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Cultural Studies

Courses: Fall 2013 (2141) & Summer 2013 (2137)

Attention professors: Please click here

to find out how to crosslist your graduate course with Cultural Studies.

 

Look below for the FALL 2013 (2141) course list

SUMMER COURSE, term 2137

SPAN 2464: “Modern Mexican Film”
Joshua Lund
Summer session 1

"D" course

This course will introduce the student to modern Mexican film. The trajectory of the course covers a basic canon of essential works from the high point of Mexico’s so-called “Golden Age” up until the present (roughly 1940 – 2013). Between an introductory discussion on primitive Mexican film and a closing discussion on future directions, the course will center on the work of eight directors: de Fuentes, Fernández, Buñuel, Alcoriza, Ripstein, del Toro, Reygadas and González Iñárritu. Alongside the films we will read two kinds of documents: on the one hand, a selection of film scholarship, dealing with both the specific films and the history of Mexican cinema more generally; on the other hand, a set of essays on Mexican cultural politics relevant to the themes engaged in the cinematic work, especially as they concern national identity. The language of instruction will be English. Undergraduate students taking this course for credit toward the Spanish Major or Minor are required to complete all assignments in Spanish. Comparative work is encouraged. This course counts toward the Latin American Studies certificate.

Fall Term AY2014 (Fall 2013=2141)

Some courses that were added after our initial announcement appear highlighted

 

 

Category A:

Category B:

Category C:

Category D:

Text and Theory

Disciplines and Intellectual Movements

Cultural Antagonisms and Cultural Crises

Designated Courses

ENGFLM 2451 /

FILMG 2451

Film History/Theory

 

Daniel Morgan

ENGLIT 2149
The Eighteenth Century & Disciplinarity

 


Thora Brylowe


COMMRC 2475

The Body In Cinema: The Black Body: Film and Literature


Shanara Reid-Brinkley

 


COMMRC 2226
Media and Cultural Studies: Food, Media, and Culture

 


Ronald J. Zboray with Mary Saracino Zboray

 



ENGFLM 2473
Cinema and Counter History

 

Marcia Landy

 

 

HIST 2732

Power & Inequality

 


Lara Putnam

 


ENGFLM 2460

Film and Literature: Beyond Adaptation

 

Lucy Fischer

 

 


ENGLIT 2131

Shakespeare, Gender, and Sexuality

 

Marianne Novy



 


ENGLIT 2610
The Novel: Texts and Theories

 

Susan Andrade

 

 


MUSIC 2621

Ethnomusicology Seminar: Music and Cultural Theory II

 


Gavin Steingo

 

 

 

FRENCH 2225

Birth of a Nation: France and Frenchness in the Renaissance

 

Todd Reeser

 

 

 

HAA 2005

Methods

 

Josh Ellenbogen

 

 



ENGLIT 2800

Children's Literature

 

Marah Gubar

 

 

SOC 2102

Social Theory

 

Mohammed Bamyeh

 

HIST 2770

Slavery and Abolition in Global Perspective

 


Seymour Drescher

& Van Beck Hall

 

 

 


RUSS 2638

Russian and Soviet Cinema 1896-1934: Lumiére to Lenin

 


Vladimir Padunov

 

 

 



MUSIC 2611

Seminar in Musicology: Writing Film Sound

 

Anna Nisnevich

 

 


THEA 2216

Performance Historiography

 

Bruce McConachie


 

 

HPS 2522

Special Topics in the History of Science:

Human/Animal in Western Civilization


Paolo Palmieri

 

 


THEA 2202

Contemporary Approaches to Latin American Theatre and Performance Histories

 

Lisa Jackson-Schebetta

 

SPAN

2226

Readings in Cultural Theory: Marxist Literary and Cultural Criticism

 

John Beverley

 

 

 

 

 

SPAN 2464
Tragic Modernities

 


Armando Garcia


   

SPAN 2465

Global War: “Cultures of Paramilitarism and the Modern World”

 


Joshua Lund

     
     
     

 

Cultural Studies Course Descriptions

Fall 2013 (2141)ald Z

ay

COMMRC 2226
Media and Cultural Studies: Food, Media, and Culture
Ronald J. Zboray with Mary Saracino Zboray

Food (its production, commodification, preparation, and consumption) is and has long has been a site of cultural formation, tension, and negotiation. Food’s mediated representations across time and space consequently offer a lens through which to view the ever-shifting and elusive cultural politics of the food experience, along with the racial, ethnic, class, gendered, and transnational fissures that have characterized it. Insofar as this course considers food culture as it moves through systems of mediated representation involving print, film, radio, television, and the Internet, it provides an introduction not only to media studies as an area of inquiry, but also to the way cultural studies scholars have engaged issues of power, empire, globalization, inequality, social difference, representation, and reception in media.

