Video / Audio  James Galbraith

Genres and Institutions (Moderator: David Gutkin) Joy Calico (Vanderbilt University): “Chaya Czernowin's Infinite Now” Will Robin (University of Maryland, College Park): “Opera for the 80s and Beyond, the Orchestra Residencies Program, and Institutional Experiments in American New Music in the 1980s”

Opera’s Systems (Moderator: Lydia Goehr) Jeanine Oleson (Parsons School of Design) Franck Leibovici (Paris) Yuval Sharon (The Industry, Los Angeles)

Composing and Performing (Moderator: Matthew Ricketts) Joan La Barbara (NYU) Du Yun (Peabody Institute) George Lewis (Columbia University)

Beyond the Opera House (Moderator: Arman Schwartz) Minou Arjomand (University of Texas at Austin): “Radio Opera” Jelena Novak (New University of Lisbon): “Opera beyond Itself: Installing the Operatic”

Retrospective—Robert Wilson (Moderator: Heather Wiebe)  David Gutkin (Peabody Institute): “Universal History, Posthistory, and Globality in Robert Wilson’s the CIVIL warS” Arman Schwartz (King’s College London): “Opera and Objecthood, from Einstein to Klinghoffer"

Essays are central to students’ and teachers’ development as thinkers in their fields. In Crafting Presence, Nicole B. Wallack develops an approach to teaching writing with the literary essay that holds promise for writing students, as well as for achieving a sense of common purpose currently lacking among professionals in composition, creative writing, and literature. Wallack analyzes examples drawn primarily from volumes of The Best American Essays to illuminate the most important quality of the essay as a literary form: the writer’s “presence.” She demonstrates how accounting for presence provides a flexible and rigorous heuristic for reading the contexts, formal elements, and purposes of essays. Such readings can help students learn writing principles, practices, and skills for crafting myriad presences rather than a single voice.

Video: Frankenstein at 200

October 26, 2018

2018 marks the two-hundredth anniversary of Mary Shelley’s classic novel Frankenstein – a book about birth, death, fragmentation, monstrosity, and knowledge that continues to haunt contemporary thought and culture. In the two centuries since its publication, readers have variously interpreted Frankenstein as a cautionary tale of scientific hubris, an allegory of motherhood, a political commentary, and a gothic horror. Meanwhile, the loquacious monster at the heart of the novel has left the book to become a figure of inarticulacy and terror in the popular imagination. Recent scholarship on Frankenstein juggles between these polarities, while also considering manuscript evidence of a collaborative writing process shared by Mary Shelley and her poet husband Percy.

Since Edward Said’s foundational work, Orientalism has been singled out for critique as the quintessential example of Western intellectuals’ collaboration with oppression. Controversies over the imbrications of knowledge and power and the complicity of Orientalism in the larger project of colonialism have been waged among generations of scholars. But has Orientalism come to stand in for all of the sins of European modernity, at the cost of neglecting the complicity of the rest of the academic disciplines?