzerland). Article in Le Fait Missionaire; chapter in Women in African Colonial
Histories (Indiana University Press, 2002).
490 Faculty

Laura Elizabeth Wellman

B.S., Pennsylvania State University; M.Ed., University of Massachusetts; Ed.D., University of
California, Los Angeles. Specializations: learning environments, technology, discourse and literacy,
teacher scholarship. Grants and awards: Geographic Literacy, Fund for the Improvement of
Postsecondary Education (200305); K-2 Student Peer-to-Peer Teaching with Multimedia, Apple
Education Grant (199899); Smithsonian Education Award Nominee (1999); Online Environments
for Teacher Professional Development, Nexus (199799); AT&T Learning Networks Initiative
(19962000). Articles published in Computers in the Social Studies (2002), Technology and Teacher
Education Annual (2002).

Japheth Wood
B.A., Washington University, St. Louis; M.A., Ph.D., University of California, Berkeley. Member,
American Mathematical Society, Mathematical Association of America, Association for Women in
Mathematics. Articles in Algebra Universalis, Semigroup Forum, International Journal of Algebra and
Computation. Higher Educational Partner, Math Science Partnership of Southwest Pennsylvania
(200206).
 Faculty of the Milton Avery Graduate School of the Arts 491

Milton Avery Graduate School of the Arts

Arthur Gibbons, Director

Graduate Committee
Arthur Gibbons, chair
Norton Batkin, ex officio
Caroline Bergvall
Bob Bielecki
Taylor Davis
Kenji Fujita
Ann Lauterbach
Les LeVeque
Amy Sillman
Richard Teitelbaum
Penelope Umbrico
Stephen Westfall

Arthur Gibbons Director

Professor of Studio Arts and S. William Senfeld Artist in Residence, Bard College. For complete biography,
see undergraduate faculty listing.

Peggy Ahwesh
Associate Professor of Film and Electronic Arts, Bard College. For complete biography, see undergraduate
faculty listing.

Maryanne Amacher
Composer and sound-installation artist. B.F.A., University of Pennsylvania; graduate studies in acoustics
and computer science, University of Illinois, Urbana. Major work: telepresence series CityLinks #122
(1967 ); architecturally staged Music for Sound-Joined Rooms (1980 ); and Mini-Sound Series (1985 ).
Commissioned by John Cage, Merce Cunningham, Ars Electronica Festival, Kronos Quartet, Capp
Street Project, Austrian Federal Ministry of Culture. Recipient, fellowships from Center for Advanced
Visual Studies, MIT; Bunting Institute, Harvard University; grants from Guggenheim Foundation,
National Endowment for the Arts, New York State Council on the Arts; Prix Ars Electronica Golden
Nica Distinction in Computer Musik (1997) for The Levi-Montalcini Variations. (2001 ).

Polly Apfelbaum
Painter. B.F.A., Tyler School of Art; also attended SUNY Purchase. Major midcareer survey held at
Institute for Contemporary Art, Philadelphia (2003); also traveled to Contemporary Arts Center,
Cincinnati, and Kemper Museum of Contemporary Art, Kansas City. Public collections: Museum of
Modern Art; Whitney Museum of American Art; Henry Art Gallery, Seattle; Dallas Museum of Art;
Museum of Contemporary Art, Chicago; Muse dArt Moderne de la Ville de Paris. Grants and awards:
American Academy of Arts and Letters Award in Art; Richard Diebenkorn Teaching Fellowship; Joan
Mitchell Foundation Grant; artists fellowship, New York Foundation for the Arts; Pollock-Krasner
Foundation Grant. Reviews and articles in New York Times, Art in America, Los Angeles Times, and
Philadelphia Inquirer.

Josef Astor
Photographer. B.F.A., Syracuse University. Group exhibitions include Julie Saul Gallery, T. Cugliani
Gallery, Museum of the Moving Image, and International Center of Photography, New York; Polaris
Gallery, Paris; and H2O, Tokyo. Work published in New York Times Magazine, New Yorker, and
492 Faculty

Metropolis. Contributing photographer to Dance Ink and other publications. Profiled in Graphis, British
Journal of Photography, and Photo (France). Recipient of Infinity Award (1995) from International
Center of Photography, where he is a teacher. Also teaches at School of Visual Arts. (2000 ).

David Behrman
Composer and designer of multimedia installations. B.A., Harvard University; M.A., Columbia
University. Recent compositions include Long Throw (Cunningham Dance Company commission,
2007); My Dear Siegfried (2005); Useful Information (2004); installations include Pen Light and View
Finder (2002). Works presented nationally and internationally; sound installations exhibited at
Whitney Museum of American Art; Museum of Contemporary Art, Chicago; La Villette Science and
Technology Museum, Paris; others. Recipient, National Endowment for the Arts grants for music com-
position (1977, 1980), visual arts (1983), and interarts (1986); JapanU.S. Friendship Commission
grant (198788); DAAD fellowship (Berlin, 198889); John Cage Award from the Foundation for
Contemporary Arts (2005). (1998 ).

Caroline Bergvall
Poet, critic, and performance artist. L.L., University of Paris; M.Phil., University of Warwick; Ph.D.,
Dartington College of Arts. Has developed audio texts and collaborative performances with sound
artists in Europe and North America; critical work largely concerned with emerging forms of writing,
plurilingual poetry, mixed-media writing practices. Recent collection FIG (Goan Atom 2), poetic and
performance pieces (Salt Books, 2005). Recent installations include Little Sugar for TEXT Festival
(2005) and Say: Parsley at Liverpool Biennial (2004). CD, Via: poems 19942004 (Rockdrill 8), avail-
able through Carcanet. Research Fellow, Dartington College of Arts. (2005 ).

Anselm Berrigan
Poet. B.A., SUNY Buffalo; M.F.A., Brooklyn College. Books include Some Notes on My Programming
(2006); Zero Star Hotel (2002); Integrity and Dramatic Life (1999); and several chapbooks. CD: Pictures
for Private Devotion (2003). Artistic director and Wednesday Night Reading Series Coordinator, Poetry
Project at St. Marks Church (2003 ). Has taught at Brooklyn College, Rutgers University, Naropa
University, and the Poetry Project. Coeditor, The Collected Poems of Ted Berrigan (University of California
Press, 2005). Member, Subpress Publishing Collective. (2004 ).

Bob Bielecki
Visiting Assistant Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Nayland Blake
Sculptor, interdisciplinary artist. B.A., Bard College; M.F.A., California Institute of the Arts. Solo exhi-
bitions include Matthew Marks Gallery, New York; Contemporary Arts Museum, Houston; Gallery
Paule Anglim, San Francisco. Group shows include Whitney Museum of American Art (touring exhi-
bition); National Gallery of Australia, Canberra; Baltimore Museum of Art; San Francisco Museum of
Modern Art; Brooklyn Museum. Visiting Assistant Professor of Studio Arts, Bard College (200003).
Chair, International Center of PhotographyBard Program in Advanced Photographic Studies (2003 ).
(2000 ).

Michael Brenson
Faculty, Center for Curatorial Studies, Bard College. For complete biography, see Center for Curatorial
Studies faculty listing.

Luca Buvoli
Sculptor. Works with animated film and video, installation, sculpture, drawing, artists books. Solo
shows include Weatherspoon Art Museum, Greensboro, North Carolina (2003); Glassell School of
 Faculty of the Milton Avery Graduate School of the Arts 493

Art of the Museum of Fine Arts, Houston (2003); Philadelphia Museum of Art (2001); Queens
Museum of Art (2001); M.I.T. List Visual Arts Center, Cambridge, Massachusetts (2000); Mythopoeia:
Projects by Matthew Barney, Luca Buvoli, and Matthew Ritchie, Museum of Contemporary Art
Cleveland (1999); others. Group shows include Greater New York 2000, P.S. 1 Contemporary Art
Center, Queens; 2nd Johannesburg Biennale (1997). Animated films and videos have been shown at
Museum of Modern Art (2004); Lincoln Center (1998); Institute of Contemporary Arts, London
(1998); Institute of Contemporary Art, Boston (1997); others. Sculptures in collections of Museum of
Modern Art and other institutions around the world. Grants and awards from New York State Council
on the Arts, Creative Capital Foundation, Jerome Foundation, Pollock-Krasner Foundation. Fulbright
Fellow (1988-89); residencies at McDowell Colony, Yaddo, and Marie Walsh Sharpe Foundation.

Nancy Davenport
Faculty, ICPBard Program in Advanced Photographic Studies. For complete biography, see ICPBard
Program in Advanced Photographic Studies faculty listing.

Taylor Davis
Sculptor. Diploma of Fine Arts, School of the Museum of Fine Arts; B.S. Ed., Tufts University; M.F.A.,
Milton Avery Graduate School of the Arts, Bard College. Work included in Whitney Biennial (2004)
and recent exhibitions at Triple Candie, New York; Institute of Contemporary Art and Gallery @
Green Street, Boston; Chicago Arts Council. Recent grants and awards: St. Botolph Foundation
Grant (2003); International Association of Art Critics Award (2002); Institute of Contemporary Art
Artist Prize (2001); Massachusetts Cultural Council Grant (1999). Articles and reviews in New York
Times, Washington Post, Art in America, Artforum, Boston Globe, Boston Herald. Associate professor,
Massachusetts College of Art (1999 ).

Margaret De Wys
Composer. Pieces premiered with Rosalind Newman Dance Company, St. Louis Symphony, Hudson
Valley Philharmonic, Woodstock Chamber Orchestra, Meridian String Quartet, others. Music per-
formed in New York at The Kitchen, Knitting Factory, Sounds from the Left Bank, Sonic Boom
Festival. Featured composer, WomenAlaska; International Seminar of the Arts, Warsaw; International
Congress on Women in Music, Vienna; International Womens Day, Beijing. Collaborations with
artists including Charlie Ahearn, Maryanne Amacher, Glenn Branca, Janet Dixon, Rudolf Grey, Peter
Hutton, Joan Jonas, Kiki Smith. CD, I Oh, released in 2000. Awards include grants from Meet the
Composer and commissions from Wellesley College, University of New Mexico, Temple University,
St. Louis Symphony. (2001 ).

Linh Dinh
Writer. Author, two collections of stories, Fake House (Seven Stories Press, 2000), Blood and Soap
(Seven Stories Press, 2004); three collections of poetry, All Around What Empties Out (Tinfish, 2003),
American Tatts (Chax, 2005), Borderless Bodies (Factory School, 2005). Work anthologized in Best
American Poetry 2000 and 2004, Great American Prose Poems from Poe to the Present (Scribner, 2003),
other publications. Editor of anthologies Night, Again: Contemporary Fiction from Vietnam (Seven
Stories Press, 1996), Three Vietnamese Poets (Tinfish, 2001).

Ricardo Dominguez
Film- and videomaker, multimedia artist. Performances presented in museums, galleries, theater festi-
vals, hacker meetings, and tactical media events, and as direct actions on the streets and around the
world. Cofounder, Electronic Disturbance Theater (EDT), which developed virtual sit-in technologies
in 1998 in solidarity with the Zapatista communities in Chiapas, Mexico. Codirector, The Thing, an
Internet service provider for artists and activists (200004); former member, Critical Art Ensemble.
Recently appeared in Coco Fuscos video artwork A/K/A, and has collaborated with Fusco on Internet
494 Faculty

artwork for the International inSite 05 Art Interventions Festival; has also collaborated with Diane
Ludin and Adriene Jenik. Assistant professor, Visual Arts Department, University of California, San
Diego; principal scientist, CAL IT(2), a new edge technology institute, where he is researching and
developing a performance project based on nanotechnology.

Mark Alice Durant

Artist and writer. B.F.A., Massachusetts College of Art; M.F.A., San Francisco Art Institute.
Photographs, installations, and performances at Los Angeles County Museum of Art; Museum of
Contemporary Art, Chicago; Artists Space, New York. Cofounder, performance duo men of the
world (199199), enacting image/gestures on the streets of most major North American cities. Curator
and essayist, The Blur of the Otherworldly: Art, Technology, and the Paranormal (2005). Essays in Art in
America, Art on Paper, Afterimage, Exposure, New Art Examiner, and Boston Book Review. Author,
McDermott and McGough: A History of Photography (1998); Mark Romanek: Music Video Stills (1999);
coauthor, Vik Muniz: Seeing Is Believing (1998); contributor, The Passionate Camera: Photography and
Bodies of Desire (1998); coauthor and cocurator, Some Assembly Required: Collage and Post-War American
Culture (2002). Associate professor, Department of Visual Arts, University of Maryland. (2001 ).

Stephen Ellis
Painter. B.F.A., Cornell University; postgraduate study, New York Studio School. Solo exhibitions at
Koury Wingate, Elizabeth Koury, Andr Emmerich, and Von Lintel galleries, New York; Galerie
Obadia, Paris; Marella Arte Contemporanea, Milan; Crone, Osarek, and Von Lintel & Nusser galleries
in Hamburg and Munich, respectively. Group exhibitions at American Academy of Arts and Letters;
Paula Cooper Gallery, New York; Matthew Marks Gallery, New York; Muse dArt Moderne de Saint
Etienne, France; Museo Nacional Centro de Arte Reina Sofia, Madrid. Work in public collections
including the Brooklyn Museum of Art, Fogg Museum, Ashmolean Museum, and National Fund for
Contemporary Art, Paris. Recipient, NEA (1991) and CAPS (1986) grants. Former associate and con-
tributing editor, Art in America. Has taught at Cooper Union, Harvard University, California Institute of
Art, School of Visual Arts, Rhode Island School of Design, New York University. (199496, 2003 ).

Barbara Ess
Associate Professor of Photography, Bard College. For complete biography, see undergraduate faculty listing.

Rob Fitterman
Writer. Author of nine books of poetry, including three installments of ongoing poem Metropolis:
Metropolis 1-15 (Sun & Moon Press, 2000); Metropolis 16-29 (Coach House Books, 2002); and Metropolis
XXX: The Decline and Fall of the Roman Empire (Edge Books, 2004). Other books include Leases
(Periphery Press); among the cynics (Singing Horse Press); Ameresque (Buck Downs Books); War, the musi-
cal (coauthored with artist Dirk Rowntree). Cowriter (with Rodrigo Rey Rosa) of feature film What
Sebastian Dreamt, selected for 2004 Sundance Film Festival and Lincoln Center Film FestivalLatin Beat.

Kenji Fujita
Visiting Assistant Professor of Studio Arts, Bard College. For complete biography, see undergraduate fac-
ulty listing.

Leah Gilliam
Associate Professor of Film and Electronic Arts, Bard College. For complete biography, see undergraduate
faculty listing.

Charles Hagen
Photographer. B.A., Harvard College; M.F.A., Visual Studies Workshop, Rochester, New York. Work
exhibited widely in group and solo shows over the past two decades. Lectured at numerous colleges and
 Faculty of the Milton Avery Graduate School of the Arts 495

universities and curated exhibitions for the Burden Gallery, New York; Mednick Gallery, Philadelphia;
University of Akron; Maier Museum, Lynchburg, Virginia. Photography and art critic for New York
Times (1991 ); staff reviewer, Artforum (198291); has written extensively on art and photography for
American Photo, ARTnews, Camera Arts, Modern Photography, and other publications. Edited Afterimage
(197180) and Aperture (198891). Associate professor of photography and video at the University of
Connecticut. (1996 ).

Rachel Harrison
Artist; works in a variety of media. B.A., Wesleyan University. Solo exhibitions: San Francisco
Museum of Modern Art; Milwaukee Art Museum; Transmission Gallery, Glasgow; Oakville Galleries,
Toronto; Arndt & Partner, Berlin; Greene Naftali Gallery, New York. Group shows: Carnegie
International (2004); Venice Biennale (2003); Whitney Biennial (2001); New Photography 14,
Museum of Modern Art (1998); Neurotic Art, Four Walls, Brooklyn (1991). (2002 ).

Carla Harryman
Writer. Author of such genre-disrupting, experimental works as The Words, After Carl Sandburgs
Rootabaga Stories and Jean-Paul Sartre (O Books, 1994); There Never Was a Rose Without a Thorn
(City Lights, 1995); Gardener of Stars (Atelos, 2001); Baby (Adventures in Poetry, 2005); Open Box
(Belladonna, 2007). Critical writings include essays on innovative performance and gender and post-
modern literature. Coeditor, Lust for Life: On the Writings of Kathy Acker (Verso, 2006). An original
member of San Francisco Poets Theater whose avant-garde theater and sound-language performance
works have been presented in San Francisco, Detroit, New York, Montreal, Auckland, the United
Kingdom, Austria, and Germany.

Teresa Hubbard and Alexander Birchler

Collaborative multiarts team. Works internationally from bases in Basel, Switzerland; Berlin; and
Austin, Texas. Selected recent solo exhibitions include Whitney Museum of American Art at Altria,
New York; Pinakothek der Moderne, Munich; Museum Sammlung Goetz, Munich; Museum fr
Gegenwartskunst Basel; ArtPace Foundation for Contemporary Art, San Antonio, Texas; Huis
Marseille Foundation for Photography, Amsterdam. Recent group exhibitions at Kunsthalle Hamburg;
Wexner Center for the Arts, Columbus, Ohio; Schirn Kunsthalle, Frankfurt; Museum of
Contemporary Art, Chicago; 48th Venice Biennale. Work included in PBS series Art in the 21st
Century. Two recent monographic books, Wild Walls and House with Pool, distributed in the United
States by Distributed Art Publishers, New York.