Topics include: generational conflict in current cable-TV food-competition programs; the gender politics of celebrity chefs; food countercultures (from Sylvester Graham to veganism); cookbooks and other food media’s place in the early modern “world of goods”; race and gender in food product advertising; food media’s role in colonialism and postcolonialism (e.g., “coca-colonization”); media’s role in food and social movement campaigns (e.g., César Chávez’s Delano Grape Strike); media representations of food in fostering global awareness and forming diasporic ethnic identities; food journalism (especially, mass-market magazines) in gendered class formations; the social dimensions in media of gorging, fasting, and dieting (from Hogarth’s 18th century depictions of gluttony to pro-ana websites); and food event depictions as transformative devices in cinema (e.g., dysfunctional dinner scenes). Students will, in the course of the semester, develop a research project related to the course theme, a conference proposal for presenting it, and a draft paper and “mock presentation” of the material in a conference-like setting in the classroom at semester’s end.

 

COMMRC 2475
The Body In Cinema: The Black Body: Film and Literature
Shanara Reid-Brinkley

This course will investigate modern American film and literature for representations of the black body. We will focus our attention on black filmmakers, novelists, playwrights and poets attempt to counter and respond to stereotypical representations of blackness in American politics and social culture. The course will cover literature produced during the Harlem Renaissance and the Black Arts movement, and films from the blaxxploitation period through contemporary film culture. As we engage these primary texts, we will simultaneously read contemporary film and cultural analysis discussing the politics of black representation. We will engage authors including Toni Morrison, Ntozake Shange, Octavia Butler, loria Naylor, James Baldwin, andothers. Theorists will include the rising field of Afro-pessimism represented by Frank Wilderson, Saidya Hartman, Hortense Spillers, as well as theoristsfrom Afrofuturism, Black Feminist Theory, and Critical Race Theory. Students will complete multiple critical analysis essays of the films and literary readings, as well as, one final paper.

ENGLIT 2131
Shakespeare, Gender, and Sexuality
Marianne Novy

This course will read some of Shakespeare’s plays and his sonnets emphasizing a range of criticism and theory dealing with gender and sexuality. We will also consider the early modern debate about women, 16th-17th century texts about same-sex desire and recent critical and historical arguments about the construction of gay identity, literary transformations of his plays and sonnets by later women and gay writers, and examples of how live productions, films, and other media have dealt with gender and sexuality in his writings.

ENGLIT 2149
The Eighteenth Century & Disciplinarity
Thora Brylowe

What is a discipline? What does it mean for an academic to ask this question in a time of increased interdisciplinarity? What does it mean for a humanist to ask it in the wake of the information age? This course considers the roots of disciplinarity in the Eighteenth Century, a time when the arts and sciences were ordered, when the seeds of professionalism were sown, when prisons were birthed. The course will consider some of the cultural, epistemic, technological, and ideological shifts of the Eighteenth Century in order to explore answers to contemporary theoretical questions.

 

ENGFLM 2451/ FILMG 2451
Film History/Theory
Daniel Morgan

This seminar will focus on the history and theory of cinema up to 1960, taking up such topics as: the origins of cinema; the development of narrative; the rise of Hollywood and its global appeal; national and international cinemas; the relation between film and the other arts; the coming of sound; arguments between realist and modernist movements; the avant-garde; and the technological and social history of cinema. These topics will be addressed through consideration of major film movements and significant films. Students will also be introduced to key theorists from this time, including Kuleshov, Vertov, Eisenstein, Balázs, Münsterberg, Lindsay, Epstein, Kracauer, Benjamin, Arnheim, Bazin, and others.

