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Spring 2014 Courses

MALS 70000 – Introduction to Graduate Liberal Studies
Monday, 4:15-6:15 pm, 3 credits, Prof. Shifra Sharlin [23847] Room 8405


Is Who You Are Where You Are?
 
This is a course about place and identity.  Is who you are where you are in nature, in the city, and in time?  The course will begin with readings from anthologies that address these three different types of location: Uncommon Ground: Toward Reinventing Nature, The City Reader, and Histories of the Future. Another book, Detroit City is the Place to Be, will be an opportunity to explore these questions in greater depth.  I am hoping that the author will speak to our class.  The final project for the course will be an archive project.  An advantage of our location in New York City is access to an enormous number and variety of archives. Sharing and workshopping writing are essential parts of the course. 
 
 
MALS 70000 – Introduction to Graduate Liberal Studies
Tuesday, 6:30-8:30 pm, 3 credits, Prof. David Munn
s [23336] Room 4419

How to Know, … About Knowing:
Introduction to the History, Sociology, and Philosophy of Science, Medicine, and Technology


This course serves as an introduction to Liberal Studies, and offers the basic tools of a graduate education. Through this course, you will amass a varied toolkit of fundamental readings and intellectual questions and approaches to become acquainted with critical thinking and critiquing skills necessary to approach any intellectual, policy, governance, or social decision. The topic around which you will learn valuable skills is, broadly, the history and philosophy of science. As a domain of knowledge that makes very specific claims to somehow knowing about the world, “science” is a useful lens to look at how we conceptualize and understand the making of knowledge. The history, philosophy, and sociology of science deals with not what we know, but how we know what we know. This course considers this issue by comparing differing types of types of scientific knowledge, and asking how is their knowledge derived and legitimated? Along the way, we shall consider the role of materials, practices, and institutions in the processes of making knowledge, as well as role of skepticism, criticism, and community.

 
MALS 70100 – Narratives of New York: Literature and the Visual Arts
Monday, 4:15-6:15 pm, 3 credits, Prof. Robert Singer [23337] Room 7395


Stephen Crane, Edith Wharton, Weegee, Diane Arbus, Spike Lee, and Tony Kushner… this course will explore the work of these artists, among others, as each envisions critically significant representations of New York City–its people, places, and history–in various narrative forms. Particular attention will be given to evaluating the manner in which literature interrelates with film and other visual media and how each venue reflects cultural and historical ideologies. For example, what makes a text a “New York” narrative? Do literary and visual narratives mirror the city’s psyche, or serve to analyze it in penetrating ways?

This course is designed to provide students with an introduction to reading texts and works of art critically, from a variety of perspectives, as well as to relevant theoretical discourses.
 

MALS 70300 -- Law, Politics, and Policy, 3 credits
Mondays, 2:00-4:00 pm, Monica Varsanyi [23985] Room 8203
Cross listed with EES 79903 --
Geography, Law, and Social Control
Permission of the instructor required

In this course, we will be reading at the intersection of the Law and Society literature and critical legal and political geography.  As such, we will be reading foundational texts in both fields, with special attention to sociolegal scholars who either explicitly or implicitly approach their scholarship from a geographical perspective, as well as geographers who engage critically with the promises and pitfalls of the law as a force for social and political transformation.  Readings will include work by law and society scholars such as Michael McCann, Charles Epp, Sally Engle Merry, Kitty Calavita, Boaventura de Sousa Santos, Patricia Ewick and Susan Sibley, Austin Sarat, Ian Haney-López, Kal Raustiala, and Laura Beth Nielsen; as well as geographers such as Nick Blomley, David Delaney, Don Mitchell, Deborah Martin, Steve Herbert, and Lynn Staeheli.  While the class focuses most specifically on the US context, international examples will also be discussed and comparative papers are welcome.



 
MALS 70500 – Renaissance Culture
Monday, 4:15-6:15 pm, 3 credits, Prof. Anna Akasoy [23338] Room 3309

Cross listed with MES 78000

Political, social, religious and cultural communities form and display their identities in opposition against others. ‘What we are not’ often tells us just as much about a group as ‘what we are’. In this course, we will discuss the theory that Europe or the West, more broadly speaking, emerged and formed a distinct identity in opposition to the East, in particular the Muslim world. We will focus on ‘European’ responses to the Turks, especially the Ottoman Sultan Mehmed II in the aftermath of the conquest of Constantinople in 1453. We will consider these reactions against the backdrop of political and cultural relations between Italy and the Ottoman Empire. Furthermore, we will identify and analyze elements in these responses which are characteristic of Renaissance writing about the East and then explore classical and medieval paradigms such as the conflict between Greeks and Persians or between Christians and Muslims. For theoretical approaches to the subject we will discuss Edward Said’s Orientalism (1978) and more recent responses to this classic of postcolonial studies.