Brenda Hutchinson
Sound artist; musician. B.F.A., Carnegie Mellon University; M.A., University of California, San
Diego. Makes large-scale experiments in socially based improvisations with sound, stories, and perfor-
mance. Designed and performs with gestural interface for Long Tube. Works commissioned by Mary
Flagler Cary Charitable Trust, Meet the Composer/Readers Digest, National Endowment for the Arts,
McKnight Foundation, among others. Has been artist in residence at San Quentin Prison, Headlands
Center for the Arts, Harvestworks, The Exploratorium, Djerassi Resident Artists Program. Work pro-
duced for National Public Radios Soundprint. Recipient, Gracie Allen Award from American Women
in Radio and Television (2003); Ucross Residency Award (2004); Montalvo Residency Award (2007).

Arthur Jafa
Film- and videomaker, cultural critic. Has worked with Julie Dash (Daughters of the Dust); Spike Lee
(Crooklyn); and Manthia Diawara (Rouch in Reverse); other film work includes Seven Songs for Malcolm
X; A Litany for Survival: The Life and Work of Audre Lord; W. E. B. DuBois: A Biography in Four Voices.
Essay, 69, on the development of black visual intonation, in Black Popular Culture. Subject of essay
by bell hooks in Reel to Real: Race, Sex, and Class at the Movies.
496 Faculty

Suzanne Joelson
Painter. B.A., Bennington College. Solo shows at Nature Morte, New Delhi; The Drawing Center,
Freidus/Ordover, Lipton-Owens, White Columns, and Wolff Gallery, New York; Vassar College; McNeil
Gallery, Philadelphia; Fernando Alcolea, Barcelona. Recipient of National Foundation for the Arts
grant. Work reviewed in New York Times, Art in America, Artforum, Arts, New Yorker, Time Out New York.
Has written for Arts Magazine and BOMB; guest editor of two issues of Terma Celeste. (1999 ).

Michael Joo
Sculptor. B.A., Washington University, St. Louis; M.F.A., Yale University School of Art. Solo exhibi-
tions include Samsung Museum of Art (Rodin Gallery), Seoul (2006); Bohen Foundation, New York
(2005); Asia Society, New York (2005); MIT List Visual Arts Center, Cambridge (2003); 49th Venice
Biennale, South Korean Pavilion (2001); others. Group shows include Serpentine Gallery, London
(1994 and 2006); Gwangju Biennale, Korea (1995 and 2006); Studio Museum in Harlem (2003);
Whitney Biennial (2000); Johannesburg Biennial (1997); others. Grants, fellowships, and awards from
United States Artists, John Simon Guggenheim Memorial Foundation, Joan Mitchell Foundation, LEF
Foundation, U.S. Information Agency, Rockefeller Foundation, and Gwangju Biennale 2006 (Grand
Prize recipient, ex aequo). (2001 ).

Jutta Koether
Painter, performance artist. B.F.A., M.F.A., University of Cologne; attended Whitney Museum of
American Art Independent Study Program, New York. Solo exhibitions and performances throughout
Europe and in New York. Represented by Buchholz Gallery, Cologne, and Reena Spaulings Fine Art,
New York. Books include 20 Minutes (1990); The Halal Files (1990); The Inside Job (1992); Kairos
(1996); The Nineties (1996); Diadal (with Rita Ackerman, 1997); The Outer Sound Project (with Jess
Holzworth, 2000); Desire Is War (2003). Recently exhibited and performed Fresh Aufhebung at
Columbia University; Generali Foundation, Geneva; ICA, Philadelphia; Reena Spaulings Fine Art.
(2004 ).

Paul LaFarge
Writer. Author of two novels, The Artist of the Missing and Haussmann, or the Distinction (a New York
Times Notable Book for 2001); translator, The Facts of Winter. Stories published in Conjunctions,
Fence, STORY, McSweeneys; essays have appeared in Village Voice and on salon.com. Recipient,
Guggenheim Foundation Fellowship (2002); Bard Fiction Prize (2005).

Ann Lauterbach
David and Ruth Schwab Professor in Languages and Literature, Bard College. Faculty, Center for Curatorial
Studies, Bard College. For complete biography, see undergraduate faculty listing.

Les LeVeque
Visiting Associate Professor of Film and Electronic Arts, Bard College. For complete biography, see under-
graduate faculty listing.

George Lewis
Improviser-trombonist, composer, computer/installation artist. B.A., Yale University. Studied composi-
tion with Muhal Richard Abrams at the Association for the Advancement of Creative Musicians
(AACM) School of Music, trombone with Dean Hey. Recipient, MacArthur Foundation fellowship
(2002); Cal Arts/Alpert Award in the Arts (1999); numerous National Endowment for the Arts fellow-
ships. Has explored electronic and computer music, computer-based multimedia installations, text-
sound works, notated forms. Compositions and interpretations on more than 120 recordings. Oral
history archived in Yale Universitys Major Figures in American Music collection. Author, Power
Stronger than Itself: The Association for the Advancement of Creative Musicians (forthcoming, University
 Faculty of the Milton Avery Graduate School of the Arts 497

of Chicago Press). Articles on music, experimental video, visual art, and cultural studies in numerous
journals and anthologies. Member of AACM since 1971. Edwin H. Case Professor of Music at
Columbia University. (2000 ).

Judy Linn
Photographer. B.F.A., Pratt Institute. Solo shows at Feature Inc. and P.S. 1, New York; Cranbrook Art
Museum, Michigan; numerous group shows include Whitney Museum of American Art; Detroit
Institute of Arts; Dallas Museum of Art; Corcoran Gallery of Art; Le Frac NordPas de Calais,
Dunkerque, France; Padiglione dArte Contemporanea di Milano, Italy; Museum Dhondt-Dhaenens,
Deurle, Belgium; Boijmans van Beuningen Museum, Rotterdam. Permanent collections: Dallas
Museum of Art; Detroit Institute of Arts; Getty Collection, Los Angeles; Whitney Museum of
American Art; Lambert Collection, Geneva. Portfolio published in Artforum, BOMB, Massachusetts
Review. Has taught at Sarah Lawrence College, Cooper Union, Vassar College. (1998 ).

Jeanne Liotta
Film- and videomaker. Work screened at the New York Underground Film Festival; International Film
Festival, Rotterdam; KunstFilm Biennale, Cologne; Cinematheque, San Francisco; Anthology Film
Archives, New York; Museum of Modern Art; Whitney Museum of American Art. Television screen-
ings on the Sundance Channel and PBS Reel NY. Recipient of grants from the Jerome Foundation,
New York State Council on the Arts, Experimental Television Center. Researcher and lecturer, Joseph
Cornell Film Collection at Anthology Film Archives; curator, Firefly Cinema at the 6th and B
Community Garden, New York. MacDowell Colony Fellow (2002). Taught at the School of the
Museum of Fine Arts, Boston, and SUNY Binghamton. Faculty, The New School, Pratt Institute, San
Francisco Art Institute.

Ken Lum
Photographer. Has exhibited in Documenta II, Venice Biennale, So Paulo Bienal, Johannesburg
Biennale, Liverpool Biennial, Sydney Biennale, among many others. Since 2000, has realized public
commissions in Vienna, Vancouver, Siena, Stockholm, Toronto; currently at work on a large public pro-
ject for Karlsplatz subway interchange in Vienna. Survey exhibition of his work, cosponsored by
Vancouver Art Gallery and Yokohama Art Museum (2007). Curator, 14th Northwest Annual
Exhibition for the Center of Contemporary Art, Seattle; Shanghai Modern: 19191945; cocurator, 7th
Sharjah Biennial, Dubai. Vice president, Centre A: Vancouver International Centre for Contemporary
Asian Art, Vancouver; director, Arts Initiative, Tokyo.

Miya Masaoka
Musician, composer, performance/sound artist. B.A., San Francisco State University; M.A., Mills
College. Has created works for koto, laser interfaces, laptop, and video; written scores for ensembles,
chamber orchestras, mixed choirs; led her own orchestra and numerous ensembles. Toured India six
times. Works presented at Radio Bremen, Germany, and Lincoln Center Homemade Instrument Day.
Awards include First New Langton Arts Award; San Francisco Art Council Grant to Individual Artist;
ASCAP Award; Wattis Artist-in-Residence Award, Yerba Buena Center for the Arts; others. Founder,
San Francisco Electronic Music Festival (1999). Commissions from Bang on a Can, June Watanabe,
Alonzo King LINES Ballet. (2003 ).

Rodney McMillian
B.A., University of Virginia, Charlottesville; M.F.A., California Institute of the Arts; post-
Baccalaureate; School of the Art Institute of Chicago. Selected solo exhibitions include Untitled
(ellipses) II, Susanne Vielmetter, Los Angeles Projects; Untitled (ellipses) III, Triple Candie, New York;
and Untitled (on comfort), Adamski Gallery, Aachen, Germany. Group exhibitions include Painting in
Tongues, Museum of Contemporary Art, Los Angeles; On a porch: concurrent and not opposing (with Olga
498 Faculty

Koumoundouros), The Suburban, Oak Park, Illinois; Uncertain States of America, Astrup Fearnley
Museum of Art, Oslo, Norway; Frequency, The Studio Museum in Harlem, New York; ThingNew
Sculpture from Los Angeles, UCLA Hammer Museum, Los Angeles; MenschensgladbachNeue Ankufe
und Leihgaben, Stdtisches Museum Abteiberg, Mnchengladbach, Germany; White Noise, REDCAT
Gallery, Los Angeles.

Pauline Oliveros
Composer, performer. Since the 1960s has influenced U.S. music through improvisation, meditation,
electronic music, myth, ritual. Work emphasizes musicianship, attention strategies, improvisational
skills. Honored in the 1980s with a retrospective at the Kennedy Center, Washington, D.C.; in the
1990s with a letter of distinction from the American Music Center presented at Lincoln Center, New
York. Lunar Opera: Deep Listening for Tunes commissioned in 2000 by Lincoln Center to celebrate the
50th anniversary of her work; performed in August 2001 in Lincoln Center Out of Doors festival. Work
on numerous recordings available internationally. (2001 ).

Karyn Olivier
Sculptor. B.A., Dartmouth College; M.F.A., Cranbrook Academy of Art. Work exhibited at Wanas
Foundation, Sweden (2006); The Studio Museum in Harlem (2005, 2006); Whitney Museum of
American Art at Altria (2006); Mattress Factory, Pittsburgh (2006); Contemporary Arts Museum,
Houston (2005); Socrates Sculpture Park and Sculpture Center, Long Island City (2004); many others.
Artist in residence, The Studio Museum in Harlem (2006 ). Recipient, Louis Comfort Tiffany Biennial
Award (2003). Work in permanent collection of Museum of Fine Arts, Houston.

Larry Polansky
Composer, writer, performer, programmer, systems designer. Areas of interest: live interactive intelligent
computer music, theories of form, American music, experimental intonation. His instrumental and
electronic music has been performed, recorded, and published widely. Faculty, Dartmouth College; codi-
rector, Dartmouth Bregman Electro-Acoustic Music Studio. Guest composer at Darmstadt New Music
Festival, Telluride Composer-to-Composer, other events and festivals. Author (with David Rosenboom
and Phil Burke) of HMSL (Hierarchical Music Specification Language). Cofounder and codirector,
Frog Peak Music, a composers collective. (2004 ).

Seth Price
Artist. B.A, Brown University. Solo exhibitions include Art Gallery of Ontario, Artists Space, Galleria
Emi Fontana (with Michael Smith); group exhibitions at The Project LA, Galerie im Taxispalais,
Ljubljana Biennial, Greene Naftali, Whitney Biennial. Screenings include ICA London, Tate Britain,
Museum of Modern Art. Member of Continuous Project. (2003 ).

Rebecca Quaytman
Painter. B.A., Bard College; postgraduate work, National College of Art & Design, Dublin. Founding
member and director, Orchard (cooperative gallery), New York; member, Institut Hautes Etudes en Arts
Plastiques, Paris. Solo exhibitions at Spencer Brownstone Gallery, New York; Galerie Edward
Mitterrand, Geneva, Switzerland; Momenta Art, Brooklyn. Recent group exhibitions include Pictures,
Greene Naftali Gallery, New York; Crossing the Line, Queens Museum of Art; Lodz Biennial, Poland;
Painters Without Paintings & Paintings Without Painters, Orchard, New York; Denial Is a River, Sculpture
Center, Queens, New York. Recipient, Rome Prize Fellowship (1992).

Christian Rattemeyer
Photographer. M.A., Free University of Berlin; Ph.D. candidate in art history, Columbia University.
Associate curator, Department of Drawings, Museum of Modern Art, New York (2007 ). Curated and
organized more than 50 exhibitions, Artists Space, New York; founder and former codirector, OSMOS,
 Faculty of the Milton Avery Graduate School of the Arts 499

an independent project space in Berlin; has curated several festivals for film and architecture in Berlin,
Los Angeles, London, and New York. Former communication editor, Documenta 11, Kassel, Germany.
Contributes regularly to Parkett, Texte zur Kunst, Artforum, Art Papers, and other art magazines; has pub-
lished many catalogue essays on contemporary art.

Blake Rayne
Painter. B.S.A., California Institute of the Arts. Represented by Greene Naftali Gallery, New York, and
Johnen and Schottle, Cologne, Germany. Work exhibited in museums and galleries internationally.
Adjunct assistant professor, Department of Visual Arts, Columbia University (2004 ). Recipient,
Rosenthal Award in painting, American Academy of Arts and Letters (2001). Reviews in New York
Times, Artforum, Art in America. (2004 ).

Jennifer Reeves
Film artist. M.F.A., University of California, San Diego. Works include The Time We Killed (won major
prizes at Berlin Film Festival 2004, Tribeca Film Festival, and Outfest); Fear of Blushing (Jurors
Choice, 2002 Black Maria Film Festival); Darling International (Cinematography Award, 2000
Cinetexas Film Festival; Honorable Mention, 2000 Sundance Film Festival); We Are Going Home
(Film Co-op Award, 1999 Ann Arbor Film Festival; Jurors Citation, 1999 Black Maria Film Festival).
Created and performed in He Walked Away, a live multiple-projection film/music work, at Toronto
International Film Festival (2003). Recipient of Eastman Kodak Scholarship (1998), Jacob K. Javits
Fellowship (19972001), Andrea Frank Foundation Grant (1999), Princess Grace Award (2000). Has
presented films at the Whitney Museum; Anthology Film Archives; Cinmathque Franais, Paris;
others. Founder, Sparky Pictures, Inc. Visiting Assistant Professor of Film and Electronic Arts, Bard
College (200006). (2006 ).

Dario Robleto
Sculptor. B.F.A., University of Texas, San Antonio. Solo exhibitions include Southern Bacteria, ACME,
Los Angeles; Diary of a Resurrectionist, Galerie Praz-Delavallade, Paris, and Centre dArt Contemporain,
Montpelier, France; Say Goodbye to Substance, Whitney Museum at Altria, New York; Roses in the
Hospital/Men Are the New Women, Inman Gallery, Houston. Permanent collections: Collection of
Eileen and Peter Norton, Santa Monica, California; Altoids Curiously Strong Collection; Austin
Museum of Art; Museum of Fine Arts, Houston; New Museum of Contemporary Art; others. Awards
include Ellen Battell Stoeckel Fellowship, Yale University (1996); Altoids Tin Canvas Project (2000);
AICA Award for Best Show in a Commercial Gallery Nationally, First Place (2004).

Marina Rosenfeld
Visiting Assistant Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

James Rouvelle
Musician and sound artist. B.A., Skidmore College; M.F.A., Milton Avery School of the Arts, Bard
College. Postgraduate study at Juilliard and Aspen music schools in composition; private study with
Charles Jones. Cofounder, The Present Eye, chamber ensemble (199498). Has conceived, built, pro-
grammed, and shown robotic sound and installation works; recent activities have involved large-scale
micro-radio projects such as URBANtells, San Jose, California (2006; ISEA commission); La Rue cest
mise a nu par ses orielles, partout, Cambridge, Massachusetts (2006); and traces, Baltimore (forthcoming,
2007); in addition to collaborative, networked, interdisciplinary events with Barney Haynes, Tina
Aufiero, others. Professor of interactive media, Maryland Institute.

Keith Sanborn
Video- and filmmaker. M.A.H., SUNY Buffalo; M.A., Columbia University. Festival screenings include
Ostranenie, Toronto International Film Festival, Rotterdam International Film Festival, Hong Kong
500 Faculty

Videotage, others. Museum screenings include Whitney Biennial (1992, 2002), Museum of Modern
Art, Anthology Film Archives, London Filmmakers Co-op, San Francisco Cinematheque, Cineteca di
Bologna; Pompidou Center, others. Translator of works by Georges Bataille, Guy Debord, Rene Vienet,
Gil Wolman.

Joseph Santarromana
Filmmaker. B.F.A., Otis Art Institute of Parsons School of Design, Los Angeles; M.F.A., California
Institute of the Arts. Work shown at Museum of Contemporary Art, Japanese American Cultural and
Community Center, and NewSpace, Los Angeles; ARS Electronica, Linz, Austria; Allen Memorial Art
Museum, Oberlin, Ohio; ORF, Vienna, Austria; Santa Monica (California) Museum of Art; Plug-In
Gallery, Winnipeg, Canada; Fifth International Baguio Arts Festival, Baguio City, Philippines;
Hohenthal and Bergen, Cologne, Germany. (2001 ).

Leslie Scalapino
Writer. Author of 30 books of poetry, new fiction, criticism, and plays. Recent poetry books include
New Time (Wesleyan University Press, 1999); Its go in/quiet illumined grass/land (Post-Apollo Press,
2002); Day Ocean State of Stars Night (Green Integer, 2006). Works of new fiction include Defoe (Green
Integer, 2002); Dahlias IrisSecret Autobiography and Fiction (FC2 Press, 2003); Orchid Jetsam (Tuumba,
2001). (1992 ).

