Teaching material online course
ASAP/7: Arts & the Public, September 24-27, 2015 (Clemson University) For ASAP (Association for the Study of the Arts of the Present) conference, ASAP/7: Arts & the Public, September 24-27, 2015, hosted by Clemson University. Looking for papers for a panel on pamphleteers, broadsiders, sidewalk ranters, bloggers, trollers, Tweeters, and other creators of public acts […]
The main topic of this article is the history of a rare and precious French magazine of the late Nineteenth century, in which a vivid and crucial discussion about arts and their inter-relation grew the more and more intense in the short space of four years (1892-1896). The “Livre d’Art” was first conceived as a simple booklet to be distributed to the spectators of the experimental plays of the ”Théâtre d’Art”, but it soon became a sophisticated art object, which merged figurative and poetic art in order to create a mutual relation of authentic correspondence among them, thus overcoming the wagnerian idea of Gesamtkumstwerk. We are then going to focus on the second series of the Livre d’Art (1896), that exhibits a new tendency towards Modernism and Internationalism, opening towards Belgian, German and English artistic and literary movements, such as Jugendstil and Arts and Crafts, but opening also to contemporary theatre aesthetics, publishing i.e. Jarry’s Ubu Roi.
Commedia dell’Arte was the most influential and widespread theatre movement in sixteenth and early seventeenth-century Europe. A considerable part of its popularity can be accounted for by its comic representation of stressful occurrences within everyday life in early modern Europe, including in its representation of the period’s widespread dissimulation, that is, the hiding of one’s true thoughts and motives by means of discretion, indirection, and outright deceit. The theatricality of Commedia dell’Arte, among other things, provided a way for the audience to briefly dissociate itself from and to fantasize about ways of coping with dissimulation. A number of characteristics of Commedia dell’Arte, including disguise, lying, tricks, spying and gossip, and portrayals of honor, previously seen as separate, cohere in the concept of dissimulation. Natalie Crohn Schmitt is Professor of Theatre and of English, Emerita, University of Illinois at Chicago. She recently published Befriending the Commedia dell’Arte of FlaminioScala: The Comic Scenarios (Toronto: University of Toronto Press, 2014).
Ethos is a collective of critics, scholars, and public intellectuals who hope to inspire discussion about the cultures that shape—and are shaped by—contemporary society. This digital project is committed to providing an online space for reflecting upon the variety of collective customs, ideas, politics, and art that shape the human condition. To that end, Ethos […]
The attached syllabus was written for my Honors undergraduate seminar “The Art of the Book in the Digital Age,” taught Fall 2016 at UNC Chapel Hill. Here is an excerpt from the course description: “The book’s role and significance within literary culture is being scrutinized today with an intensity unseen for five centuries. Nowhere is this questioning more acute, sophisticated, and nuanced than in the burgeoning field of the book arts, an umbrella term encompassing artists’ books, book sculpture, zines, and print-oriented forms of electronic poetry. This is an inherently collaborative and interdisciplinary field. Its practitioners skirt the thresholds between visual art and literature, technology and philosophy, producing uniquely bookish artifacts that defy easy categorization. These are artworks made not for the white walls of a gallery, but to be read and used; they are works of literature that engage the visual, tactile, and even olfactory senses. Difficult to reproduce in print editions or literary anthologies, they challenge our expectations of the codex as a platform for delivering and consuming textual information. Despite the diversity of the book arts, what brings these practices together is a shared interest in the potential of the book to model radical new forms of creativity, subjectivity, and political engagement. ‘if i can sing through my mouth with a book,’ writes El Lissitzky in a treatise on book design, ‘i can show myself in various guises.'”
These data are extracted from Table 13 in the set of 72 tables for Doctorate Recipients from United States Universities: 2015, National Science Foundation, National Center for Science and Engineering Statistics (NCSES), Arlington, VA . NSF 17-306. December 2016
One of the hardest concepts to teach first-year composition students is the role of authority in academic writing. How are young adults who have a limited social world view and older adults who have left school for several years expected to assert themselves with confidence? Equally, another difficult threshold concept for FYC students is the act of humility in academic writing. Student writers need to acknowledge their limitations if they are going to establish authority in their writing. In my paper, I look closely at four students’ essays, examining how they venture and participate in academic conversations as they negotiate the role of humility and authority.
ASAP/7: Arts & the Public September 24-27, 2015 Hosted by Clemson University at the Hyatt Regency in Greenville, SC Call for Papers ASAP/7 invites proposals from scholars and artists on the relations between the public—broadly conceived – and contemporary visual, literary, performing, musical, and media arts. From parks, schools, and museums to monuments, performances, and […]