History & Theory

This co-taught, in-person seminar will take up the philosophical, social, and political problem of how love relates to music as both experience and idea with a focus on Greece and the wider Mediterranean. Whether staged and performed, publicly shared, or privately consumed, love and music pervade time and place, shaping diverse genres, engaging different media, and articulating numerous domains of human life and the public sphere. Yet the mediation of love experiences through music remains radically undertheorized. The seminar “Love/ Music” will think about what the love/ music nexus demands as an object of ethnographic and historical study and as a theoretical entity. The course has a binary scope, being both theoretical and hands-on ethnographic (including historical ethnography). Thus its syllabus includes sessions addressing seminal theoretical readings alongside sessions structured as “ethnographic workshops” variously addressing the problematic of the “love / music relation.” 

Over the course of the quarter, students will carry out short ethnographic assignments designed to train them to think theoretically while doing field research or creative projects with an ethnographic sensibility, fusing and playfully unsettling the boundaries between the artistic, the ethnographic, and the philosophical. Assignments will range from experimentation with multimodal and sensory ethnographic methodologies, dialogic, reflexive and (auto)ethnographic narrative, field-note or historical-ethnographic writing, and oral history, to creative work (e.g. making playlists, podcasts, radio essays, short films, sound art, performatively reinventing archival material, or the like), thereby fusing the boundaries between the fictional, the artistic, the ethnographic, and the historical.

Writings by Christina Woolner, Hilton Als, Luis Manuel García-Mispireta, Eva Iliouz, Roland Barthes, Alain Badiou, Martin Stokes, Marta Savigliano, Wayne Koestenbaum, Mladen Dolar, and James Davidson will figure among the readings.

Requirements: Each student will do 1) two small ethnographic projects for the “ethnographic workshops” (held in sessions 4, 6, and 8) and 2) a 4-5,000-word final term paper. In lieu of a fully written term paper, students may do a creative or ethnographic project, developed in consultation with the instructors.

The course will be capped at twelve graduate students. It is open to students from all academic units.

NOTE ON SCHEDULE 

This seminar will meet twice weekly for five weeks on Mondays 1:30-4:20 and Thursdays 2:00-4:50 from April 20 until May 18. A tenth session held on Thurs. May 21 will be devoted to student presentations. Students are required to attend all sessions in person.

Additionally, on Friday, May 15, students will participate in a workshop of the multi-year international project “Love / Music: Problematics of a Relationship.” The workshop, held under the sub-rubric of “Methodologies from across Disciplinary and Practice-based Terrains” and hosted by the Franke Institute for the Humanities, will focus on how different disciplines, diverse in their methods for dealing with love, have been approaching the love /music nexus as a disciplinary issue, and might reconsider it in empirical and theoretical terms.

This course examines key texts from antiquity through the 18th century related to music and sound. “Literature” is construed broadly to include the many genres in which music or sound play a principle part: philosophical and scientific essays; anecdotes, biographies, and tales; poems and informal essays; songbooks, formularies, and scores; encyclopedias and manuals. The course will be organized historically and thematically. Some of the issues we hope to investigate: the role of music in ritual and governance; theories of the voice and sound production; the translation of sound into words, and what is lost and gained; the pictorial representation of sound and listening; the relation between music and emotion; the social roles of musicians and entertainers; and the cultural significance of musical instruments.

Each week will focus on a particular sense or sensation (sound, touch, horror, wonder, etc.) in works of premodern Japanese theater and fiction, paying particular attention to performance (broadly defined to include noh, kabuki, and puppet theater as well as comic storytelling and spectacle shows) as a public site for the exploration of intimacy and alienation, the circulation of feelings, and the staging of somatic difference. Considering, for example, anti-theatrical bias and discourses of contagion, scenes of possession and physical transformation, and the psychologizing of emotion and the senses, the course will engage with theories of embodiment, emotions, disability, and wonder. All readings will be available in English.

This course will cover the rich representation of university life in non-professional Renaissance drama (including student-written plays, hazing plays, moralities, and satirical pamphlets, as well as intriguing fragments from lost plays), and the tantalizing glimpses this subject that the public stage offer. Plays include Love's Labour's Lost, The Parnassus Plays, Michaelmas Term, The Marriage of Wit & Science, and several neo-Latin plays in English translation. It will also provide a deep dive into the student scrapbooks of the late 16th / early 17th centuries; students will assemble their own album amicorum based on this curious and compelling form of self-documentation. Half of the course meetings will be taking place in the Regenstein Library's Special Collections.