Nancy Shaver
Sculptor. B.F.A., Pratt Institute. Exhibited extensively in solo and group exhibitions including the Curt
Marcus Gallery and Feature, New York; Michael Kohn Gallery, Los Angeles; Galerie Montenay, Paris.
Work in the collections of Museum of Contemporary Art, Los Angeles; Douglas S. Cramer Foundation;
Chase Manhattan Bank; Progressive Corporation, Ohio. Reviewed most recently in New York Times,
Art in America, Frieze, New Yorker, Time Out New York. Pollock-Krasner Foundation grant; fellowships
from Yaddo and MacDowell Colony. (1997 ).

Amy Sillman
Painter. B.F.A., School of Visual Arts; M.F.A., Milton Avery Graduate School of the Arts, Bard College.
Represented by Sikkema Jenkins Co., New York; also shows with Susanne Vielmetter Los Angeles
Projects and Galerie Carlier-Gebauer, Berlin. Has shown in group exhibitions at Whitney Museum of
American Art; Brooklyn Museum; New Museum of Contemporary Art; Aldrich Contemporary Art
Museum, Ridgefield, Connecticut; Museum of Modern Art, Bologna; among others. Work included in
collections of Metropolitan Museum of Art, Whitney Museum of American Art, Museum of Modern
Art, Baltimore Museum of Art, Boston Museum of Fine Art, Art Institute of Chicago. Recipient,
Guggenheim Foundation Fellowship (200102); Louis Comfort Tiffany Foundation Award
(19992000). Monograph, Amy Sillman: Works on Paper (Gregory R. Miller and Co., 2006). Assistant
Professor of Studio Art, Bard College (19962005).

Laetitia Sonami
Musician and sound artist. Work combines text, music, and found sound in compositions that have
been described as performance novels. Has developed and adapted new gestural controllers to musi-
cal performance and composed works with these materials. Solo CD forthcoming from Lovely Music
Ltd.; compositions included on CD compilations Imaginary Landscapes (Nonesuch); Another Coast
(Music and Arts Program of America); Jewel Box (Tellus 26); The Time Is Now (Frog Peak Music).
Recent awards include CalArts Alpert Award in the Arts (2002); Foundation for Contemporary
Performance Arts Award (2000); Civitella Ranieri Fellowship (2000); Harvestworks Studio PASS
residency (2001); Creative Work Fund award for a collaboration with Nick Bertoni and the Tinkers
Workshop (2000).
 Faculty of the Milton Avery Graduate School of the Arts 501

David Levi Strauss

Visiting Professor of Studio Art, Bard College. Faculty, Center for Curatorial Studies and Art in
Contemporary Culture, Bard College. (2001 ) For complete biography, see undergraduate faculty listing.

Erika Suderburg
Film- and videomaker. Has exhibited at Pacific Film Archives, Berkeley; Millennium Film Workshop,
Museum of Modern Art, Collective for Living Cinema, Simon Watson Gallery, Trial Balloon Gallery,
and Cohan Leslie and Browne Gallery, New York; Capp Street Projects and New Langton Arts, San
Francisco; American Film Institute, Museum of Contemporary Art, and Filmforum, Los Angeles;
Kunstlerhaus, Stuttgart; Grazer Kunstverein, Austria; Fukai International Video Biennale (Japan);
International Video Festival, Bonn; Long Beach (California) Museum of Art. Faculty, Art Department
and Program in Film and Visual Culture, University of California, Riverside.

Richard Teitelbaum
Professor of Music, Bard College. For complete biography, see undergraduate faculty listing.

Cheyney Thompson
Painter. B.F.A., The School of the Museum of Fine Arts; also studied at Tufts University, Harvard
University, and LEcole Nationale-Suprieure des Beaux-Arts, Paris. Solo exhibitions in London, Paris,
Naples, and New York; group exhibitions in Glasgow, Venice (Biennale), Los Angeles, Boston,
Provincetown, others. Represented by Andrew Kreps Gallery, Sutton Lane, London/Paris, and
Buchholz Gallery, Cologne. Projects include Scorched Earth (coeditor), Xantan Records, and various
music collaborations.

Penelope Umbrico
Photographer. A.O.C.A., Ontario College of Art and Design; M.F.A., School of Visual Arts. Solo exhi-
bitions include Julie Saul Gallery, International Center of Photography, Bernard Toale Gallery,
Montgomery Museum of Art. Group shows include Museum of Modern Art, Art in General,
Massachusetts College of Art, Memphis College of Art, Lowe Art Museum, many others. Work
included in collections of Museum of Modern Art, Metropolitan Museum of Art, International Center
of Photography. Recipient, New York Foundation for the Arts, Catalogue Grant; NYFA, Artists
Fellowship. (2001 ).

Stephen Westfall
Painter. B.A., M.F.A., University of California, Santa Barbara. Work exhibited in the United States and
Europe and widely reviewed, most recently in New York Times, Art in America, New Criterion, Partisan
Review, LExpress. Writing published in Art in America, Arts, Flash Art, and other magazines. First Batza
Family Distinguished Chair in Art and Art History at Colgate University (fall 2000). Recipient of three
National Endowment for the Arts fellowships and two New York State Council on the Arts fellowships.
(1989 ).

Mark Wonsidler
Sculptor. B.F.A., School of Visual Arts; M.F.A., Milton Avery Graduate School of the Arts, Bard
College. Exhibitions at Lehigh University, University of WisconsinStout, Pennsylvania State
University, Muhlenberg College, Delaware Center for the Contemporary Arts, Rodale Institute,
Allentown Art Museum, and other institutions. Coordinator of exhibitions and collections/webmas-
ter, Lehigh University Art Galleries. Assistant director, Milton Avery Graduate School of the Arts, Bard
College. (2001 ).
502 Faculty

Bard High School Early College

Ray Peterson, Project Director and Principal

Ray Peterson Project Director and Principal

B.A., Southwestern College; M.A., University of Iowa; doctoral studies at New York University.
Director, Bard College Institute for Writing and Thinking (19982001). Has taught at Central Missouri
State University and Santa Rosa Junior College, California. Professional honors include Coe Foundation
Fellowship in American Studies (1967); Bay Area Writing Project Fellowship, University of California,
Berkeley (1979); Carnegie Mellon Writing Research Fellowship (1980). Has contributed articles to
Before and After (Random House, 1985) and Writing in Australia (Oxford, 1986), among others.

Michael Aloysius Lerner Associate Dean of Studies

B.A., Columbia University; Ph.D., New York University. Has taught at Barnard College, NYU, New
School University, and Hubert H. Humphrey Institute of Public Affairs, University of Minnesota.
Awards include Best Dissertation in Urban History, Urban History Association (2000). Author, Dry
Manhattan: Prohibition in New York City (Harvard University Press, 2007). Teaching and research
interests include 20th-century United States society and politics; American reform movements; pop-
ular culture; U.S.-Pacific relations.

Martha J. Olson Dean of Administration; Dean of Education Initiatives, Bard College

B.A., University of Illinois; J.D., New York University School of Law; M.A., Teachers College, Columbia
University. Practiced law at Debevoise & Plimpton; Office of the New York State Attorney General;
Lankler, Siffert & Wohl; The Campaign for Fiscal Equity. Law clerk to Thomas Fairchild, Chief Judge
of the United States Court of Appeals for the Seventh Circuit, and Bruce Selya, United States District
Court Judge for the District of Rhode Island. Taught global studies at FLAGS High School, New York
City. Root-Tilden-Kern Scholar. Past president, Citizens Committee for Children of New York, Inc.

Camille Sawick Assistant Principal

M.S., Queens College; B.A., Brooklyn College. Assistant Principal Administration, New York City
Public High Schools (1995 ). Reading specialist. Taught special education high school students for
12 years; taught high school English for 10 years.

Sara Yaffee Assistant Principal

B.A., Gettysburg College; M.A., L.C.S.W., New York University; M.S.Ed., Pace University. Former
counselor, Stuyvesant and Chelsea High Schools, New York City.

Matthew Auth
B.A., Brandeis University; Ph.D., University of Massachusetts. Areas of speciality include teaching
multivariate calculus using Mathematica computer program; developing computer graphics software
to view mathematical surfaces; quaternionic holomorphic geometry. Teaching and research experi-
ence includes two years in Guinea-Conakry, West Africa, as volunteer math teacher in the Peace
Corps (199496); and positions as guest researcher, Technische Universitt, Berlin (2000); research
assistant, Center for Geometry, Analysis, Numerics, and Graphics, University of Massachusetts
(2001); assistant professor, Smith College (200102).

David Bally
B.A., Temple University; B.F.A., City College of New York; M.A., Hunter College. Has taught eco-
nomics, world history, and U.S. history at New York City Museum School; adjunct faculty, Pace
University. Consultant, New Visions for Public Schools.
 Faculty of Bard High School Early College 503

Beatrice Stern Birch

B.A., University of Chicago; M.A., Ph.D., SUNY Buffalo. Has taught at Cayey University College,
University of Puerto Rico; Fordham University College at Lincoln Center; Iona College; Cornell
University; and Solomon Schechter, Horace Greeley, and Ardsley High Schools, all in New York.
Memberships include National Council of Teachers of English, Modern Language Association, and
New York State English Council, which named her a 1996 Educator of Excellence.

Brian Carter
B.S., University of Georgia; Ph.D., Columbia University. Research interests include developing tools
for high-throughput study of the proteome and enzymatic evolution. Has taught at Community Impact
at Columbia University; Columbia University Science Honors Program; Csar Chvez Public Charter
High School for Public Policy. Member, American Chemical Society, New York Academy of Science.

Tim Casey
B.F.A., M.F.A., Rhode Island School of Design. Painter; since 1979 has exhibited in New York City
and nationally. Work included in museums and corporate and private collections. Reviews in New
York Times, Art in America, Arts Magazine. Has taught at Rhode Island School of Design, New York
University, Pratt Institute, Tufts University, Middlebury College, and in the SUNY system.

David Clark
B.A., Oberlin College; M.A., Brown University; M.Phil., Ph.D., Columbia University. Interests
include Latin literature of the late Roman republic and early Roman empire; ancient philosophy;
Latin pedagogy. Has taught at Columbia University and Oberlin College. Honors and awards:
Rubinstein Fellow, Whitney Museum Independent Study Program (198485); University Fellow,
Brown (198990); Presidents Fellow, Columbia (199198).

Judith A. Cohen
B.S., Queens College; M.S., S.A.S., Brooklyn College. Taught biology at Brooklyn Technical High
School. Director of education, Girls Club of New York (198182); executive director, Womens
Survival Space, Brooklyn (198486); coordinator, Gateway to Higher Education (19862002), a pro-
gram designed to assist underrepresented minorities in pursuit of careers in the sciences.

Jennifer Cordi
B.A., University of Rochester; Ph.D., Binghamton UniversitySUNY. Research focus: network the-
ory applications to understanding patterns and processes of vascular plant evolution. Member,
Botanical Society of America, Society for the Study of Evolution. Publications include Engaging
Knowledgethe inference of internet content development and its meaning for scientific learning and research,
Scarecrow Education Press (2004); The anatomy of Rotoxylon dawsonii comb. nov. (Cladoxylon daw-
sonni) from the Upper Devonian of New York State (Int. J. Plant Sci. 166[6]: 10291045).

Paul DuCett
B.A., Middlebury College; M.A. (teaching English as a second language), M.A. (comparative litera-
ture), City University of New York. Specializes in philology, especially Greek and Latin classics and
Russian. Has taught as a Fulbright professor in Russia; also studied Chinese for three years, and is cur-
rently completing a masters degree in Spanish language and culture at University of Salamanca,
Spain, and a Ph.D. in comparative literature at CUNY.

Fang Fu
A.A., Fuzhou Teachers College, China; B.A., School of General Studies, Columbia University; M.A.,
Ed.M., Teachers College, Columbia University; Ed.D. candidate, Teachers College, Columbia
University. Teaching associate, Chinese Language Program, Columbia University. Adjunct lecturer at
504 Faculty

City College and Baruch College. Specializes in teaching Chinese as a foreign language and bilingual
education in international educational development.

Denice A. Gamper
B.S., St. Josephs College; M.S., St. Johns University. Instructor of science, Bishop Kearney High
School, Brooklyn (19802001). Awards include research fellowship for high school science teachers
in medicinal chemistry, St. Johns University (199899); research fellowship for high school science
teachers in neurobiology, College of Physicians and Surgeons, Columbia University (199293).

Elizabeth P. Howort
B.A., M.A.T., Bard College. Teaching areas include writing, English, poetry, community service, pub-
lic education. Faculty, The Beacon School, New York (2005); Writing and Thinking Workshop, Bard
College at Simons Rock: The Early College (2006).

Lee D. Johnson
B.A., University of California, Berkeley; Ph.D. candidate, Yale University. Specializes in Russian lan-
guage and literature. Program supervisor, Smolny College, St. Petersburg, Russia (2003); visiting assis-
tant professor, Bard College (200203); teaching assistant, Yale University (19952001).

Mossbah M. Kolkas
B.S., Alexandria University, Egypt; M.A., Brooklyn College; Ph.D., Graduate School of the City
University of New York. Research fellow, Rensselaer Center of Applied Geology, Northeastern
Science Foundation Inc., Troy, New York. Awards and scholarships include Outstanding Service
Award, Department of Geology, Brooklyn College (1995); Certificate of Recognition, American
Association of Petroleum Geologists (1997); W. A. Tarr Award, Epsilon Upsilon Chapter, Sigma
Gamma Epsilon (1997). Has taught at College of Staten Island, Hunter College, Brooklyn College.

Michael Larkin
B.S., SUNY Cortland. Athletic director, coach, teaches physical education and health. Special inter-
ests include health-related fitness, personal training, nutrition, emergency first aid, athletic participa-
tion. Has taught at Brookhaven National Laboratory; SUNY Cortland; Mount Elementary School;
Ward Melville High School.

Mary Ellen Lennon

B.A., SUNY Binghamton; M.A., Ph.D., Harvard University. Lecturer in history and literature,
Harvard University; visiting assistant professor, Department of American Studies, University of Iowa.
Awards include National Humanities Center Summer Institute in Literary Studies Fellowship (2003);
National Endowment for the Humanities Summer Institute Fellowship (2004).

Yung Chun Mak

B.S., University of British Columbia; M.S., Iowa State University; Ph.D., University of Western
Ontario. Emeritus professor, Ryerson Polytechnic University, Toronto; has also taught chemistry and
general science at Canadian Overseas Secondary School, Hong Kong, and Seward Park High School,
New York. Member, American Chemical Society.

Rene S. Marion
B.A., University of Iowa; M.A., Ph.D., Johns Hopkins University. Assistant professor, Ball State
University; visiting professor, Universit de Versailles Saint-Quentin-en-Yvelines, Guyancourt,
France (1999), Bogazii University, Istanbul, Turkey (1998); assistant professor, University of South
Dakota. Research interests include social and cultural history of 17th- and 18th-century Europe, food
culture, popular politics.
 Faculty of Bard High School Early College 505

Thomas Martin
B.A., M.A., Ph.D., Columbia University. Former associate professor, Art Department, University of
Tulsa. Specializes in Italian art and architecture, 14001750. Awards and honors: Rush Kress Fellow,
Villa I Tatti, Center for Renaissance Studies, Harvard University (199798); J. Clawson Mills Fellow,
Metropolitan Museum of Art (199192); Outstanding Teacher Award, University of Tulsa (2000).
Author, Alessandro Vittoria and the Portrait Bust in Renaissance Venice (Oxford, 1998); articles in
Burlington Magazine, Sculpture Journal, Apollo, Arte Veneta, Revue du Louvre.

Bruce Matthews
B.A., University of Virginia; M.A.R., Yale Divinity School; Ph.D., New School University. Visiting
assistant professor, philosophy and religion, New Jersey City University; adjunct assistant professor of
philosophy, Hunter College and Parsons School of Design. Hans Jonas Memorial Award, New School
University (1999).

Steven V. Mazie
A.B., Harvard College; Ph.D., University of Michigan; postgraduate work, Hebrew University of
Jerusalem. Adjunct professor, New York University. Honors include Newcombe Fellowship, Raoul
Wallenberg Scholarship, National Science Foundation research grant, American Political Science
Association Best Paper Award (Religion and Politics section, 2003), and three awards for teaching
excellence. Articles published in Field Methods, Polity, Brandywine Review of Faith and International Affairs,
Perspectives on Politics. Author of Israels Higher Law: Religion and Liberal Democracy in the Jewish State
(Lexington Books, 2006). Areas of specialization include political theory, public law, the Middle East.

Jerold Nashban
B.A., Yale University; M.A., Graduate Faculty of the New School for Social Research. Has taught
mathematics at Sarah J. Hale High School, Brooklyn (198094); Brooklyn College (1995); College
of Mount St. Vincent (199697); Coalition School for Social Change, New York (199499);
Humanities Prep Academy, New York (19992003). Graduate, Training Program of the National
Psychological Association for Psychoanalysis, New York.

Elizabeth Poreba
B.A., Wellesley College; M.S.W., M.A., New York University. Has taught at New Explorations into
Science, Technology, and Mathematics, New York; Sacred Heart School, New York; Berkshire Farm
Center and Services for Youth; Portsmouth Abbey School, Portsmouth, Rhode Island. Recipient,
National Endowment for the Humanities grant (1992, 1995). Poems published in Poetry East,
Southern Poetry Review, Commonweal.