 
MALS 70800 – Transformations of Modernity, 1914-present
Monday, 6:30-8:30 pm, 3 credits, Prof. Sandi Cooper [23339] Room 7395


“Modernism” is one of those fluid terms whose definition is elusive, used differently when applied to poetry, prose, history, creative arts, music, theater and the philosophical underpinnings of societies.  Its sources have been traced to the intellectual revolutions of the 17-19th centuries; to the revolutionary upheavals of the 18-20th centuries and certainly to the post World War I decades.  Modernism,  often associated with the disjunctive,  sometimes stream of consciousness modes in literature, art, music, theatre, philosophy, political movements (especially Fascism) appearing in the early 20th century, reified by the violence of World War I, has shaped the 20th century.   It has been difficult to sustain the promise of enlightenment and rationality that emerged from 18th century thought and politics.

This class will only be able to glance at the surface of such complexity.

This being the centennial of the outbreak of World War I it is appropriate to examine the ways in which that war diverted western (European and American) histories and cultures to explore Modernism.   We are fortunate this semester that the New York Historical Society has assembled a portion of the famous Armory Show of 1913 which shocked Americans with its graphic rejection of Victorian verities.
 


MALS 71000 – Forms of Life Writing: Notebooks and Other Irregular Accountings
Tuesday, 2:00-4:00 pm, 3 credits, Prof. Wayne Koestenbaum [23341] Room 5382


In this seminar, we will read autobiographical texts that work irregularly, spasmodically, haphazardly, with interruptions, in fragments, in abject states of disassembly, obeying the periodicities of the day, the commute, the mental lapse, the aside, the list, the epistle-without-addressee.  These literary adventures—or accidents—go by many names:  notebook, journal, pillow book, essay, treatise, poem, letter.  We might hesitate to call them anything in particular;  we might, instead, apologize for their existence, and wish they would shape up.  Or we might feel loyalty toward these wayward creatures;  without wishing to corral them into a category, we might believe that they deserve congregation, that they have chartable and treasurable resemblances, and that they are inspiring models for contemporary composition.
 
Our readings may include The Pillow Book of Sei Shonagon, Emily Dickinson’s “Master Letters,” Henry David Thoreau’s Journals (online transcripts of his manuscripts), Franz Kafka’s The Blue Octavo Notebooks, Ludwig Wittgenstein’s Culture and Value, Francis Ponge’s Soap, Georges Perec’s La Boutique Obscure:  124 Dreams, Susan Sontag’s Reborn:  Journals & Notebooks, 1947-1963, Toi Derricotte’s The Black Notebooks, Hervé Guibert’s Mausoleum of Lovers:  Journals 1976-1991, Hilton Als’s The Women, Aaron Kunin’s Grace Period:  Notebooks, 1998-2007, Matias Viegener’s 2500 Random Things About Me Too, Claudia Rankine’s Don’t Let Me Be Lonely, Maggie Nelson’s Bluets, Eve Kosofsky Sedgwick’s A Dialogue on Love, Marie Chaix’s The Summer of the Elder Tree, and Beatriz Preciado’s Testo Junkie:  Sex, Drugs, and Biopolitics in the Pharmacopornographic Era.
 
In lieu of a final paper, students will write each week a two-page essay in response to specific assignments.  These essays may exercise the freedom to be autobiographical and to engage in irregular accounting.

 
MALS 71200 Fashion Film: The Cultures of Fashion
Thursday, 6:30-8:30 pm, 3 credits, Prof.  Eugenia Paulicelli [23342] Room 3207
Cross-listed with IDS 81610, WSCP 81000, & FSCP 81000


As industries and cultural manifestations, fashion and film share many qualities and have always influenced each other in a number of ways. Both are spectacle and performance; both are bound up with emotions, with desire, with modernity and processes of modernization. At the level of representation, film and fashion share the creation of a culture and a discourse, the practice of desire and an endless process of emulation, imitation, and consumption choices. Or as a critic has put it: “Film, in this guise of dress, of appearance and artifice, is an extension of the fashion industry.”


In the course, while focusing on the present and particularly on the new phenomenon of the “Fashion Film,” my aim is also to offer historical and critical frameworks with which to think such experiments and investigate new ways of understanding the relationship between art/commerce; industry/culture; body/identity; time/space; image/imagining and, in Buck-Morss’s words, the aesthetic/anaesthetic.

One of the most striking changes resulting from the shift towards the digital has been the ubiquity of fashion-as-a moving image. The course will explore how this “new” form of fashion film, which has recently exploded thanks to the advancements in digital technology, has a long history that can be traced back to the emergence of cinema in the late 19th century. The course will explore not only this new cinematic form in multiple contexts and frameworks, which connect it to photography, the fashion show, movement, time, and branding, but will also explore the politics of experimental forms of communication, aesthetics, cultures and identity.