This course examines the ways histories of US intervention in Latin America have been engaged in cultural practice. We assess the history of US intervention by reading primary documents alongside cultural artifacts including film, performance and visual art, song, music, and poetry. The course begins with the Cuban revolution and ends with the ongoing crisis in Puerto Rico.

This course takes students on a journey into the dazzling world of divas, queers, and drag performers who reshaped Latin America's cultural, social, and political repertoires. From Eva Perón's iconic political mythology and María Félix's femme fatale allure to the radical defiance of Pedro Lemebel and the cosmic magnetism of Walter Mercado, we will explore how these larger-than-life figures resisted and undermined heteronormative and misogynistic regimes. Engaging critical theory, queer studies, and aesthetic analysis, the course invites students to engage with the commodification of celebrity in the culture industry, the performative dynamics of identity, and queer culture's fascination with camp, glamour, and abjection. Revisiting concepts like the society of the spectacle and hyperreal personas, students will uncover how these icons transformed the public sphere and disrupted hegemonic power structures. The course also examines celebrity labor as affective production and the participatory cultures that turn fandom into a consumer community, and into a nostalgic and repetitive ritual in the context of digital neoliberalism. Through discussions, close readings of critical texts, and multimedia explorations of films and performances, students will learn how divas, queers, and drag performers redefined aesthetic innovation and became fearless agents of political subversion in the region and beyond. The course will be taught in Spanish and English.

This course invites students to engage with feminism—and its many intersections—not just as a question of representation but as a method for theatrical composition and presentation. We will ask why a performance might be deemed "feminist" and will analyze the specific dramaturgical strategies used to stage feminist questions and provocations, including erasure, saturation, fabulation, distortion, and others we will discover together. Students will learn to recognize and interpret feminist dramaturgy, and will adopt this disposition in practice. Drawing from feminist theory, trans studies, critical race studies and queer theory, we will examine how these frameworks inform the work of playwrights, performance artists, devised theater makers, and choreographers.

Instinctively we know what a classic is and does in our culture. From Coca Cola to Air Jordans, a classic is a material artifact that resonates across time, class, race, creed and nationality. A classic has staying power, whether it evolves, remains fresh, or re-invents itself in new contexts. In drama, a classic is a more fraught concept. The tradition of a classic canon has been rightly and thoroughly critiqued as racist, misogynist, and exclusionary. In spite of this, the idea of a classic still abides and holds sway in the cultural imaginary. Taught by Associate Artistic Director Gabrielle Randle-Bent, this course takes as its point of departure that Court Theatre is "The Center for Classic Theatre." We begin with the question: What are the practical, critical, and dramaturgical implications for an institution committing to the production of classic work? We will read literary and dramatic criticism to better understand the idea of classic text, we will study the structure of modern regional theatre to interrogate the economic necessity for the production of classic work on contemporary stages, and finally we will read canonical, a-canonical, and new works of theatre to begin to articulate a dramaturgy of Classic Theatre on our own terms.

This interdisciplinary course examines key topics, trajectories and analytical methods in the study of gender and sexuality, approaching them in the context of modern and contemporary South Asia. As a constellation of mutually diverse yet interconnected postcolonial nations, the South Asia context pushes us to reflect on how questions of gender and sexuality are animated, constituted, and represented, especially within non-Euro/American frameworks. What theoretical concepts have universal purchase, and what is only ever legible in a local register? How do the forces of global capital and imperial power intervene in these processes? What role do religion, language, caste and class play? We will address these questions through the lens of performance, drawing on ethnographic, textual, visual and filmic sources from various South Asian regions, communities and languages (in translation). We will journey through a range of sites and scenes, including courtesan cultures, queer nightlife, drag performances, classical dance forms, dramatic texts, political protests, and more.

This course has a strong component of movement practice and is open to students of any experience level who are willing to move with creativity and generosity. The course takes a broad look at dance improvisation, exploring in equal parts key theoretical readings, historic and contemporary performance examples, and movement practices in the classroom. On its surface, improvisation is often understood to be based on total freedom or openness, where any movement choice can be made. Here, the notion of freedom in improvisation is reconsidered through the sociopolitical realities of how dancers’ bodies move through society, and across the studio or stage.