Zangwill (Sam) Rosenbaum

B.S., Brooklyn College; M.A., Pennsylvania State University; M.A., Brooklyn College; Ph.D., Rutgers
University. Has taught at Iona College, Montclair State University, Wilkes University, Drew
University, Keystone Junior College. Areas of research interest include discrete mathematics, mathe-
matical modeling in the social sciences, and computerized adaptive testing (CAT).

Gabriel Eli Rosenberg

B.A., Rice University; M.A., Ph.D., Columbia University. Taught at Yale and Columbia Universities.
Has lectured in algebra, group theory, and geometric topology at Hebrew University of Jerusalem and
Yale, Brown, Rutgers, and Harvard. Member, American Mathematical Society, Mathematical
Association of America.
506 Faculty

Martha Rowen
B.A., M.A., M.Phil., City University of New York. Adjunct assistant professor, Foreign Language
Department, New York University (1989 ); also has taught at CUNY Graduate Center; Brooklyn College;
Hunter College, City College; Fontbonne Hall Academy, Brooklyn; High School of Environmental
Studies, New York; Washington Irving High School, New York; Teaneck High School, New Jersey.

Felisa Sheskin
B.A., University of Maryland; M.A.T., University of North Carolina, Chapel Hill. Has taught Spanish
at UNC, Chapel Hill; North Carolina State University; Chapel Hill High School; New York City
Museum School. Recipient, F.L.A.S. grant for Mayan language study; Tinker Foundation Grant to do
education research in Brazil; Fulbright Teacher Seminar Abroad grant to study challenges to Mexican
democracy. Election observer in Guatemala (2003) and El Salvador (1999); led Bard High School
Early College trips abroad to Mexico and Costa Rica for language study and family stays. Member,
Latin American Jewish Studies Association, American Council on the Teaching of Foreign
Languages, New York State Academy for Teaching and Learning.

Scott Ellison Smith

B.A., Morehouse College; certificate, International Center of Photography. Freelance photographer;
has pursued photographic work in Asia, the Caribbean, and throughout the United States. Cofounder,
Red Clay Arts, Brooklyn. Has taught at Acorn Community High School, Brooklyn, and Ballard High
School, Seattle.

Heidi Stubner
B.S., M.M., Manhattan School of Music. Concert violinist; holds chair with the American Symphony
Orchestra (1986 ). Founder and artistic and executive director, Hudson Highlands Music Festival,
Garrison, New York (1994 ). Founder and director, Hudson Highlands String Academy, Garrison
(2003 ). Managing director, Horizon Concerts, New York City (198591). Administrative coordinator,
Bard High School Early College (2001 ).

Rick Vartorella
B.A., SUNY Empire State College; M.F.A., Ohio State University. Author of several plays, including
Daddys Band (play with music), performed at Directors Theatre (1993) and Westbeth Theatre Center
Cabaret (1992). Has taught in the Workshop in Language and Thinking, Bard College.

Edward J. Vernoff
B.A., New York University; M.I.A., Columbia University; M.A., Ph.D., NYU. Has taught at
LaGuardia High School and Seward Park High School, New York; Shanghai Teachers College, China.
Coeditor, Through Chinese Eyes and The Left Academy: Marxist Scholarship on American Campuses
(three volumes); coauthor, The Penguin International Dictionary of Contemporary Biography and The
International Dictionary of 20th-Century Biography.

Lori Ween
B.A., Cornell University; M.A., Northwestern University; Ph.D., Pennsylvania State University. Has
taught comparative literature and composition at Penn State and Spanish at Northwestern. Areas of
specialization: literature of the Americas, specifically minority literatures of the United States.
Articles in PMLA, The Comparatist, Comparative Literature Studies.

John B. Weinstein
B.A., Harvard University; M.A., M.Phil., Ph.D. candidate, Columbia University. Academic interests
include East Asian theater and Asian theories of acting and performance. Has published in various
academic journals; has presented papers at conferences including the Association for Theatre in
 Faculty of Bard High School Early College 507

Higher Education in Washington, D.C.; Foundation for Scholarly Exchange, Taiwan; Conference on
the Moving Image and Performance Art, National Central University, Taiwan.

Wynne Wu
B.A., Oberlin College; B.Mus., Oberlin Conservatory of Music; M.A., New York University. Has
taught at the Little Red School House/Elisabeth Irwin High School, Third Street Music School
Settlement, Fiorello H. LaGuardia High School for Music & Art and Performing Arts. Phi Beta Kappa
(1998); Gates Millennium Scholar (200102).
 Honorary Degrees and
Bard College Awards
Honorary Degrees
In 1865 the Rev. Thomas A. Pynchon received the first honorary degree conferred by St. Stephens
College, as Bard was then known. From that time until 1944, when Bard severed its relationship with
Columbia University and became an independent liberal arts college, it awarded more than 150 hon-
orary degrees. Following is a list of individuals who have received honorary degrees conferred from
Bard since the mid-1940s.

Doctor of Civil Law Ilya Bolotowsky, 1981

Martin Luther King Jr., 1962 Louise Bourgeois, 1981
Paul Moore Jr., 2003 Stan Brakhage, 2000
David E. Schwab II 52, 2004 Robert Brustein, 1981
Elliott Carter, 1987
Chevy Chase 68, 1990
Doctor of Divinity Chuck Close, 1999
Most Rev. John Maury Allin, 1985 Ornette Coleman, 1999
Rev. Bernard Iddings Bell Blythe Danner 65, 1981
(posthumously), 1962 Jean Erdman, 1992
Rev. James E. Clarke 25, 1965 Donald Fagen 69, 1985
Rev. Vine Victor Deloria 26, 1954 Rudolf Firkusny, 1993
Rt. Rev. Horace W. B. Donegan 25, 1957 Lukas Foss, 2006
Rev. Lyford P. Edwards, 1947 Helen Frankenthaler, 1976
Rev. John Heuss 29, 1953 Lee Friedlander, 2001
Rev. Canon Clinton Robert Jones 38, 1966 Frank O. Gehry, 2002
Rev. Gordon Lee Kidd 21, 1986 Benny Goodman, 1986
Rt. Rev. Arthur C. Lichtenberger, D.D., 1960 John Guare, 2001
Rt. Rev. Charles W. MacLean 25, 1962 Helen Hayes, 1978
Rev. Chester E. McCahan, 1951 John Heliker, 1991
Rev. John M. Mulligan 32, 1968 James Ivory, 1996
Rev. Joseph Parsell 26, 1988 Judith Jamison, 1995
Rev. James A. Paul 32, 1955 Ruth Prawer Jhabvala, 1996
Rev. Frederick Q. Shafer 37, 1989 Bill T. Jones, 1996
Rev. Elwyn H. Spear 11, 1952 Louis I. Kahn, 1970
Ellsworth Kelly, 1996
Andr Kertsz, 1981
Doctor of Fine Arts Tony Kushner, 2004
Alvin Ailey, 1977 Roy Lichtenstein, 1989
Harry Belafonte, 1993 Maya Lin, 2000
Malcolm Bilson 57, 1991 Sidney Lumet, 1987
508

Yo-Yo Ma, 1994
Wynton Marsalis, 1998
Ismail Merchant, 1996
Meredith Monk, 1988
Mark Morris, 2006
Jessye Norman, 2003
Claes Oldenburg, 1995
Yoko Ono, 2003
Nam June Paik, 1990
Donald Richie, 2004
Sonny Rollins, 1992
James Rosenquist, 1997
Martin Scorsese, 1992
Aaron Siskind, 1981
Carol Summers 52, 1974
Louise Talma, 1984
Billy Taylor, 2000
Twyla Tharp, 1981
Virgil Thomson, 1982
Robert Venturi, 1993
Doctor of Humane Letters
George A. Akerlof, 2003
Anthony J. Alvarado, 1999
Kwame Anthony Appiah, 2004
Hannah Arendt, 1959
Alfred J. Ayer, 1983
Bernard Bailyn, 1968
Salo W. Baron, 1979
William J. Baumol, 2005
James Phinney Baxter, 1960
Robert L. Bernstein, 1998
Bruno Bettelheim, 1987
Jonathan Bingham, 1958
Michael R. Bloomberg, 2007
Heinrich Bluecher, 1968
Dorothy Dulles Bourne, 1967
Burrett B. Bouton 24, 1964
Kenneth Burns, 1998
Pablo Casals, 1958
James H. Case Jr., 1960
Noam Chomsky, 1971
Robert M. Coles, 1976
Barry Commoner, 1980
Gardner Cowles, 1950
Arnold J. Davis 44, 1995
Gordon J. Davis, 2001
Natalie Zemon Davis, 2002
Anne dHarnoncourt, 1990
Fairleigh S. Dickinson Jr., 1968
Honorary Degrees 509
Harry L. Dillin 28, 1964
Wendy Doniger, 1996
Frances D. Fergusson, 2006
Barbara J. Fields, 2007
Hamilton Fish Jr., 1994
Nancy Folbre, 2006
Phillip Frank, 1953
John Hope Franklin, 1969
William Frauenfelder, 1957
Ellen V. Futter, 1999
Henry Louis Gates Jr., 1995
Adrienne Germain, 2001
Martha Graham, 1952
Edward S. Grandin III 37, 1997
Andrew M. Greeley, 2002
Lani Guinier, 2003
Elizabeth Blodgett Hall, 1986
Michael Harrington, 1966
Alexander Heard, 1979
Fred M. Hechinger, 1956
James J. Heckman, 2004
Ernest F. Henderson III, 1976
Stefan Hirsch, 1961
Oveta Culp Hobby, 1950
Eric J. Hobsbawm, 1986
John C. Honey 39, 1992
Randall Jarrell, 1961
Wei Jingsheng, 1998
William H. Jordy 39, 1968
C. Flint Kellogg 31, 1960
Lawrence R. Klein, 1986
Reamer Kline, President Emeritus, 1974
Howard E. Koch 22, 1972
Louis W. Koenig 38, 1960
Leszek Kolakowski, 1983
Hilton Kramer, 1981
Elisabeth Kbler-Ross, 1977
Aung San Suu Kyi, 2002
David S. Landes, 1999
Eugene M. Lang, 1991
Rev. Leslie J. A. Lang 30, 1978
Roy E. Larsen, 1951
Christopher Lasch, 1977
Mary Woodward Lasker, 1950
Sara Lawrence-Lightfoot, 1993
Eva Le Gallienne, 1967
Harold Lever, 1989
Harold O. Levy, 2002
Leon Levy (posthumously), 2003
David Levering Lewis, 2002
Harvey Lichtenstein, 1999
510 Honorary Degrees and Bard College Awards
Mary McCarthy, 1976
William James McGill, 1975
William H. McNeill, 1984
Deborah W. Meier, 1997
Leonard B. Meyer 40, 1976
William E. Milliken, 2007
Franco Modigliani, 1985
Arnaldo Momigliano, 1983
Philippe de Montebello, 1981
Ian Morrison, 1968
Robert Motherwell, 1973
Daniel Patrick Moynihan, 1985
Ernest Nagel, 1964
Carroll V. Newsom, 1955
Martha C. Nussbaum, 1999
Erwin Panofsky, 1956
Gail Thain Parker, 1974
Martin Peretz, 1982
Hart Perry, 1986
John Harold Plumb, 1988
Richard Pousette-Dart 39, 1965
John Herman Randall Jr., 1972
Santha Rama Rau, 1954
Robert Redford, 2004
Wallingford Riegger (posthumously), 1961
David Rose, 1980
William F. Rueger 40, 1984
Salman Rushdie, 1996
Simon Schama, 2003
Meyer Schapiro, 1988
Carl Emil Schorske, 1982
Henry L. Scott, 1964
Amartya Sen, 1997
Maurice Sendak, 1987
Aura E. Severinghaus, 1955
Sidney Shelov 37, 1987
Ruth J. Simmons, 2005
Theodore H. Smythe 37, 1973
Albert Spalding, 1951
Edward John Steichen, 1966
John H. Steinway 39, 1989
Ellen Stewart, 1975
Joseph E. Stiglitz, 2001
Margot Stern Strom, 2001
Adolf Sturmthal, 1985
Deborah Sussman 52, 1998
Donald Tewskbury, 1954
James Tobin, 1995
Ludmila A. Verbitskaya, 2000
Emily Townsend Vermeule, 1994
Paul Langdon Ward, 1963
Thomas J. Watson Jr., 1985
Faye Wattleton, 1991
Bethuel M. Webster, 1980
Richard D. Weigle, 1970
Barbara Wersba 54, 1977
Paul Whitcomb Williams, 1975
Roscoe L. Williams, 1969
William Julius Wilson, 1992
Janet L. Yellen, 2000
Doctor of Laws
Ernest Angell, 1954
Edward Ware Barrett, 1950
Elliott Vallance Bell, 1950
William Benton, 1951
Julian Bond, 1970
Chester Bowles, 1957
William B. Bryant, 1984
Gerhard Casper, 2007
William T. Coleman Jr., 1989
Howland S. Davis, 1960
Paul H. Douglass, 1959
David Dubinsky, 1951
Cyrus Eaton, 1958
Marian Wright Edelman, 1982
Dwight D. Eisenhower, 1964
James Peter Fusscas 31, 1974
Kenneth Galbraith, 1958
Richard J. Goldstone, 2004
Murray I. Gurfein, 1972
Edgar W. Hatfield 31, 1956
Lt. Col. William Roy Hidgson, 1947
A. Leon Higginbotham Jr., 1991
Wayne L. Horvitz, 1979
Irving M. Ives, 1942
Jacob K. Javits, 1966
Nicholas deB. Katzenbach, 2000
Joseph Kovago, 1960
Herbert H. Lehman, 1952
Edward Hirsch Levi, 1975
W. Arthur Lewis, 1982
Jack W. Lydman 36, 1973
Ward Melville, 1950
Soia Mentschikoff, 1978
Eleanor Holmes Norton, 1971
Lennart K. H. Nylander, 1950
Hon. Ferdinand Pecora 99, 1963
Hon. Byron Price, 1950

Ogden Rogers Reid, 1969
Abraham Ribicoff, 1961
Felix G. Rohatyn, 1976
Anna Eleanor Roosevelt, 1951
Kurt L. Schmoke, 1994
Theodore H. Silbert, 1972
Frank Snowden, 1957
Bryan A. Stevenson, 2006
Arthur Ochs Sulzberger, 1967
Marietta Tree, 1965
Henry Wriston, 1958
Doctor of Letters
Edward Albee, 1987
Saul Bellow, 1963
Irma Brandeis, 1980
Harold Clurman, 1959
Joan Didion, 1987
Margaret Drabble, 1983
Frederick Dupee, 1965
Ralph W. Ellison, 1978
Max Frisch, 1980
Carlos Fuentes, 1988
Ernest J. Gaines, 1985
Elizabeth Hardwick, 1989
Anthony Hecht 44, 1970
Ada Louise Huxtable, 1980
Jamaica Kincaid, 1997
Doris Lessing, 1994
Henry Noble MacCracken, 1955
Ved Mehta, 1982
Toni Morrison, 1979
Azar Nafisi, 2007
Cynthia Ozick, 1991
Henri Peyre, 1957
David Remnick, 2005
Philip Roth, 1985
Richard H. Rovere 37, 1962
Mary Lee Settle, 1985
Isaac Bashevis Singer, 1974
Charles Percy Snow, 1962
Wallace Stevens, 1951
Peter H. Stone 51, 1971
Ordway Tead, 1953
John Updike, 1984
Helen Vendler, 2005
Theodore Weiss, 1973
William Carlos Williams, 1950
Louis Zukofsky, 1977
Honorary Degrees 511
Doctor of Science
Alexander Albert 32, 1961
David Baltimore, 1990
John Joseph Bittner 25, 1950
Elizabeth Helen Blackburn, 2004
Baruch S. Blumberg, 1985
John T. Cacioppo, 2004
Kenneth Campbell, 1956
Gregory Chudnovsky, 1981
Ren Dubos, 1971
Anthony S. Fauci, 1993
David Gelernter, 2006
William T. Golden, 1988
Stephen Jay Gould, 1986
M. D. Hassialis, 1953
David D. Ho, 1997
Kay Redfield Jamison, 2003
John G. Kemeny, 1978
Bostwick K. Ketchum 34, 1964
Mary Claire King, 1995
Jin H. Kinoshita 44, 1967
Tsung-Dao Lee, 1984
Arnold J. Levine, 2000
Eduardo D. Maldonado 32, 1972
Barbara McClintock, 1983
Paul Nurse, 2005
Mary L. Pardue, 1985
Gerard Piel, 1979
Gardner M. Riley 31, 1959
Oliver Sacks, 1992
Elie Alexis Schneour 47, 1969
C. Theodore Sottery, 1963
Abraham Spector 47, 1985
David Howard Spodick 47, 1975
Shirley M. Tilghman, 2002
Yasuhisa Toyota, 2004
Harold E. Varmus, 2001
William Vogt 25, 1952
James Dewey Watson, 1991
Frank H. Westheimer, 1983
Nancy S. Wexler, 1998
Edward Witten, 1998
Chien-Shiung Wu, 1974
512 Honorary Degrees and Bard College Awards

Bard College Awards

Each year Bard College honors a number of distinguished men and women whose accomplishments
exemplify the values and traditions that the College seeks to teach and preserve.

Mary McCarthy Award

The Mary McCarthy Award is given in recognition of engagement in the public sphere by an intellec-
tual, artist, or writer. Mary McCarthy taught at Bard twice, from 1946 to 1947 and again in the 1980s
at the end of her life. Previous recipients of the award, which honors the combination of political and
cultural commitment exemplified by this fearless, eloquent writer and teacher, include Elizabeth
Hardwick, Susan Sontag, Jane Kramer, Janet Malcolm, Frances FitzGerald, Nadine Gordimer, Shirley
Hazzard, Annie Proulx, and Joan Didion.