ENGFLM 2473
Cinema and Counter History
Marcia Landy

This graduate course focuses on visual media’s connection to transnational forms of historicizing. It is concerned with theoretical writings that can be understood as offering versions of the past that run counter to received perceptions about historical forms through visual media. The readings and the films pay specific attention to various, often conflicting, theories, forms, and styles to identify the philosophic, aesthetic, and political stakes in activating the past. Among the texts to be studied that are related to philosophies of history are those of Walter Benjamin, Michel Foucault, Gilles Deleuze, Jacques Rancière, Hayden White, Carlo Ginzburg, and Fredric Jameson as well texts on André Bazin, Jean-Luc Godard. Philip Rosen, Mary Ann Doane, Robert Rosenstone, and Vivian Sobchack. The films proposed for screening are Cabiria, Abel Gance’s Napoleon, Scipione Africanus, Roberto Rossellini’s The Rise to Power of Louis XIV, Pasolini’s Mamma Roma, Kubrick’s Paths of Glory, Carry on Up the Khyber, Monty Python and the Holy Grail, The Camp at Thiaroye, Hyenas, Morphia, A History of Violence, The White Ribbon, and Il divo.

 

ENGLIT 2610
The Novel: Texts and Theories
Susan Andrade

This course alternates reading novels and novellas with literary criticism, intellectual and social history, political treatises, and politics. We will give particular attention to imperialism and colonialism, the question of form and its reception, to gender and narration. Readings will likely come from B. Anderson, P. Anderson, Armah, Asturias, Barthes, Bhabha, Conde, Conrad, Djebar, Garcia-Marquez, Fanon, D. Harvey, Aminatta Forna, Joyce, D. Lessing, Lukacs, Malraux, Moretti, Naipaul, E. Said, Saleh, Sangari, R. Schwarz, Soyinka, R. Young.

 

ENGLIT 2800
CHILDREN’S LITERATURE
Marah Gubar

In 1917, Max Weber famously described modernity in terms of a profound “disenchantment of the world.” Yet the first half of the twentieth century also witnessed an efflorescence of various kinds of re-enchantment, ranging from spiritualism and theosophy to Freud's excavation of the hidden meanings in everyday occurrences. This course will look at one of these, the emergence of fantasy narratives that invited children and adults to immerse themselves in enchanted alternative realms or magical worlds enmeshed within the realm of everyday life. Were such fantasies an escapist solution to the problem of modern disenchantment, or can we tell some more complicated story about their emergence and function? In addition to reading fantasy novels by such authors as E. Nesbit, Rudyard Kipling, and C. S. Lewis, we will also peruse plays like Peter Pan, comic strips like Little Nemo in Slumberland, and films like The Wizard of Oz. Secondary readings will include excerpts from Michael Saler’s As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (2012) and Woody Register’s The Kid of Coney Island: Fred Thompson and the Rise of American Amusements (2003), among others.

ENGFLM 2460
FILM AND LITERATURE: Beyond Adaptation
Lucy Fischer

It has become a cliché of film studies to assume that when one discusses the topic of film and literature that one simply means adaptation—generally, the transposition of literary material to the cinema. This is a trivialization, reduction, and misunderstanding of the complex nature of the diverse relationship between the two forms. This course seeks to make clear the numerous other ways in which film and literature both overlap and diverge in their relation to the realms of culture, history, theory, and discourse. Among the topics to be considered are: (1) cinema’s early status as “low” and popular culture versus literature’s more elite status; (2) the ways in which early film theorists tried to “legitimize” cinema by comparing it to literature and other established art forms; (3) cinema’s early dependence on earlier forms of literary popular culture (e.g. stage melodrama and the dime novel); (4) the relation of documentary film to “muckraking” journalism. Beyond these cultural questions the course will also examine: (5) narrative theories of classical cinema and the art film; (5) the case of the author/filmmaker who engages with both media (but does not necessarily adapt prior works); (6) tropes of point of view, subjectivity, and narration in film vs. literature; and (7) the figure of the writer in film.