Authors and filmmakers to be studied include:  Walter Benjamin, Gilles Deleuze, Michelangelo Antonioni, Laura Mulvey, Lev Manovich, Wong Kar-wai, Mary Ann Doane, Jonathan Crary, Lucrecia Martel, Federico Fellini, Jessica Mitrani, Luca Guadagnino, William Klein, Caroline Evans, Tom Gunning, Thomas Elsaesser, and scholars who have written on the new genre of the Fashion Film such as Marketa Uhlirova, Natalie Khan, Nick Reese-Roberts and others.

Students in the class will be asked to collect data on fashion films and create a platform to be used in the classroom, but also made available to other students and scholars interested in fashion, film and the arts both within and outside the GC.
Students who have an interest in developing their own fashion film are also very welcome.

 
MALS 71800 – Cross-Cultural and Multi-Disciplinary Perspectives on Work and Family Issues
Tuesday, 6:30-8:30 pm, 3 credits, Prof. Karen Lyness [23344] Room 7395


Cross-Cultural and Multi-Disciplinary Perspectives on Work-Family Issues is one of two core courses in the Psychology of Work and Family MALS track, and both are cross-listed as doctoral psychology courses. (The first course focuses on the Psychology of Work and Family, i.e., understanding work and family issues for individuals, couples, and families, as well as employers’ programs and U.S. laws that are relevant to these issues.)  This second course is designed to broaden students’ perspectives and understanding of contemporary work and family issues from a global perspective. Please note that the two courses may be taken in either order.

This course, Cross-Cultural and Multi-Disciplinary Perspectives on Work-Family Issues, will cover important aspects of national context – such as cultural values, policies, demography, and socioeconomic characteristics – that are critical for understanding work and family issues, and how individual experiences might differ across countries or cultures. In addition, the course is designed to introduce students to multi-disciplinary approaches to work and family issues, such as psychology, family studies, sociology, anthropology, political science, law, and economics, each of which offers a unique perspective. The course will include examples of relevant theories, research findings, and research methodologies associated with each discipline, as well as cross-national research, to equip students to pursue their individual interests related to work and family.

 
MALS 73200 – American Social Institutions
Tuesday, 6:30-8:30 pm, 3 credits, Prof. Duncan Faherty [23346] Room 3212
Cross listed with ASCP 81000


Russ Castronovo and Susan Gillman begin the introduction to their recent collection States of Emergency: The Object of American Studies (2009), with a deceptively straightforward question: “What is the object of American studies?” They continue by unpacking the ramifications of that question, in particular by noting its imbrication in two corollary questions: “What does ‘American studies’ study, and what does it want?” The object of this course is to explore these questions by considering the histories, theories, genealogies, and practices of American studies from its inception as an academic discipline to the present. In other words, we will consider how in the span of about sixty years – using the first publication of American Quarterly in 1949 as a marker of discernable communal birth – American studies transformed from a movement into an institution (an institution marked by one of the largest annual academic conferences in the United States). As we undertake these questions, we will also consider if “American” Studies remains a viable field of study. Or to put it another way, is such a designation over-privileging the idea of the nation? Is such a focus being replaced by such concepts as “the Circum-Atlantic” or “Cosmopolitanism” or “Globalization”? What are the gains and losses of such movements? The collection edited by Castronovo and Gillman is just the latest iteration of an attempt to recalibrate the field of American studies, a struggle that is almost as old as the field itself. For all of its centrality, American studies remains an anomaly in the academy - as a program and not a department it resides somewhere between (or, perhaps, outside) normative disciplinary boundaries. Across the length of the semester we will consider the complexity inherent in this hybridity, as we trace the influence of both seminal and emerging work in American studies. We will also consider the different meanings that American studies has (and has had) for different disciplines, and attempt to take stock of its current position in the academy and in our own work.

 
MALS 73500 – Africana Studies: Global Perspectives -- The Digital Carribean
Wednesday, 4:15-6:15 pm, 3 credits, Prof. Kelly Josephs [23942] Room 8203
Cross listed with ASCP 81500

In its rhizomatic structure and development, the internet is analogous to Caribbean culture: born out of disparate pieces and peoples; always already predicated on an elsewhere as home or authority; always already working to ignore geography and physical space as barriers to connection. This seminar probes the various epistemological, political and strategic ways in which cyberspace intersects with the formation and conceptualization of the Caribbean.