2007 Recipient: Cynthia Ozick

Charles Flint Kellogg Award in Arts and Letters

The Charles Flint Kellogg Award in Arts and Letters is given in recognition of a significant contribu-
tion to the American artistic or literary heritage. It is named in honor of Charles Flint Kellogg
(19091980), a Bard College alumnus and trustee who was an internationally respected historian and
educator. Dr. Kellogg was instrumental in establishing the Arts and Letters Award, which, before his
death, was given in the name of Alfred Jay Nock, the noted journalist and biographer who was also a
Bard alumnus and faculty member.

Previous recipients include Mary Lee Settle, Isaac Bashevis Singer, E. L. Doctorow, Anthony Hecht 44,
John Ashbery, Susan Rothenberg, Stephen Sondheim, Elliott Carter, John Tyrrell, Henry Luce III,
Sidney Geist 35, Jonathan Tunick 58, Rhoda Levine 53, Mary Caponegro 78, Arthur Aviles 87,
Joanna Haigood 79, Rikki Ducornet 64, Daniel Manus Pinkwater 63, John P. Boylan 67, Anne
Bogart 74, Sandra Sammataro Phillips 67, Henry-Louis de La Grange, Gilbert Kaplan, Donald
Mitchell, David Gates 69, Rita McBride 82, Jane Evelyn Atwood 70, Christopher Guest 70, and
Mimi Levitt.

2007 Recipient: Chris Claremont 72

John and Samuel Bard Award in Medicine and Science

The John and Samuel Bard Award in Medicine and Science is named after two 18th-century physi-
cians, father and son, whose descendant, John Bard, was the founder of Bard College. This award hon-
ors a scientist whose achievements demonstrate the breadth of concern and depth of commitment
that characterized these pioneer physicians.

The first recipient of the award was Detlev Bronk, president of the National Academy of Science and
the Rockefeller Institute for Medical Research. Other recipients have included Robert Loeb, Bard
Professor of Medicine at Columbia University; Lewis Thomas, president of Memorial Sloan-Kettering
Cancer Center and author of The Lives of a Cell; John Hilton Knowles, president of the Rockefeller
Foundation and professor at NYU Medical Center; Martin Cherkasky, president of Montefiore Hospital
 Bard College Awards 513

and Medical Center; Nobel laureates Linus Pauling and Rosalyn Sussman Yalow; Carl Djerassi, profes-
sor of chemistry at Stanford University and a former Bard Center Fellow; Stephen Jay Gould, influential
author of the Natural History magazine series This View of Life; Dr. Mathilde Krim, founder of the
AIDS Medical Research Foundation; Anne Botstein, M.D., professor emerita, Albert Einstein College
of Medicine; the late Charles Botstein, M.D., professor emeritus, Albert Einstein College of Medicine;
Naomi Parver Alazraki 62, leading radiologist and professor of radiology at Emory University; Naomi
Fox Rothfield 50, physician, teacher, and researcher; John W. Boylan, physician, research scientist, and
teacher; Yale Nemerson 53, Philip and Harriet L. Goodhart Professor of Medicine, Mount Sinai School
of Medicine; Manon P. Charbonneau 65, professor of education and innovative teacher of mathemat-
ics; Karen Saxe 82, mathematician; Ann Ho 62, medical researcher and educator; George D. Rose 63,
biochemist and biophysicist; Stewart I. Fefer 73, conservationist; Frank Oja, professor emeritus of psy-
chology at Bard College; Laszlo Z. Bito 60, groundbreaking researcher in the field of opthalmology and
glaucoma treatment; Richard M. Ransohoff 68, physician, professor, and researcher into multiple scle-
rosis and other conditions; Robert Levenson 67, researcher in human disease, physician, and profes-
sor; Sanford M. Simon, head of the cellular biophysics laboratory at The Rockefeller University;
Amalia C. Kelly 75, obstetrician and gynecologist, who teaches at Columbia University Medical
Center; and Albert R. Matlin 77, researcher and professor of organic chemistry at Oberlin College.

2007 Recipients: Gabrielle H. Reem and Herbert J. Kayden

John Dewey Award for Distinguished Public Service

The John Dewey Award for Distinguished Public Service was established in 1990 to recognize extraor-
dinary contributions by Bard alumni/ae and others to the public sector or in the public interest. It con-
tinues Bards tradition of honoring public service, embodied in the Episcopal Layman Award, which
was given until 1983. The Dewey Award is named to honor the eminent American philosopher and edu-
cator John Dewey, the father of progressive education and an outspoken advocate of a system of uni-
versal learning to support and advance this countrys democratic traditions.

Recipients of the award have made notable contributions in the fields of education, business, social
services, science, and government. Previous recipients of the Episcopal Layman Award include
Whitney North Seymour, Charles Radford Lawrence II, Sinclair Hatch, Willis L. M. Reese, Robert S.
Potter, and Robert F. Longley. Recipients of the John Dewey Award include Brandon Grove Jr. 50,
Helene L. Kaplan, Jack A. Blum 61, Arthur I. Blaustein 57, James H. Ottaway Jr., Elisabeth Semel 72,
Barbara D. Finberg, Connie Bard Fowle 80, Amy L. Comstock 81, Robert J. MacAlister 50, Earl Shorris,
Kenneth S. Stern 75, James N. Rosenau 48, Jennifer H. Madans 73, William T. Dickens 76, the
Reverend Stephen J. Chinlund, Richard G. Frank 74, Roy L. Herrmann 76, and David L. Miller.

2007 Recipients: Elizabeth Royte 81 and Jeffrion L. Aubry

514 Honorary Degrees and Bard College Awards

Bard Medal

The Bard Medal, the BardSt. Stephens Alumni/ae Associations highest award, is given to honor indi-
viduals whose efforts on behalf of Bard and whose achievements have significantly advanced the wel-
fare of the College. The Bard Medal was the inspiration of Charles Flint Kellogg, who believed that
Bard should establish an award recognizing outstanding service to the College. Recipients of the award
have most often been Bard alumni/ae, trustees, or very close associates of the College, including Eva T.
Belefant 49, John H. Steinway 39, David E. Schwab II 52, William F. Rueger 40, Mrs. Reamer Kline,
Hart Perry, Dr. Abe Gelbart, Charles Patrick, Elizabeth Blodgett Hall, Mary Sugatt, the Reverend
Frederick Q. Shafer 37, Kate Wolff, Elizabeth and Heinz O. Bertelsmann, Asher B. Edelman 61,
Arnold Davis 44, Elizabeth Ely 65, Annys N. Baxter Wilson 48, Charles P. Stevenson Jr., Susan
Weber Soros, S. William Senfeld 62, Peter McCabe 70, Cynthia Hirsch Levy 65, Diana Hirsch
Friedman 68, Margaret Creal Shafer, Karen Olah 65, Stuart Stritzler-Levine, Michael DeWitt 65,
Richard D. Griffiths, Richard B. Fisher, Felicitas S. Thorne, and Stanley A. Reichel 65. The Bard
Medal has also been presented to a select group of individuals whose work has advanced the course of
higher education, including benefits to Bard. This group includes Representative Hamilton Fish Jr. and
former New York State Senate Majority Leader Warren Anderson.

2007 Recipient: Ruth Schwartz Schwab 52

Bardian Award

The Bardian Award formalizes the BardSt. Stephens Alumni/ae Associations tradition of honoring
longtime faculty members and staff. Its first recipient, in 1999, was the late William Driver, professor
of theater; in 2000 the award was given to Peter Sourian, professor of English, and in 2001 the recip-
ient was Robert Rockman, professor emeritus of English and theater. There was no recipient in 2002.
The honoree in 2003 was William Weaver, professor of literature; in 2004 the recipients were Luis
Garcia-Renart, professor emeritus of music, and Adolfas Mekas, professor emeritus of film; in 2005 the
award went to Hilton M. Weiss, professor emeritus of chemistry, and Susan L. Barish, the longtime
business manager of the College. In 2006, the recipient was Elizabeth Betty Shea, founder of Central
Services and a member of the Bard community for more than 50 years.

No recipient in 2007.
 Boards and Administration

Boards of Bard College

Board of Trustees of Bard College Board of Overseers of Bard College at

Simons Rock: The Early College
David E. Schwab II 52, Chair Emeritus
Charles P. Stevenson Jr., Chair Emily H. Fisher, Chairman
Emily H. Fisher, Second Vice Chair Murray Liebowitz, Vice Chairman
Roland J. Augustine, Treasurer James M. Clark Jr. 76, Second Vice Chairman
Elizabeth Ely 65, Secretary Robert B. Strassler, Chairman Emeritus
Elizabeth Richardson, Secretary
Fiona Angelini
+Leon Botstein, President of the College Douglas Ahlers 77
David C. Clapp Loren AliKhan 99
*Marcelle Clements 69 Susan Beckerman
Rt. Rev. Herbert A. Donovan Jr., Anna Bernanke
Honorary Trustee +Leon Botstein, President
Asher B. Edelman 61 Veronica Chambers 87
Robert S. Epstein 63 Thomas K. Doyle Sr.
*Philip H. Gordon 43 Dana Hiscock
*Barbara S. Grossman 73 John C. Honey
Sally Hambrecht Mary-Margaret Kellogg, Overseer Emerita
Ernest F. Henderson III Daniel L. Kurtz
Marieluise Hessel +Mary Marcy, Provost and Vice President
John C. Honey 39, Life Trustee +Dimitri B. Papadimitriou, Executive Vice
Charles S. Johnson III 70 President
Mark N. Kaplan Michael J. Peters 76
George A. Kellner Anne Sclufer
Cynthia Hirsch Levy 65 Sally Unger 73
Murray Liebowitz +U Ba Win, Vice President for Early College
Marc S. Lipschultz Policies and Programs
Peter H. Maguire 88
James H. Ottaway Jr.
Martin Peretz
Stanley A. Reichel 65
Stewart Resnick
Susan Weber Soros
Martin T. Sosnoff *alumni/ae trustee
Patricia Ross Weis 52 +ex officio

515
516 Boards and Administration

The Bard Graduate Center Board of Governors of The Levy

for Studies in the Decorative Arts, Economics Institute of Bard College
Design, and Culture
Executive Planning Committee Lakshman Achuthan, Managing Director,
Economic Cycle Research Institute (ECRI)
Edward Lee Cave Leon Botstein, President, Bard College
Vernica Hernndez de Chico Bruce C. Greenwald, Robert Heilbrunn
Hlne David-Weill Professor of Finance and Asset Management,
Barbara Knowles Debs Columbia University
Giuseppe Eskenazi Martin L. Leibowitz, Managing Director,
Elizabeth Gerschel Morgan Stanley
Emel Glicksman J. Ezra Merkin, President, Gabriel Capital
Alain Gruber Group
Fernanda Kellogg Dimitri B. Papadimitriou, President; Jerome
Arnold L. Lehman Levy Professor of Economics and Executive
Jennifer Olshin Vice President, Bard College
Marilyn Perry Joseph E. Stiglitz, Professor of Economics,
Robert S Pirie Business, and International and Public Affairs,
Lynda Resnick Columbia University
William Rieder William Julius Wilson, Lewis P. and Linda L.
Irene Schwartz Geyser University Professor, Harvard
Betty Sherrill University
Jeanne Sloane
Judy Steinhardt
Seran Trehan Board of Directors of the
Ian Wardropper Bard Music Festival
Shelby White
Mitchell Wolfson Jr. Robert C. Edmonds 68, Chairman
Philip L. Yang Jr.
Schuyler G. Chapin
John A. Dierdorff
Board of Governors of the Center Jeanne Donovan Fisher
for Curatorial Studies Jonathan K. Greenburg
Paula K. Hawkins
Marc S. Lipschultz, Chairman Linda Hirshman
Anne E. Impellizzeri
+Leon Botstein Peter Kenner 66
Kathryn Chenault Mimi Levitt
Anne Ehrenkranz Thomas O. Maggs
Martin Eisenberg Joanna M. Migdal
Marieluise Hessel, Founding Chairman Lucy Miller Murray
Maja Hoffmann Kenneth L. Miron
Audrey Irmas Christina A. Mohr
Adam Lindemann James H. Ottaway Jr.
Eugenio Lopez David E. Schwab II 52
Melissa Schiff Soros H. Peter Stern
Richard W. Wortham III Tucker Taylor
Felicitas S. Thorne
Anthony Viscusi
Siri von Reis
Rosalind C. Whitehead
+ex officio E. Lisk Wyckoff
 Boards 517

Advisory Board of The Richard B. Fisher Board of Governors of the Bard

Center for the Performing Arts at St. Stephens Alumni/ae Association
Bard College
Walter Swett 96, President
Jeanne Donovan Fisher, Chair Michael DeWitt 65, Executive Vice President
Roger Scotland 93, Vice President
Carolyn Marks Blackwood Maggie Hopp 67, Secretary
+Leon Botstein Olivier te Boekhorst 93, Treasurer
Stefano Ferrari
Harvey Lichtenstein Jonathan Ames 05
Peter J. Linden, M.D. Robert Amsterdam 53
+Robert L. Martin Claire Angelozzi 74, Regional Events Liaison
James H. Ottaway Jr. David Avallone 87, Oral History Committee
+Dimitri B. Papadimitriou Chairperson
David E. Schwab II 52 Dr. Penny Axelrod 63
Martin T. Sosnoff Belinha Rowley Beatty 69
Toni Sosnoff Eva Thal Belefant 49
Felicitas S. Thorne Joshua Bell 98, Communications and New
Technologies Committee Chairperson
Dr. Miriam Roskin Berger 56
Board of Directors of the Hudson Valley Jack Blum 62
Chamber Music Circle Carla Bolte 71
Erin Boyer 00
Lawrence Osgood, President Randy Buckingham 73, Events Committee
Alison Lankenau, Vice President Cochairperson
Robert Montgomery, Secretary Jamie Callan 75
Hans Neukomm, Treasurer Cathaline Cantalupo 67
Charles Clancy 69, Stewardship Committee
Phyllis Rich Feder Cochairperson
Scott Fuchs Peter Criswell 89
Adelia Geiger Arnold Davis 44, Nominations and Awards
Jan Greenburg Committee Cochairperson
Tara Shafer Elizabeth Dempsey BHSEC 03, 05
Joan Tower Kirsten Dunlaevy 06
Jaime Laredo, Artistic Director Kit Kauders Ellenbogen 52
Sharon Robinson, Artistic Director Joan Elliott 67
Naomi Bellinson Feldman 53
Barbara Grossman Flanagan 60
Photography Program Advisory Board Diana Hirsch Friedman 68
R. Michael Glass 75
Frank Arisman Eric Warren Goldman 98, Alumni/ae House
Bill Charles Committee Cochairperson
Karen L. Feldman 91 Rebecca Granato 99, Young Alumni/ae
Jeff Hirsch Committee Chairperson
Barnabas McHenry Ann Ho 62
Ann Morse Charles Hollander 65
Mathew A. Pokoik 00 Dr. John C. Honey 39
Stephen N. Sollins 90 Deborah Davidson Kaas 71
Howard Stein Richard Koch 40
Matthew Tierney
Artur Walther
518 Boards and Administration

Erin Law 93, Fundraising Committee Dr. Jacklyn R. Leitzel

Chairperson Carolyn and Dr. Thomas Leonard
Cynthia Hirsch Levy 65 Stephen Mansour
Michelle Dunn Marsh 95 Dori A. Peterman Mostov
Peter F. McCabe 70, Nominations and Awards Dr. Susan Neiman
Committee Cochairperson Drs. Elizabeth and Michael Nielsen
Steven Miller 70, Stewardship Committee Praveena and Satish Puskoor
Cochairperson Drs. M. Susan and Irwin Richman
Jennifer Novik 98 William and Suzanne Schutte
Karen Olah 65, Alumni/ae House Committee Dr. Rebecca Shiffman and Fred Terna
Cochairperson Dr. Frank and Barbara Vannerson
Matt Phillips 91 John Floyd Waggaman
Susan Playfair 62, Bard Associated Research Dr. Nils H. Wessell
Development (B.A.R.D.) Chairperson
Arthur Scott Porter Jr. 79, Alumni/ae House
Committee Cochairperson Board of Advisors of the Institute for
Allison Radzin 88 International Liberal Education
Reva Minkin Sanders 56
Joan Schaffer 75 James H. Ottaway Jr., Chairman
Benedict S. Seidman 40
Donna Shepper 73 Robert Bernstein
Barry Silkowitz 71 Selma Ertegun
George Smith 82, Events Committee +Susan H. Gillespie
Cochairperson George A. Kellner
Dr. Ingrid Spatt Vincent McGee
Andrea Stein 92 Kenneth Murphy
Paul Thompson 93 Alex Papachristou
Dr. Toni-Michelle Travis 69 Felicitas S. Thorne
Jill Vasileff MFA 93, MFA Liaison
Marjorie Vecchio MFA 01, MFA Liaison
Samir B. Vural 98 Board of Overseers of Smolny College
Brandon Weber 97
Barbara Crane Wigren 68 Leon Botstein, Cochair
Ron Wilson 75, Diversity Committee Lyudmila Alexeevna Verbitskaya, Cochair
Chairperson
Sung Jee Yoo 01 +Sergey Igorevitch Bogdanov
General Gianalfonso dAvossa
Natalya Leonidovna Dementyeva
Parents Network Selma Ertegun
+Susan H. Gillespie
Louis Gallien, President Patricia Albjerg Graham
Ambassador Heyward Isham
Bradley and Karyn Bush Alexy Leonidovich Kudrin
Carol and Dr. James Collins Kenneth Murphy, Esq.
Lee and Louis Gallien Mikhail Borisovich Piotrovsky
Dr. Gail E. Kendall General Grigoriy Alexseevich Rapota
Mary and Peter Kirwin Joyce Lasky Reed
Howard and Mindy Kole Leonid Petrovich Romankov
Christine Kopec and D. Alan Wrigley Nicholas Shreiber
Susan Lazarus and Joseph Vasta Yaury Khatuevich Temirkanov
Bernard Lechowick and Lynn Latham Sergey Alexandrovich Vasiliev