FR 2225
Birth of a Nation: France and Frenchness in the Renaissance
Todd Reeser

In French studies, the sixteenth century is often taken as a key moment in the birth and development of the French nation. Under François I, French becomes the official language of the state, and writers of fiction increasingly depict a French community and make a proto-nationalism an element of their work. In the introduction to her collection of short stories L’Heptameron (1558), Marguerite de Navarre, François I’s sister, differentiates her work from her Italian model Boccaccio and attempts to delineate a distinctly French narrative tradition. Also in 1558, Joachim Du Bellay publishes his famous Défence et illustration de la langue françoyse, which lays the linguistic basis for a French nation, and his literary corpus “illustrates” poetically many of the ideas about the nation that he imagines. In this century of emerging national definitions, numerous other writers and thinkers create a certain idea of France, often by differentiating the French from groups such as Italians, Turks, Amerindians, and Spanish. At the same time, however, Humanist writers tend to position their national origins as ancient in nature so that France can be taken as a continuation of, and heir to, Greek or Roman culture. Most famously, Du Bellay’s collaborator and friend Ronsard publishes the Franciade (1572), an epic that makes France’s origins out to be Trojan and thus similar to those of Virgil’s hero Aeneas.

But France is also a very slippery construct, never fully present and in constant danger of coming into non-existence. In this course, we will examine what “France” and “Frenchness” mean in a Renaissance context. What constructs are used to create a nation when there isn’t much of one to begin with? What is the role of the other in this process? What is a national border? How does the new world factor in to these questions? To what extent can key aspects of 21st century French culture be located in an early modern context? How do literature and narrative form construct or deconstruct the nation? What about Humanism? How and why is the nation gendered? What is the role of race and ethnicity in all this? Can we even talk about race in this context? What does the king signify, and why can’t France let there be queens? How does religion factor in? In short, what is the French nation in the Renaissance, if it’s anything at all?

To move toward answering these questions, we will examine a variety of texts, including political treatises (Bodin, Seyssel), literary texts (Montaigne, Du Bellay, Ronsard, Marguerite de Navarre, Rabelais), new world theatre (Lescarbot), travel narratives (Léry, Champlain, Thevet), tourist guides, and Renaissance maps/atlases. Theoretical texts will include Anderson, de Certeau, Said, and Balibar. While the primary texts taken will focus on early modern France, the techniques of analysis are applicable to other cultural contexts and time periods, and are thus meant to provide students analytic tools to think about the concept of the nation in other linguistic and temporal contexts. Course taught in French.


HAA 2005
Methods
Josh Ellenbogen

This seminar introduces students to contemporary theoretical methods in art history. It does so by considering these methods in relation to the history of art and architecture department’s research constellations: Visual Knowledge, Agency, Identity, Mobility/Exchange, Contemporaneity, and Environment. While the course will always dedicate considerable attention to each one of the constellations, each year the course is taught it will privilege one or two of them. By treating, over the course of a term, contemporary approaches in art history in relation to Visual Knowledge, or Identity, or Environment, the course aims not only to provide a broad survey of what it means to do art history in the early twenty first century, but to forge novel connections between the panoply of intellectual approaches available to scholars now. At the same time, while not a primarily historiographical course, the class also aims to shed light on trajectories in the art historical discipline’s intellectual development. The format of the class will center on discussion and close reading of art historical texts, and the careful consideration of what it means to apply a given theoretical approach to material objects. The course is open to graduate students in art history and to students from other disciplines with a strong interest in the visual arts.

HIST 2732
Power & Inequality
Lara Putnam

How have scholars approached the study of power and inequality? This seminar focuses on four distinct dimensions of power and inequality—class, race/ethnicity, gender, and global disparities—each of which has inspired wide-ranging academic debate on definitions, mechanisms, and the possibility of change. We will survey key scholarly interventions generated by historians, sociologists, anthropologists, geographers, and others, giving priority to the last two decades of theoretical debate and empirical investigation.

How are systematic patterns of inequality generated and sustained? What roles do cultural beliefs, social practice, political institutions, and macroeconomics play? How do different kinds of inequality—such as those around class, racism, ethnicity, and gender—interact? How do differently scaled systems of inequality—within the household, community, nation, and international system—interrelate?

The place assigned to culture in the generation of power and inequality has varied enormously by discipline and over time. Some schools of thought have seen the realm of cultural belief, representations, and practice as a crucial source of inequality; others as the medium or vector of power's transmission; others as a result (and perhaps a merely "epiphenomenal" result) of political and economic structures seen to drive the unequal distribution of power.

This course will give students of Cultural Studies a systematic understanding the trajectory of debates over class, race/ethnicity, gender, and regional disparities within the disciplines of history, anthropology, sociology, feminist theory, and critical geography.