Administration
Office of the President
Leon Botstein, President
Irene Zedlacher, Executive Director, Bard Music
Festival; Managing Editor, Musical Quarterly
Amie McEvoy, Assistant to the President
Jane Smith, Researcher/Writer
Patricia Pontecorvo, Executive Assistant
James Mongan, Assistant to the President
Alissa Bernard, Administrative Assistant to
Assistant to the President
Office of the Executive Vice President
Dimitri B. Papadimitriou, Executive Vice
President
James Brudvig, Vice President for Administration
Joseph Ahern, Director of Institutional Research
Taun Toay, Executive Assistant
Deborah C. Treadway, Assistant to the Executive
Vice President
Sheila Mayer, Assistant to the Vice President for
Administration
Theresa Desmond 98, Staff Assistant to the Vice
President for Administration
Office of the Dean of the College
Michle D. Dominy, Vice President and Dean of
the College
Robert L. Martin, Vice President for Academic
Affairs, Director of The Bard College
Conservatory of Music
Jonathan Becker, Associate Dean of the College
and Dean of International Studies
Mark Halsey, Associate Dean of the College
David Shein, Assistant Dean of the College
Bruce Chilton 71, Director of the Institute of
Advanced Theology
Thomas Keenan, Director and Fellow of the
Institute for Human Rights
Katherine Gould-Martin, Managing Director of
the Bard in China Program
Administration 519
Eileen Brickner, Executive Assistant to the Vice
President for Academic Affairs
Laurie Nash, Assistant to the Dean of the College
Elizabeth Whalen, Administrative Assistant to
the Dean of the College
Karen Becker, Administrative Assistant to the
Dean of the College
Sherin Varghese, Assistant to the Dean of
International Studies
Office of Student Affairs
Mary Backlund, Vice President
for Student Affairs and Director of Admission
Erin Cannan, Dean of Students
Geneva Foster, Assistant Dean of Students,
Director of Multicultural Affairs
Michael Ginsburg, Director of Residence Life
Paul Marienthal, Director of Trustee Leader
Scholar Program, Director of the Office of
Community Service and Social Action
Janet Kettler, International Student Adviser to the
Director of Student Activities
Bethany Nohlgren, Assistant Dean of Students/
Director of First-Year Students
Rebecca Stacy, Director of BRAVE Program
Andrea Conner, Director of Campus Center and
Student Activities
Marshall Guthrie, Assistant Director of Student
Activities
Susanna Armbruster, Assistant Director of
Trustee Leader Scholar Program
Carol Werner, Administrative Assistant to the
Dean of Students
Graduate Programs
Norton Batkin, Dean of Graduate Studies
Doug OConnor, Administrative Assistant to the
Dean of Graduate Studies
Center for Curatorial Studies
Tom Eccles, Executive Director
Maria Lind, Director of Graduate Program
Marcia Acita, Assistant Director of the Museum
Jaime B. Henderson, Assistant Director of
Administration and Development
520 Boards and Administration
Nolle Deola, Administrative and Development
Coordinator
Letitia Smith, Assistant to the Director of the
Graduate Program
Susan Leonard, Librarian
Tatjana von Prittwitz und Gaffron, Curatorial
Archivist
Colleen Egan, Registrar
Atiba Celestine, Manager, Security
Peter Amentas, Security Guard
Chris Fowler, Security Guard
Paul Giannuzzi, Security Guard
Ron Rhynders, Security Guard
Robert Stier, Security Guard
Tom West, Security Guard
The Bard Graduate Center for
Studies in the Decorative Arts,
Design, and Culture
Senior Administration
Susan Weber Soros, Director and Founder,
Iris B. Horowitz Professor in the History of the
Decorative Arts
Lorraine Bacalles, Director of Finance
and Administration
Peter Miller, Chair of Academic Programs,
Professor
Elena Pinto Simon, Dean for Academic
Administration and Student Affairs
Rebecca Allan, Director of Exhibition-Related
Education
Timothy Mulligan, Director of External Affairs
Nina Stritzler-Levine, Director of Exhibitions
Susan Wall, Director of Development
Library
Heather Topcik, Chief Librarian
Alicia Ackerman, Technical Services Librarian
Tom Tredway, Library Assistant, Cataloging and
Serials
Visual and Media Resources
John Blahinger, Visual Media Resources Assistant
Barbara Elam, Image Cataloger
Journal
Sarah B. Sherrill, Editor, Studies in the
Decorative Arts
Academic Programs
Stephanie Adams, Senior Academic Programs
Administrator
Nick Schiarizzi, Academic Programs Assistant
Directors Office
Caroline Stern, Assistant to the Director
Michelle Hargrave, Research Associate
Heather McCormick, Research Assistant for the
BGC Textbook Project
Development
Brian T. Keliher, Assistant Director of
Development
Kelly Freidenfelds, Development Associate
Exhibitions
Maggie Meng Cao, Curatorial Assistant
Ian Sullivan, Chief Preparator of Exhibitions
Olga Tetkowski, Curator of Exhibitions
Han Vu, Digital Designer of Exhibitions
External Affairs
Hollis Barnhart, External Affairs Associate
Finance and Administration
Lisa T. Bright, Special Projects Assistant
Miao Chen, Systems Administrator
Joe Mis, Information Technology Coordinator
Cassandra Rosser, Finance and Administration
Assistant
Public Programs
Kate Haley, Gallery Outreach Coordinator
Rebecca Mitchell, Public Programs Coordinator
Corrinna Zeltsman, Public Programs Assistant
Facilities
John Donovan, Director of Facilities
Orlando Diaz, Assistant Facilities Manager
Gregory Negron, Facilities Coordinator
David Krieger, Maintainer
Gerard OSullivan, Maintainer
Jose Olivera, Maintainer
Security
Chandler Small, Supervisor of Security
Claudette Livingstone, Security Personnel
Terence Lyons, Security Personnel
Alfredo Noberto, Security Personnel
David Rio, Security Personnel

Cartiria Sanchez, Security Personnel
Kenneth Talley, Security Personnel
Milton Avery Graduate School of the Arts
Arthur Gibbons, Director
Mark Wonsidler, Assistant Director
Susan Tveekrem, Administrative Assistant to
the Director
Bard Center for Environmental Policy
Mara Ranville, Interim Director
Jennifer Murray, Assistant Director of Graduate
Admissions and Student Affairs
Josephine French, Program Administrator and
Administrative Assistant
Master of Arts in Teaching Program
Ric Campbell, Director
Cecilia Maple 01, Program Administrator
Donna Elberg, Coordinator of Public School
Initiatives
The Bard College Conservatory of Music
Robert L. Martin, Director
Melvin Chen, Associate Director
Eileen Brickner, Executive Assistant
International Center of Photography
Willis E. Hartshorn, Ehrenkranz Director
Phillip S. Block, Deputy Director for Programs
and Director of Education
Suzanne Nicholas, Associate Director of
Education
Nayland Blake, Chair, ICPBard Program in
Advanced Photographic Studies
Nancy Davenport, Core Faculty, ICPBard
Program in Advanced Photographic Studies
David Deitcher, Core Faculty, ICPBard
Program in Advanced Photographic Studies
Office of Information Services
Jeffrey Katz, Dean of Information Services,
Director of Libraries
Dave Maswick, Associate Dean of Information
Services and Chief Technology Officer
Eileen Ryckman, Circulation Associate
Administration 521
Library
Jane Hryshko, Associate Librarian
Jane Dougall, Librarian for Reference and
Collection Development
Elizabeth Cawley, Information Technology
Services Librarian
Helene Tieger 85, College Archivist
Bonnie Sgarro, Head of Cataloging and
Technical Services
Jeremy Hall, Library Webmaster
Eileen Ryckman, Circulation Associate
Susan Decker-Herman, Acquisitions Librarian
Chris Baker, Cataloging Associate
Jenny Bosgang, Periodicals Associate
Paral Desai, Monograph Acquisitions Associate
June Martin, Cataloging Associate
Irving Mayer, Materials Preparer
Leslie Melvin, Visual Resources Curator
Debra Wilcox Klein, Assistant Curator, Visual
Resources
Elizabeth Bryant, Reserves Associate
Kristin Hall, Administrative Assistant
Daisy Campbell, Interlibrary Loan Associate
Kevin Williams, Reserves Assistant
Henderson Computer Resources Center
Joe DeFranco, Desktop Technology Support
Vince Winig, Desktop Technology Support
Paul Collins, Macintosh Desktop Technology
Support
Jeffrey Gregory, Web Server Administrator
Paul Bogausch, Help Desk Coordinator
Nicholas Canale, Help Desk Assistant
RaeAnn Moore, Administrative Assistant to
Chief Technology Officer
Karen Homan, Curriculum Support Specialist
Stewart Dean, UNIX Systems Administrator
Marilyn Cox, Network Administrator
Sharon Kopyc, Coordinator of Curriculum
Support
Juliet Meyers, Web Services Coordinator
Darrian Rodgers, Web Production Specialist
Richard Draves, Systems and Network
Administrator, Levy Economics Institute
Peter Semel, Audiovisual Services Manager
Robert Speaker, Desktop Support/PC
Dawn Alexander, Web Applications Developer
Prakash Adekkanattu, Web Applications
Developer
Adam Leder, Web Producer
Barbara Murphy, Levy Digital Content Manager
522 Boards and Administration
Administrative Computing Center
Michael Tompkins, Director, Management
Information Systems
Sean McGuirk, Database Administrator
Michael Scheringer, MIS Technical Assistant
Office of the Registrar
Peter Gadsby, Registrar
Diane M. Smith, Assistant Registrar
Mary Ann Barrows, Assistant
Midge Stott, Secretary
Higher Education Opportunity Program
Akima Briggs, Director
Returning to College Program
Mark Halsey, Associate Dean of the College
Bard New Orleans Initiative
Stephen Tremaine, Director
Academic Resources Center
Celia Bland, Director
Jan Rizzuti, Associate Director and Director of
Quantitative Literacy
Lucille Larney, Academic Support Specialist
Jude Sillato, Administrative Assistant
Divisional and Departmental
Support Services
Andrew B. Champ-Doran, Technical Director for
Theater and Dance
Jeffrey Drucker, Production Stage
Manager/Company Manager
Melody Goodwin, Administrative Assistant,
Studio Arts
Maureen Hebert, Laboratory Manager
Dwane Decker, Laboratory Technician
Stephanie Kufner, Foreign Language Lab
Coordinator
Kendra Lott, Operations Manager, Dance and
Theater
Matt Goodell, Technical Director, Film
Vinnie Mangiamele, Administrative Assistant,
Music
Tom Mark, Audio and Visual Technical Specialist,
Music
Dave Bush, Facility Manager, Photography Program
Laura Steele, Computer Lab Technician,
Photography
Kate Pfeffer, Administrative Assistant,
Dance and Theater
Julia Sforza, Administrative Assistant, Film
Evelyn Krueger, Faculty Secretary
Leslie Clockel, Faculty Secretary
Cynthia Herchenroder, Faculty Secretary
Megan Karcher, Faculty Secretary
Jeanette McDonald, Administrative Assistant
Athletics and Recreation
Kristen Hall, Director
Scott Swere, Associate Director
Chris Wood, Assistant Athletic Director and
Mens Basketball Head Coach
Joshua Chason, Athletic Trainer and Fitness and
Wellness Director
Jennifer Watson, RAPTORS Program
Coordinator and Director of Club Sports
Jamie Hilbrandt, Administrative Assistant
Health Services
Marsha Davis, FNP, Director
Barbara-Jean Briskey, FNP, Associate Director
Barbara Elkin, ANP, Nurse Practitioner
Peggy Mantey, Registered Nurse
Lisa Pearlman, FNP, Nurse Practitioner
Angela Cavanna, DO, Staff Physician
Micki Strawinski, Administrative Assistant
Maureen Jasura, Receptionist
Counseling Services
Beveraly Bellinger, CSW, Director of Student
Counseling
Jeff Garrett, Counselor
Nancy Kantor, Counselor
Lucie Larney, Counselor

Jennifer White, Counselor
Carlos Valle, Staff Psychiatrist
Micki Strawinski, Administrative Assistant
Maureen Jasura, Receptionist
Career Development
April Kinser, Director
Nicole Burman, Assistant Director
Chaplaincy
Bruce Chilton 71, Chaplain of the College
Ginger Grab, Christian Chaplain
Salahuddin M. Muhammad, Imam
Paul E. Murray, Catholic Chaplain
Lawrence Troster, Jewish Chaplain
Office of Admission
Mary Backlund, Director of Admission
Bonnie Marcus 71, Senior Associate Director
of Admission
Greg Armbruster, Associate Director of Admission
Jane Brien 89, Associate Director of Admission,
Director of International Recruitment
Janet Stetson 81, Associate Director of
Admission
Shelley Morgan, New England Coordinator,
Admission
Mark Loftin, Southwest Coordinator, Admission
Joanna Fivelsdal, Coordinator of Recruitment
Services and Assistant to the VP/Student
Affairs/Director of Admission
Kathleen McManus, Database Coordinator
Jan Coraza, Database Coordinator
Priscilla Tinklepaugh, Coordinator of
International Student Admissions
Office of the Controller
Kevin Parker, Controller
Gary Russert, Associate Controller
Kimberly Henschel, Assistant Controller and
Director of Budget, The Richard B. Fisher
Center for the Performing Arts
Martha Goldstein, Payroll Supervisor and
Foreign National Tax Specialist
Administration 523
Nicole Roberts, Payroll Coordinator
Julie Myers, Director of Purchasing
Kimberly Leedy, Chief Accountant
Tracy Zigner, Accounts Payable Coordinator
Laura Ramsey, Student Payroll Coordinator
Diane Schneider, Data Entry Clerk
Sherry Gildersleeve, Assistant to the Controller
Office of Student Accounts
Viki Papadimitriou, Bursar
Gwen Menshenfriend, Assistant Bursar
Michael Schiffman, Student Accounts
Representative
Office of Financial Aid
Denise Ann Ackerman, Director
Lisa Bania, Assistant Director
Lisa Martynek, Assistant to the Director of
Financial Aid
Office of Human Resources
Patricia Walker, Director
Janet Algiere, Human Resources Coordinator
Fiona Miceli-Smarrito, Human Resources
Generalist
Dana Moses, Human Resources Generalist
Office of Program Development
Judith Samoff, Dean of Programs
Fred Baumgarten, Assistant Director
Barbara Maple, Research Associate
Laura Austrian, Grants Associate
Sheila Moloney, Grants Associate
Judith Ann Hester, Administrative Assistant
Office of Development and
Alumni/ae Affairs
Debra Pemstein, Vice President for
Development and Alumni/ae Affairs
Jessica Kemm 74, Director of Alumni/ae Affairs
Sasha Boak-Kelly, Associate Director
Matt Soper, Director of the Annual Fund
524 Boards and Administration
Brad Whitmore, Associate Director
Daina Vitin, Development Associate
Tina Coons, Development Systems Associate
Robert Laity, Development Systems Assistant
Ellen MacMillan, Administrative Assistant
Stella Wayne, Director of Special Events
Andrea Guido, Manager of Patron Services and
Special Projects
Stephen Milliken, Development Manager,
Fisher Center
Elena Siyanko, Development Manager,
Conservatory
Mary Strieder, Executive Assistant to the
Vice President
Tricia Fleming, Administrative Assistant,
Alumni/ae Affairs
Office of Publications
Ginger Shore, Director
Mary Smith, Art Director
Debby Mayer, Editorial Director
Mikhail Horowitz, Editor
Ren Houtrides MFA 97, Editor
Ellen Liebowitz, Editor
Barbara Ross, Editor
Cynthia Werthamer, Editor
Mary Maguire, Designer
Kevin Trabucco, Designer
Kenneth Treadway, Designer
Anne Marie Weber, Designer
Diane Rosasco, Production Manager
Jennifer Wai-Lan Huang, Writer
Office of Public Relations
Mark Primoff, Director of Communications
Emily Darrow, Associate
Darren OSullivan, Associate
Physical Plant Operations
Charles Simmons, Director of Planning
and Construction
John Gall, Director of Buildings and Grounds
Ed Schmidt, Director, Transportation
Daniel DeCiutiis, Manager, Carpentry
Amy Foster, Manager, Horticulture
Randy Clum, Grounds Foreman
Stan Lichens, Physical Plant Budget Manager
Gerard Nesel, Manager, Electrical
Telecommunications
Dave Walsh, Manager, HVAC/Plumbing
Anne Bahan, Special Projects Coordinator
Audrey Smith, Administrative Assistant
Connie Gohl, Secretary
Melanie Wambach, Purchasing Agent
Laurie Husted, Environmental Resources Auditor
Brian Moore, Receiving Clerk
Central Services
Michael Nicholas, Director
Heidi Simmons, Associate Director
TBA, Central Services Assistant
Safety and Security
Ken Cooper, Director
Matthew Moore, Assistant Director
Robert Bathrick, Officer
Larry Benson, Officer
Max Dube, Officer
Gino Gentile, Officer
James Geskie, Officer
Robert Gillon, Officer
Kenneth Kellenbenz, Officer
Fred Kimlin, Officer
Mark Lakin, Officer
Jarret Oakes, Officer
Joshua Oakes, Officer
Clifton Powell, Officer
William Powell, Officer
Aleksandar Skular, Officer
Switchboard
Leslee Chineli, Operator/Receptionist
Auxiliary Services
Bookstore
Merry Meyer, Manager
Jan Anspach, Textbook Manager
Eileen Gubler, Cashier

Food Services
Chas Cerulli, Director
Alan Wolfzahn, Assistant Director
John Moore, Administrative Assistant
Custodial Services
Richard Martinez, Director
Josie Coon, Assistant Director
Abigail Lundquist Botstein
Nursery School
Jane Tierney Korn, Director
Allison Pulver, Co-Head Morning Teacher
Frances Mercado, Co-Head Teacher
Bard Childrens Center
Marcia Villiers, Director
The Bard Center
Administrative Staff
Dimitri B. Papadimitriou, Executive Director
Deborah C. Treadway, Assistant
to the Executive Director
Amie McEvoy, Concert Manager
Program Staff
Institute for Writing and Thinking
Teresa Vilardi, Director
Joan Retallack, Senior Institute Fellow and
Director, Workshop in Language and Thinking
Judi Smith, Program Administrator
Coleen Alexander 00, Projects Coordinator and
Assistant for the Workshop in Language and
Thinking
Conjunctions
Bradford Morrow, Editor
Michael Bergstein, Managing Editor
Administration 525
Bard Music Festival
Leon Botstein, Christopher H. Gibbs, and
Robert L. Martin, Artistic Directors
Irene Zedlacher, Director
Raissa St. Pierre 87, Associate Director
Richard B. Fisher Center for the
Performing Arts
Tambra Dillon, Director
Nancy Cook, Managing Director
Susana Meyer, Associate Director
Debra Pemstein, Vice President for Development
and Alumni/ae Affairs
Mark Primoff, Director of Communications
Stephen Milliken, Development Manager
Kimberly Keeley-Henschel, Budget Director
Robert Airhart, Production Manager
Paul LaBarbera, Sound and Video Engineer
Stephen Dean, Stage Operations Manager
Mark Crittenden, Facilities Manager
Jeannie Schneider, Administrative Assistant
Elena Blatt, Box Office Manager
Austin Miller 06, House Manager/Assistant
General Manager
Ray Stegner, Assistant to the Managing Director
Doug Pitcher, Building Operations Coordinator
Conductors Institute
Harold Farberman, Founder and Artistic Director
Amie McEvoy, Administrative Director
Distinguished Scientist Lecture Series
Mark Halsey, Director
Felicia Keesing, Codirector
Sven Anderson, Codirector
Eileen Brickner, Coordinator
Intergenerational Seminars
Dimitri B. Papadimitriou, Director
Karen Becker, Coordinator
Bard College at Simons Rock:
The Early College
Leon Botstein, President of the College
Dimitri B. Papadimitriou, Executive Vice
President of the College
Mary B. Marcy, Provost and Vice President
Samuel Ruhmkorff, Dean of Academic Affairs
526 Boards and Administration
Leslie Davidson, Dean of Admission and
Student Affairs
Rebecca Fiske, Dean of New Students
Rochelle Duffy, Registrar
Jon MacClaren, Director of Administration and
Finance
Judith Win, Director of Counseling Services
Jodi Tuller, Director of Health Services
Danae Boissevain, Director of Public Information
Ann Murtagh Gitto, Director of Financial Aid
Susan Emerson Clapp, Director of Institutional
Advancement
Steven J. Carignan, Director of Buildings and
Grounds
John I. Markland, Director of Security
Joan Goodkind, Head Librarian
Bard High School Early College
Ray Peterson, Principal
Stuart Stritzler-Levine, Dean of Studies
U Ba Win, Vice President for Early College
Policies and Programs
Martha J. Olson, Dean of Administration and
Education Initiatives
Michael Lerner, Associate Dean of Studies
Monica Hidalgo, Director of Admissions
Sara Yaffee, Assistant Principal
Camille Sawick, Assistant Principal
Julia Guerra, Registrar
Meghann Walk, Librarian
Beth Cheikes, College Transfer Office Coordinator
Bard Program on Globalization and
International Affairs
Jonathan Becker, Dean of International Studies,
Associate Dean of the College
Richard Harrill, Program Director
Jonathan Cristol, Deputy Director
Risa Grais-Targow, Assistant Director
Katherine Gould-Martin, Managing Director,
Bard in China
Ruth Zisman, Assistant / Debate Coach
Maciej Bartkowski, CEU Recruiter
Janet Kettler, International Student Adviser
Laura Greene, Bard Representative at
Smolny College
Bard Prison Initiative
Max Kenner, Director
Daniel Karpowitz, Director of Policy and
Academics
Dorothy Albertini, Volunteer Coordinator
Linda Steubesand, Administrative Assistant
Institute for International Liberal Education
Susan H. Gillespie, Vice President for Global
Initiatives, Director
Emilie Dickson, Assistant Director
Bryan Billings, Program Manager (at Smolny
College)
Jessica Haas, Assistant Manager of International
Programs
Sharon Cody, Assistant to the Director and
Financial Manager
The Levy Economics Institute
of Bard College
Administration
Dimitri B. Papadimitriou, President
Debra Pemstein, Vice President for Development
and Alumni/ae Affairs
Susan Howard, Director of Administration
Willis C. Walker, Librarian
Ginger Shore, Director of Publications
Mark Primoff, Director of Communications
Deborah C. Treadway, Assistant to the President
Feridoon Koohi-Kamali, Research Associate
and Editor
W. Ray Towle, Research Associate and Editor
Barbara Ross, Editor
Juliet Meyers, Web Services Coordinator
Barbara Murphy, Digital Content Manager
Linda Christensen, Administrative Assistant
Elizabeth Davidson, Administrative Assistant
 Administration 527

Research Staff Branko Milanovic, World Bank, Johns Hopkins

Scholars
Wynne Godley, Distinguished Scholar
Rania Antonopoulos, Research Scholar
Philip Arestis, Senior Scholar
Nilfer agatay, Senior Scholar
Claudio H. Dos Santos, Research Scholar
James K. Galbraith, Senior Scholar
Greg Hannsgen, Research Scholar
Feridoon Koohi-Kamali, Research Associate
and Editor
Jan Kregel, Senior Scholar
Thomas Masterson, Research Scholar
Dimitri B. Papadimitriou, President
Joel Perlmann, Senior Scholar
W. Ray Towle, Research Associate
and Editor
Edward N. Wolff, Senior Scholar
L. Randall Wray, Senior Scholar
Ajit Zacharias, Senior Scholar
Gennaro Zezza, Research Scholar
University
Mary OSullivan, INSEAD
James B. Rebitzer, Case Western Reserve
University
Malcolm Sawyer, Leeds University Business School
Jacques Silber, Bar-Ilan University,
Ramat-Gan, Israel
Willem Thorbecke, George Mason University
Imraan Valodia, School of Development Studies
(SDS), University of KwaZulu-Natal,
Durban, South Africa
Roger Waldinger, University of California,
Los Angeles
Barbara Wolfe, University of WisconsinMadison

Research Associates
William J. Baumol, New York University
Jrg Bibow, Skidmore College
Barry Bluestone, Northeastern University
Robert E. Carpenter, University of Maryland,
Baltimore County
Lekha Chakraborty, National Institute of Public
Finance and Policy
Pinaki Chakraborty, National Institute of Public
Finance and Policy
Yuval Elmelech, Bard College
Korkut A. Ertrk, University of Utah
Marzia Fontana, University of Sussex
Mathew Forstater, University of MissouriKansas
City
Robert Haveman, University of
WisconsinMadison
Indira Hirway, Centre for Development
Alternatives, Ahmedabad, India
Christopher Jencks, Harvard University
Thomas Karier, Eastern Washington University
William H. Lazonick, University of
Massachusetts, Lowell; INSEAD
Susan E. Mayer, University of Chicago
 Bard Campus Map
Academic Resources Center (Stone Row) C3 Gabrielle H. Reem and Herbert J. Kayden
Administrative Offices (Ludlow) C3 Center for Science and Computation C3
Admission (Hopson Cottage) B3 Gahagan (residence hall) C3
Albee Hall (Bard Music Festival) C3 Grants Office (Sottery Hall) C3
Alumni Houses (residence halls) Health and Counseling (Robbins House) C1
Bluecher, Bourne, Honey, Leonard, Hegeman Science Hall (BCEP,
Obreshkove, Rovere, Rueger, Shafer, classrooms, faculty offices) C3
Shelov, Steinway, Wolff B3 Henderson Computer
Annandale Hotel (Publications Resources Center and Laboratories C3
and Public Relations offices) B4 HEOP Office (Stone Row) C3
Annandale House (Residential Life, Hirsch Hall (residence hall) D2
International Studies) C2 Hopson Cottage (Admission Office) B3
Aspinwall (classrooms and faculty offices) C3 Hopson (faculty offices, residence:
Avery Arts Center A3 Wardens Hall) C3
Bard College Field Station A3 Institute for Writing and Thinking
Bard Hall (recital space) C3 (Sottery Hall) C3
Bard Music Festival Office (Albee Hall) C3 Jim and Mary Ottaway Gatehouse for
Bertelsmann Campus Center International Study (IILE,
(Bookstore, Caf, Career Development Human Rights Project offices) C3
Office, Post Office, Student Activities Kline Commons (dining) C3
Office, TLS, Weis Cinema) B3 Library (Stevenson, Hoffman, Kellogg) C2
Blithewood (Levy Economics Institute) A3 Lorenzo Ferrari Soccer Complex B2
Edith C. Blum Institute A3 Ludlow (administrative offices) C3
Bookstore (Bertelsmann Center) B3 Manor Annex (residence hall) C1
Briggs House (Residence) C4 Manor House Caf C1
Brook House (Residence) B2 MAT Office (Shafer House) B4
Buildings and Grounds (Financial Aid, Meditation Garden C3
Student Accounts C3 MFA Office (Fisher Annex) B3
Career Development Office (Bertelsmann) B3 Nursery School (Abigail Lundquist
Carriage House (Central Services) C3 Botstein Nursery School) D2
Center for Curatorial Studies, Hessel Museum Old Gym (Security, performance space) C3
of Art A3 Olin Humanities Building, Auditorium,
Center for Environmental Policy and Language Center C3
(Hegeman Science Hall) C3 Photography (Woods Studio) B2
Center for Film, Electronic Arts, Post Office (Bertelsmann Center) B3
and Music at the Milton and Presidents House C2
Sally Avery Arts Center A3 Preston (classrooms) C3
Chapel of the Holy Innocents C3 Residential Life (Annandale House) C2
Community Garden B3 Richard B. Fisher Center for the Performing Arts
Computer Resources Center (Theater and Dance Programs) D1
(Henderson) C3 Robbins House (residence hall,
Cruger Village (residence halls) Student Health Center) C1
Bartlett, Cruger, Keen North, Sands House (residence hall) C3
Keen South, Maple, Mulberry, New Cruger, Security (Old Gym) C3
Oberholzer, Sawkill, Spruce, Stephens, Seth Goldfine Memorial Field C3
Sycamore C1 Shafer House (Master of Arts in
David Rose Science Laboratories C3 Teaching Office) B4
Dining Facility (Kline Commons) C3 Sottery Hall (Institute for Writing
Fairbairn (faculty offices, residence: and Thinking, Grants Office) C3
Wardens Hall) C3 South Hall (residence hall) C3
Feitler House (residence hall) C4 Stevenson Gymnasium C2
Financial Aid Office (Buildings and Grounds) C3 Stone Row (Academic Resources
Finberg House D2 Center, HEOP, residence halls:
Fisher Annex (MFA Program offices) B3 North Hoffman, South Hoffman,
Fisher Studio Arts Building B3 McVickar, Potter) C3

528
 Campus Map 529

A B C D
Richard B. Fisher Center
for the Performing Arts

Ward Manor House and

Manor House Caf
bard college
1 campus map Manor Annex
1
Robbins House

N Student Health Center

enue
Cruger Village

ad
c ru

av
s ro
ger
i sl a

manor
nd

r o bbi n
roa
d
Parking
Village

yq
Dormitories

ad
Ward Manor

lban
ro
Gatehouse

ge

nd A
Abigail

e road
i lla Lundquist

a
Botstein

ivoli
wv

Nursery

To T
School
2 2

ndal
ne

Memorial

ad
Soccer Field Hirsch and

na

us ro
Tremblay Halls
Stevenson
Gymnasium Tennis an
Lorenzo Ferrari Courts

camp
Soccer Complex Seth Goldfine
Memorial Field Finberg House
li br
ary
roa Presidents Main Entrance
wo

d House
ds
o

Woods Studio Library

av
enue
Brook House
Annandale House Kline Wardens Olin Humanities Building, Auditorium,
north ravin Commons Hall and Language Center
Hopson Cottage e road
(Admission) Bard Hall
Chapel Old Gym (Security)
Fisher Annex Stone Row
Blithewood Meditation
(The Levy Garden Albee South Hall
Aspinwall
Economics Fisher Studio Arts
Institute) Building Preston
garden

Ludlow
Hegeman Hall and
3 Bertelsmann David Rose Science 3
Ravine Campus Center Sottery Hall Laboratories
roa

Center for Houses

Curatorial Studies Henderson Laboratories
Williams Tewksbury
d

and Hessel Museum Buildings

Residence Alumni Hall Henderson Computer Center
and Grounds
Hall Houses Physical Plant
Edith C. Blum Institute Gabrielle H. Reem and
Sands House
e 9g

Herbert J. Kayden
Bard College Center for Science and
d blithewood avenue
d

oa
rout

Field Station Computation

oa

Jim and
yr

sr

Avery Arts Center Carriage House

Mary Ottaway
ba

pu

Film Center Community Gatehouse

m
Water Plant
Garden ca
Gahagan House
annandale road
Hudson River

4 Feitler House 4
Shafer House
river road

Publications and Briggs House

Public Relations Offices

A B C D
ge

Student Accounts (Buildings and Grounds) C3 Ward Manor Gatehouse (faculty residences) C1
Tewksbury Hall (residence hall) B3 Wardens Hall (faculty offices,
Tremblay Hall (residence hall) D2 residences: Hopson, Seymour, Fairbairn) C3
Village Dormitories C2 Williams (residence hall) B3
Ward Manor House (residence hall) C1 Woods Studio (Photography) B2
 Travel to Bard

Bard College is in Annandale-on-Hudson, New York, on the east bank of the Hudson River, about 90
miles north of New York City and 220 miles southwest of Boston. By train: Amtrak provides service from
Penn Station, New York City, and from Albany to Rhinecliff, about 9 miles south of Annandale. Taxi
service is available at the Rhinecliff station. By automobile: In New York State, take the Taconic State
Parkway to the Red Hook/Route 199 exit, drive west on Route 199 through the village of Red Hook to
Route 9G, turn right onto Route 9G, and drive north 1.6 miles. Or take the New York State Thruway
(I-87) to Exit 19 (Kingston), take Route 209 (changes to Route 199 at the Hudson River) over the
Kingston-Rhinecliff Bridge to Route 9G; at the second light, turn left onto Route 9G and drive north 3.5
miles. By air: Bard College is accessible from Kennedy and LaGuardia airports in New York City; and
from the airports in Newark, New Jersey, and Albany and Newburgh, New York.
HUDSON

87
RIVER

95
s
ile
0m
10

90 Albany 91

Boston
NY STATE THRUWAY

90
MASS. TURNPIKE
TACONIC
PARKWAY

Bard
College 95
Scranton 84 84 Hartford
87
TACONIC STATE PARKWAY

Bard
NY STATE THRUWAY

R I V E R

81
College
New York
s
H U D S O N

76 N
Philadelphia
199
95 Red
103
Hook
209 199
Baltimore
9G
Kingston
Exit 19

530
 Index

Academic calendar, iii Bard Center Evenings, 366

Academic courses, 14 Bard Center fellows, 361
See also Academic programs Bard College Awards, 512
Academic deficiencies, 17 Bard College at Simons Rock: The Early
Academic programs, 20 College, 329
Academic requirements and regulations, 15 Bard College Conservatory of Music, 309
Academic Resources Center, 342 Bard College Exhibition Center, 334
Activities, student, 342 Bard Fiction Prize, 364
Additional Courses in the Sciences, 268 Bard Graduate Center for Studies in the
Additional Opportunities to Learn, 319 Decorative Arts, Design, and Culture, 352
Administration of Bard College, 519 Bard Hall, 335
Admission, 370 Bard High School Early College, 329
Advanced standing, 372 Bard in China, 315
Advising, first-year, 11 Bard Music Festival (Rediscoveries
Africana Studies, 271 series), 366
American School of Classical Studies at Bard Prison Initiative (BPI), 325
Athens, 315 Bard Program on Globalization and
American Studies, 274 International Affairs (BGIA), 319
Anthropology, 23 Bard-Rockefeller Program, 244, 319
Application procedures, 370 Bertelsmann Campus Center, 340
Arabic, 159 Billing and payment, 384
Arboretum, Bard Landscape and, 332 Biology, 246
Archaeology Field School, 323 Black Studies, see Africana Studies, 271
Arendt Collection, 333 Blithewood, 335
Art History, 191 Blum Institute, Edith C., 335
Arts, Studio, 185 Boards of Bard College, 515
Arts Division, 185 Bookstore, 346
Arts facilities, 334, 336, 337 BRAVE, 344
Asian Studies, 276
Aston Magna festival, 367 Campus center (Bertelsmann Center), 340
Athletics and recreation, 341, 343 Campus map, 528
Auditors, 328 Campus regulations, 349
Avery Arts Center, 334 Career Development Office, 344
Avery Graduate School of the Arts, 351 Center for Curatorial Studies and Art in
Awards, 396 Contemporary Culture, 336, 352
Center for Film, Electronic Arts, and Music
Bachelors degree requirements, 15 at the Avery Arts Center, 334
Bard, history of, 1 Center for the Performing Arts, Richard B.
Bard Center, 360 Fisher, 336
Bard Center for Environmental Policy, 353 Center for Science and Computation, 339