HIST 2770
Slavery and Abolition in Global Perspective
Seymour Drescher
& Van Beck Hall

This seminar will examine slavery and anti-slavery from the end of the Medieval period to the twentieth century. It begins with economic and cultural developments in the plantation complex of the Atlantic World, Latin America, the West Indies and the United States South. It follows the development of anti-slavery movements and the termination of slavery from end of the eighteenth-century in both the New and Old Worlds. The course continues with a study of the reemergence of slavery in twentieth-century Europe and concludes with a consideration of its current status in various regions of the globe. Participants will discuss assigned “core” readings for each meeting of the seminar. Each participant will read an additional work for each session and prepare a brief review, to be shared with members of the seminar.

HPS 2522
Special Topics in the History of Science:
Human/Animal in Western Civilization
Paolo Palmieri

This seminar explores the liminality that has continually demarcated the
frontier between human and animal in the history of Western civilization.
We will engage diverse historical-philosophical approaches to the question of what constitutes human as opposed to animal, beginning with ancient Greek philosophy, and tracing contemporary ideas back to their origins in the Graeco-Christian worldview. We will investigate the shifting
human/animal frontier during the Renaissance and the scientific revolution of the seventeenth-century, in the Enlightenment and Romanticism, and in contemporary thought. By reconstructing the genesis of human/animal debates, we will transgress the bounds of sectarian divisions between styles of thinking and become more self-conscious about the history and philosophy of science as a multi-faceted, humanistic form of inquiry.

MUSIC 2611
Seminar in Musicology: Writing Film Sound
Anna Nisnevich

Ever since Theodor W. Adorno’s critical study of film music, the elusive aural dimension of the art of moving pictures has figured in scholarship as possibly the most contested territory of cinematic meaning and import.
What are the ways in which sound matters in film? What might film sounds tell us that images do not? How do particular, and changing, aesthetics and technologies of film sound speak to cinema’s politics of representation? With these general questions in mind, we will explore a range of recent frameworks that tackle film sound as we seek illuminating convergences between two major, and somewhat polarized, fields of film sound scholarship: sound studies and critical theory – the former more often than not focusing on the ostensibly value-free realm of acoustics, technology, perception and cognition, the latter attending above all to the manifestly politicized world of history, identity, difference and resistance. We will consider, and test in a series of case studies:

- the “material heterogeneity” of cinematic sound (Rick Altman) as well as the ineffability of _acousmetre_ (Michel Chion), both phenomena hypothesized as sensed through the special faculty of audiovision;
- the sonic agency of cinematic voice as well as silence (as theorized by, among others, Jacques Derrida, Michel Chion and Kaja Silverman);
- the narrative as well as connotative promises of pre-existent and original film music (Claudia Gorbman, Nicholas Cook, Susan McClary et al.);
- the intersections of genre, class, race, gender and sexuality in musical films (Richard Dyer, Lucy Fischer);
- and other topics concerned with film sound in the context of culturally and historically contingent notions of self, body, spectacle, audition and aural mediation.

The ultimate aim of this seminar is to engage critically with a select body of writings on film sound in order for each participant to develop an original framework most pertinent to her or his course project. The course’s last four weeks will be dedicated to a student-run workshop in which everybody will be given an opportunity to assign readings/viewings/auditions and lead an hour-long discussion of their projects.

MUSIC 2621
Ethnomusicology Seminar: Music and Cultural Theory II
Gavin Steingo

Designed as a sequel to Music and Cultural Theory I, this course continues the investigation of culture as a focal point for interdisciplinary scholarship in music studies in both the humanities and the social sciences. (Note that Music and Cultural Theory I is not a prerequisite for taking this course.) We will explore the ways that contemporary music scholars study culture as social practice by engaging literature in areas such as sound studies, anthropology of the senses, hermeneutics, and aesthetic theory. Emphasis will be placed on recent and emerging theoretical perspectives with the aim of developing critical models for understanding music and culture in a rapidly changing geopolitical landscape.