531
532 Index

Central European University, Budapest, 315 Environmental Studies, 48

Chaplaincy, 344 Events, campus, 345
Chemistry, 254 Excellence and Equal Cost (EEC)
Chinese, 160 program, 380
Classical Studies, 278
Classics, 162 Facilities, 332
Clemente Course in the Humanities, 330 Faculty, 403
Clubs, 347 Fees and payment, 382
College Life, 332 Field Station in ecology, 335
Commitment dates, 371 Film and Electronic Arts, 208
Computer resources (Henderson Computer Financial aid, 373
Resources Center), 337 Finberg House, 340
Computer Science, 257 First-year advising, 11
Conductors Institute at Bard, 355, 369 First-year curriculum, 9
Conjunctions, 368 First-Year Seminar, 10
Conservatory of Music, 309, 372 Fisher Center, 336
Conservatory of Music, graduate programs, Fisher Studio Arts Building, 337
313, 355 Foreign Languages, Cultures, and
Counseling services, 347 Literatures, 157
Cultural Programs, Bard Center, 366 Foreign languages, immersion and
Curatorial studies graduate program, 352 intensive programs, 316, 380
Curriculum, 9 Forestry and Environmental Studies, 322
French, 167
Dance, 205 French Studies, 281
Dean of Students Office, 342
Decorative arts graduate program, 352 Gabrielle H. Reem and Herbert J. Kayden
Dining facilities (Kline Commons), 340 Center for Science and Computation, 339
Directions to Bard, 530 Gender and Sexuality Studies (GSS), 282
Distinguished Musician-Scholar German, 170
Program, 380 German Studies, 283
Distinguished Scientist Lecture Series, 364 Germany, Humboldt University, 315
Distinguished Scientist Scholars Germany, State Academy of Design, 318
Program, 380 Global and International Studies
Distinguished Scientist Scholars Summer (GIS), 284
Research, 323 Globalization and International Affairs,
Distribution requirements, 13 Bard Program on, 319
Doctorate in the history of the decorative Government, student, 347
arts, design, and culture, 352 Grading system, 16
Graduate programs, 351
E-mail services, 346 Grants, 375
Early action, 370 Greek, 166
Early admission, 371 Green Onion Grocer, 341
Economics, 34 Gymnasium (Stevenson Gym), 341
Economics and Finance Dual-Degree
Program, 47 Health and counseling services, 347, 348
Economics Institute, Levy, 356 Hebrew, 174
Engineering, 321 Hegeman Science Hall, 337
Environmental Policy, Bard Center for, 353 Henderson Computer Resources Center and
Environmental policy graduate program, 322, Henderson Technology Laboratories, 337
353 Hessel Museum of Art, 336

Higher Education Opportunity Program
(HEOP), 379
Historical and Philosophical Courses in the
Sciences, 269
Historical Studies, 51
Honorary degrees and awards, 508
Honors grade, 16
Housing, 348
Hudson Valley Chamber Music Circle, 368
Hudsonia Ltd., 335
Human Rights, 286
Human Rights, term in, 316
Human Rights Project, 324
Humboldt University, Berlin, 315
Immediate Decision Plan, 371
Immediate Science Research Opportunity
Program (ISROP), 320, 381
Immersion foreign language study, 316, 380
Incomplete status, 16
Independent study projects, 322
Institute of Advanced Theology, 345
Institute for International Liberal
Education, 315
Institute for Writing and Thinking, 362
Integrated Arts, 239
Intensive foreign language study, 316
Interdivisional programs, 271
Intergenerational Seminars, 365
International Center of PhotographyBard
Program in Advanced Photographic
Studies, 351
International Human Rights Exchange, 316
International Programs and Study
Abroad, 314
International student admission, 371
Internet services, 346
Intersession, study during, 323
Irish and Celtic Studies (ICS), 290
Italian, 174
Italian Studies, 291
January intersession, 323
Japanese, 176
Jewish Studies, 292
John Cage Trust, 336
Joint Professional Degree Programs, 321
Junior Fellowship, 324
Kline Commons, 340
Index 533
Language and Thinking, Workshop in, 10
Language Center (Olin), 338
Languages and Literature Division, 125
Latin, 167
Latin American and Iberian Studies
(LAIS), 295
Learning at Bard, 8
Lecture and Performance Series, 366
Leon Levy Endowment Fund, 365
Levy Economics Institute, 356
Libraries, 332
Lifetime Learning Institute, 328
Literature, 126
Loans, 375
Mail service, 346
Major Conference, 14
Manor House Caf, 341
Maps, 529, 530
Marieluise Hessel Collection, 336, 352
Master of arts, 351
in curatorial studies, 352
in the history of the decorative arts,
design, and culture, 352
in teaching, 354
Master of fine arts, 351, 352
in conducting, 355
Master of Music, 355
Master of science in environmental
policy, 353
Mathematics, 261
Medieval Studies, 298
Middle Eastern Studies, 300
Migrant Labor Project, 325
Milton and Sally Avery Arts Center, 334
Milton Avery Graduate School
of the Arts, 351
Moderation, 12
Multidisciplinary Studies, 308
Music, 218
Music facilities, 334, 335, 336
Music festivals and series
Aston Magna, 367
Bard Music Festival, 366
Hudson Valley Chamber Music Circle, 368
Nonmatriculated students, 328
534 Index
Off-campus housing, 349
Olin Humanities Building, Franklin W., 338
Olin Language Center, F. W., 338
Ottaway Gatehouse for
International Study, 339
Payment and fees, 382
Peer counselors, 349
Philosophy, 75
Photography, 232
Photography facilities (Woods Studio), 340
Physics, 266
Plagiarism and academic dishonesty, 17
Political Studies, 82
Prelaw program, 321
Premedical program, 321
Presidents of Bard College, 7
Prizes, 399
Professional Education, 320
Program in International Education (PIE), 317
Program requirements, 21
Psychology, 96
Refunds, 387
Registration credit, 16
Religion, 106
Religious practice (Chaplaincy), 344
Rematriculation, 18
Residence directors, 349
Residence Life program, 348
Returning to College Program, 327
Richard B. Fisher Center for the Performing
Arts, 336
Richard B. and Emily H. Fisher Studio Arts
Building, 337
Rift Valley Institute, 326
Rockefeller exchange program, 244, 319
Room and board, 348, 382
Room draw, 349
Russian, 177
Russian and Eurasian Studies (RES), 302
Safety and Security, 350
Scholarships, 375382, 389
See also Financial aid
Science laboratories (Hegeman Hall and
David Rose Science Laboratories), 337
Science, Mathematics, and Computing
Division, 244
Science research programs, 380, 381
Science, Technology, and Society, 303
Senior Project, 14
Shafer House, 339
Simons Rock, Bard College at, 329
Smolny College at Saint Petersburg State
University, Russia, 317
Social Policy, 304
Social Studies courses, 116
Social Studies Division, 23
Sociology, 118
South Africa, study in, 318
Spanish, 180
Specialized Undergraduate Programs, 319
State Academy of Design in Karlsruhe,
Germany, 318
Student activities, 342
Student government, 347
Students with disabilities, services for, 346
Studies in Race and Ethnicity (SRE), 305
Studies in the Decorative Arts, 353
Studio Arts, 185
Study abroad, 314
Study at another academic institution, 324
Summer programs, Bard Center, 369
Teaching, Master of Arts Program in, 322,
354
Telephone service, 346
Theater, 235
Theology, 306
Theology, Institute of Advanced, 345
Transfer admission, 371
Travel to Bard, 530
Trustee Leader Scholar program, 324, 381
Tuition, 382
Tutoring services (Academic Resources
Center), 342
Victorian Studies, 307
Washington Center internships, 324
Withdrawal from the College, 18
Withdrawal from courses, 16
Witwatersrand, University of, 318
Woods Studio, 340
Work-Study Program, 379
Workshop in Language and Thinking, 10
Writing Program in Fiction and Poetry, 156
 Applying to Bard
www.bard.edu
To apply to Bard, you may use either the Bard Application for Admission or the Common Application
(both available at www.bard.edu) and go through the Regular Action or the Early Action process.
Candidates are encouraged to visit the College to tour the facilities and learn about the curriculum.
Interviews are not required, but are available to applicants until the last day of the fall semester.

Applicants are expected to pursue the strongest program of study that their high school offers. It
should include a full four-year sequence in English, social studies, and mathematics; the study of at
least one foreign language for a minimum of three and preferably for four years; and three to four
years of study in the laboratory sciences. Admission is highly selective; in recent years the College has
received 10 applications for each place in the entering first-year class.

A completed application includes the $50 application fee (nonrefundable); two essays; letters of recom-
mendation from at least two of the students junior- or senior-year teachers (one of whom should be a
mathematics or science teacher); and the guidance counselor recommendation and school report. A
comprehensive transcript should be sent as soon as grades from the senior year are available.

Early Action Highly qualified candidates for whom Bard is a top choice are encouraged to apply for
Early Action by November 1 for notification in late December.

Regular Action The application deadline is January 15 for notification in early April.

Transfer Students The application deadline is March 15 for the fall semester (notification in May) and
November 1 for the spring semester.

The Bard College Conservatory of Music A completed application, a CD of your playing, and a brief
musical autobiography should be received by the Admission Office by January 15. Indicate on the
application that you are applying to the Conservatory. Candidates will be notified in early February if
they have been selected for audition. Repertoire criteria for the recording can be found at
www.bard.edu/conservatory.

Financial Aid and Special Scholarship Programs

Financial Aid Bard requires both the Free Application for Federal Student Aid (FAFSA) and the Financial
Aid PROFILE registration forms; these forms are available at secondary schools and online. The code
number for the FAFSA is 002671; the code number for the PROFILE registration is 2037. Following are
descriptions of scholarships offered by Bard.

Bard Grants Bard College grants may come from endowed funds, designated gifts, and institutional
operating funds. Students are automatically considered for all grants or scholarships for which they
are eligible. An application supplement is required for the Distinguished Scientist Scholars Program.

Excellence and Equal Cost Program (EEC) Public high school seniors whose cumulative GPA is among
the top 10 in their graduating class are eligible for a four-year EEC scholarship. This program is
designed to assist students who would not otherwise be able to attend a private college or university
because of its cost. As many as 30 first-year students are selected annually to receive EEC scholar-
ships: they attend Bard for what it would cost them to attend an appropriate four-year public col-
lege or university in their home state.

Distinguished Scientist Scholars Program (DSS) Each year 10 to 20 four-year scholarships, up to full
tuition, are available for students who are committed to majoring in biology, chemistry, physics,
computer science, or mathematics. Recipients of the scholarships also may receive a $1,500 stipend
for summer research projects following their sophomore and junior years. The DSS supplement is
required and is available at the Admission Office website (www.bard.edu/admission/forms).

New Generations Scholarships These scholarships are awarded on the basis of merit to students
who demonstrate intellectual curiosity, enthusiasm, and a commitment to excellence, and whose
mother and father were born abroad and emigrated to the United States not more than 20 years
ago. The goal of the scholarships is to open the door to a liberal arts education for recent immi-
grants. These full-need scholarships are available to approximately 20 students each year. Both
those born abroad and those born in the United States to immigrant parents are eligible.

Trustee Leader Scholar Program (TLS) Annually, as many as 20 students who exhibit a strong com-
mitment to academic rigor and community service are selected to continue to develop their lead-
ership abilities. They design and implement service projects that receive transcript recognition.
Students accepted through this program receive stipends and also are eligible for financial aid on
the basis of need. Recipients are selected after matriculation.

Higher Education Opportunity Program (HEOP) A New York State program that offers support ser-
vices to meet the needs of students who are economically and academically disadvantaged.
Students receive counseling and tutoring in addition to financial assistance. Accepted students
must attend the summer program prior to their first year. All applicants must be residents of New
York State and should check the HEOP box located under Applicant Status on the Bard application.

Bard College in Brief

Bard College and its affiliated institutions grant the following degrees: A.A. at Bard High School
Early College, a New York City public school; A.A. and B.A. at Bard College at Simons Rock: The Early
College, in Great Barrington, Massachusetts; B.A. at Smolny College, a joint program with Saint
Petersburg State University, Russia; B.A., B.S., M.S. in environmental policy, M.F.A., M.A. in curatorial
studies, M.Music, and M.A. in teaching at the Annandale campus; M.A. and Ph.D. in the history of
the decorative arts, design, and culture at the Bard Graduate Center in Manhattan; and M.F.A. in
photography at the International Center of PhotographyBard Program in Advanced Photographic
Studies in Manhattan.

Situated on more than 500 acres along the Hudson River, on the grounds of two historic riverfront
estates, the main campus of Bard is 90 miles north of New York City. The Colleges total enrollment
exceeds 2,600 students. The undergraduate College, founded in 1860, has an enrollment of approxi-
mately 1,500 and a student-to-faculty ratio of 9:1. The College offers more than 40 academic pro-
grams.

Bards global outlook starts on campus, where the students, many on scholarship, come from 50 states
and nearly 50 countries. International students make up approximately 14 percent of the student
body. Almost every region of the world is represented in Bards faculty, whose countries of origin
include Nigeria, France, Brazil, Russia, China, and Greece, to name just a few. Bards global offerings
internships, study abroad programs, virtual classrooms, research projects, and collaborations with
other institutionsextend to every program in the Colleges liberal arts and sciences curriculum.
Educational Rights and Privacy Act
Bard College complies with the provisions of the Family Educational Rights and Privacy Act of 1974.
This act assures students attending a postsecondary educational institution that they will have the right
to inspect and review certain of their educational records and, by following the guidelines provided by
the College, to correct inaccurate or misleading data through informal or formal hearings. It protects
students rights to privacy by limiting transfer of these records without their consent, except in specif-
ic circumstances. Students have the right to file complaints with the Family Educational Rights and
Privacy Office, U.S. Department of Education, Washington, D.C. College policy relating to the main-
tenance of student records is available upon request from the Office of the Registrar.

Notice of Nondiscrimination
Bard College does not discriminate in education, employment, admission, or services on the basis of
sex, sexual orientation, race, color, age, religion, national origin, or handicapping conditions. This pol-
icy is consistent with state mandates and with governmental statutes and regulations, including those
pursuant to Title IX of the Federal Educational Amendments of 1972, Section 504 of the Federal
Rehabilitation Act of 1973, Title VI of the Civil Rights Act of 1964, and the Americans with
Disabilities Act of 1990. Questions regarding compliance with the above requirements and requests for
assistance should be directed to the Vice President for Administration, Bard College, PO Box 5000,
Annandale-on-Hudson, NY 12504-5000.

Anti-hazing
Any action or situation that recklessly or intentionally endangers mental or physical health or involves
forced consumption of liquor or drugs for the purpose of initiation into or affiliation with any organiza-
tion of Bard College is expressly prohibited. In the event that any organization at Bard College shall
authorize such conduct, permission for that organization to operate on campus property shall be rescind-
ed. Such rescission shall be in addition to any penalty pursuant to the criminal law or any other law of
the State of New York. This statement has been adopted by the Board of Trustees of Bard College.

Accreditation
Bard College is accredited by the Commission on Higher Education of the Middle States Association
of Colleges and Schools. The courses of study leading to the bachelor of arts, bachelor of music, and
bachelor of science degrees at Bard are registered by the New York State Education Department. The
programs of study leading to the master of arts, master of arts in teaching, master of fine arts, master of
music, and master of science in environmental policy degrees and the doctor of philosophy degree
in the history of the decorative arts, design, and culture at Bard are registered by the New York State
Education Department, Office of Higher Education, State Education Building, 2nd Floor West
Mezzanine, Albany, NY 12234; phone: 518-474-3862.

Bard is also a member of the Association of American Colleges, the College Entrance Examination
Board, the American Council on Education, the Union for Experimenting Colleges and Universities,
the Associated Colleges of the Mid-Hudson Area, and the Educational Records Bureau.

Be advised that the provisions of this catalogue are not to be regarded as an irrevocable contract
between the student and Bard College or its officers and faculty. The College reserves the right to
make changes affecting admission procedures, tuition, fees, courses of instruction, programs of
study, faculty listings, academic grading policies, and general regulations. The information in this
catalogue is current as of publication, but is subject to change without notice.
Bard College Catalogue
The Bard College Catalogue is published by the Bard Publications Office.

Cover: Asher Brown Durand (17961886)

Dover Plain, Dutchess County, New York, 1848. Oil on canvas. 42 1/2 x 60 1/2 in.

Smithsonian American Art Museum, Washington, D.C. / Art Resource, N.Y.

Photo credit: Smithsonian American Art Museum, Washington, D.C., U.S.A.

POSTMASTER: Send address changes to Bard College Catalogue, PO Box 5000, Bard College,
Annandale-on-Hudson, NY 12504-5000.

Bard College
PO Box 5000
Annandale-on-Hudson, NY 12504-5000

Phone: 845-758-6822
Website: www.bard.edu
E-mail: admission@bard.edu

Printed on recycled paper