RUSS 2638
Russian and Soviet Cinema 1896-1934: Lumiére to Lenin
Vladimir Padunov

Although the Russian film industry does not begin to take shape until Aleksandr Drankov’s Sten'ka Razin (1907), moving images were first introduced to the Russian Empire in May 1896, when the Lumiére Brothers both screened the first films in the empire and arranged to shoot the first film footage in the country?the coronation of Tsar Nikolai II. The course will examine the history of the Russo-Soviet film from 1896 through the imposition of socialist realism in 1934. Films to be screened include Chardynin’s and Protazanov’s adaptations of Queen of Spades (1910 and 1917), Bauer’s The Revolutionary (1917), Protazanov’s Aelita (1924), Room’s Bed and Sofa (1927) Kozintsev and Trauberg’s New Babylon (1929), and the “Vasil'ev Brothers’” Chapaev (1934). Special emphasis will be placed on the work of the Soviet directors associated with “Soviet Expressive Realism”: Kuleshov, Eisenstein, Pudovkin, Vertov, and Dovzhenko.

 

SOC 2102
Social Theory
Mohammed Bamyeh


This course covers major developments in sociological theory since Marx, Weber and Durkheim, including mainstream American theory, German critical theory and new French theory. Students are expected to attend all classes and contribute extended weekly comments on the readings to the class electronic list, as well as actively participate in seminar discussions. Readings may include selections from the works of Niklas Luhmann, Erving Goffman, Anthony Giddens, Jon Elster, Clifford Geertz, Michel Foucault, Jürgen Habermas, Pierre Bourdieu, Maurice Merleau-Ponty, Herbert Marcuse, Theodor Adorno and Max Horkheimer, and others.

SPAN 2226
Readings in Cultural Theory: Marxist Literary and Cultural Criticism
John Beverley

The seminar will consider in some depth a selection of texts representative of the contribution of Marxist literary and cultural criticism by Marx, Lukacs, Gramsci, Benjamin, Adorno, Althusser, Williams, Jameson, and Spivak.

SPAN 2464
Tragic Modernities
Armando Garcia

This graduate seminar explores the recent turn towards tragic aesthetics by dramatic artists and theorists of coloniality/modernity. We study 20th-century adaptations of Ancient Greece by U.S. Latina/o, Caribbean and Latin American artists, with an emphasis on the particular attention that these artists give to the "female tragedies" (Medea, Iphigenia, Electra, Antigone) as they wrestle with coloniality-modernity. Our discussions of tragic subjectivity, aesthetics and coloniality will be informed by philosophical treatises by Rodolfo Usigli, Derek Walcott, Sylvia Wynter, Rita Felski, Walter Mignolo, Gabriela Basterra, and David Scott, among others. This course is taught in English.

 

SPAN 2465
Global War: “Cultures of Paramilitarism and the Modern World”
Joshua Lund

This course opens with a discussion of Carlo Galli's recently translated _Political Spaces and Global War. We then embark upon an exploration of "the paramilitarization of everything", with particular focus on various American (in the hemispheric sense) scenes, as expressed through narrative fiction, films, testimonies, policy documents and selected works of contemporary philosophy. Students will write either one long paper or a series of short papers. Comparative work is encouraged. Language of instruction is English.

THEA 2202
Contemporary Approaches to Latin American Theatre and Performance Histories
Lisa Jackson-Schebetta

In this course we will examine how scholars across disciplines approach, analyze and narrate histories and practices of theatre and performance in the geographies of the Caribbean and Latin America from “before contact” to the present. Students will explicate, critique and formulate research that draws upon a diverse array of methodologies both within and outside the field of “Latin American Theatre,” including but not limited to de-colonialism, global souths, performance studies, theatre history, corporeality, textuality, historiography, critical race studies, gender and sexuality. By necessity, the seminar will engage with the geo-political and disciplinary legacies, politics and provocations contained implicitly and explicitly within the field of “Latin American Theatre and Performance” itself.


THEA 2216
Performance Historiography
Bruce McConachie

The goal of this seminar is to introduce graduate students to recurrent problems in the writing of performance history, including the uses of evidence, historical causation, space, time, identity, narrative, and the validity of historical truth claims. We will look briefly at these and other general challenges and then apply our knowledge to the specific problems of writing history in theatre, music, film, and other areas of performance. In general, performance historians, like all historians, try to understand and explain continuity and change over time. This seminar looks at how different performance historians have constructed their explanations. In the process, it also examines history as an intellectual discipline and institution.

Contact the Cultural Studies office with any questions:

Karen Lillis, Program Assistant 412.624.7232

cultural@pitt.edu

http://www.pitt.edu/~cultural/

 

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