What constitutes the Caribbean is, of course, not a new question. As we explore the digital media productions that continue to reconfigure the social and geographic contours of the region, we will build on familiar debates surrounding study of the Caribbean. Issues to be addressed include: Geography: What challenge, if any, might cyberspace pose to our geo-centered conceptualization of Caribbean cultures? Community: In what ways do online spaces that claim (or are claimed by) the Caribbean struggle, together or individually, to articulate a cohesive culture? Archival history and voice: Does the ephemerality of online life and the economics of access endanger or enable what we may call the Caribbean subject?  Identity and representation:  What indeed comprises “the Caribbean subject”? How do questions of authenticity get deployed in crucial moments of tension involving diasporic subjects, particularly in the sped-up world of digital production? These questions, framed by Caribbean Studies, will be our primary focus, but they will be articulated with questions and theories from new digital media studies about knowledge production and circulation, digital boundaries and the democracy of access and usage.

In addition to examining primary digital sources, we will read articles from writers including: Stuart Hall, Kamau Brathwaite, Edouard Glissant, Gilles Deleuze and Félix Guattari, David Scott, Annie Paul, Curwen Best, Lisa Paravisini-Gebert, Anna Everett, Karim H. Karim, Lisa Makamura, Wendy Hui Kyong Chun, Jennifer Brinkerhoff and others. Requirements: Oral presentations, blog and in-class participation, and a term paper (15-20 pages).


 
MALS 74400 – Islamic Art and Architecture
R, 6:30-8:30 p.m., Rm. TBA, 3 credits, Prof. Macaulay Lewis [23348] Room 3212
Cross listed with ART 74000 & MES 78000


Since the emergence of Islam in seventh century Arabia, the world of Islam, which spans continents and centuries, has produced art and architecture that is as remarkable as it is diverse. However, what is Islamic art is a more complex question. Unlike Christian, Jewish or Buddhist art, the art produced in the lands where Islam was a dominant religious, political or cultural force is commonly referred to as “Islamic art”. The goal of this course is to introduce students to the art and architecture of the Islamic world from its earliest monuments, such as the Dome of the Rock, to those of the early modern Islamic Empires: the Ottomans, Safavids and Mughals. The course introduces the major theoretical and methodological issues involved in the study of Islamic art and architecture and focuses on the development of critical visual skills. This course will present an overview of a period or dynasty in Islamic art, and then focus on an extended discussion of a monument or object in each class. Rather than write a traditional final research paper for this course, students will be required to create and complete a digital project. This digital project will be done in conjunction with the Brooklyn Museum of Art and Smarthistory.org, the art history part of the Khan Academy. The final project will focus on objects in the collection of the Brooklyn Museum of Art which are being prepared for re-installation. The class will also visit the Islamic Galleries in the Metropolitan Museum of Art.

 
MALS 75500 – Digital Humanities: Methods and Practices
Monday, 4:15-6:15 pm, 3 credits, Prof. Matthew Gold [23349] Room 6495



MALS 75700 -- Field Course in Island Long Term Human Ecodynamics
Thursday, 4:15-6:15, 3 credits, Prof. Rebecca Boger [23394] Room 3209


This course explores sustainability science and education using both a local place-based approach and a global context, focusing on climate change, water resources, and food security using geospatial technologies - GIS (geographic information systems), remote sensing, and GPS (global positioning systems). Students will access and useWeb-based databases and other resources for their assignments and projects. The course will be online and include participants from rural Nebraska, urban New York City, and Barbuda, West Indies. Through online technologies, students will participate in a vibrant dialogue that explores the many dimensions of sustainability in very different contexts around the world.

 
MALS 77100 – Aesthetics of Film
Wednesday, 4:15-8:15, 3 credits, Prof. Edward Miller [23351] Room C419
Cross listed with FSCP 81000, THEA 71400, & ART 79400


This course argues that a crucial aspect of the cinematic enterprise is the depiction of the filmmaking environment itself through the "meta-film." Using this emphasis as an entry into aesthetics, the course involves students in graduate-level film discourse by providing a thorough understanding of the concepts that are needed to perform a detailed formal analysis.

The course's primary text is the ninth edition of Bordwell and Thompson's Film Art (2010) and the book is used to examine such key topics as narrative and nonnarrative forms, mise-en-scene, composition, cinematography, camera movement, set design/location, color, duration, editing, and genre. As the soundtrack is a particular focus in this course—and arguably especially important to the meta-film--we supplement Film Art with readings by Michel Chion, Amy Herzog, and Rick Altman. In order to understand the meta-film and its aesthetics we read key sections of Robert Stam's Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard (1992), Christopher Ames' Movies about Movies: Hollywood Revisited (1997), Nöth & Bishara's Self-Reference in the Media (2007), John Thornton Caldwell's Production Culture: Industrial Reflexivity and Critical Practice in Film & Television (2008), and Craig Hight’s Television Mockumentary: Reflexivity, Satire and a Call to Play (2011). We also read “classic” essays on metafiction by Patricia Waugh and Linda Hutcheon in order to make distinctions between self-referentiality and reflexivity in film.
 
As part of the course we construct a cross-genre database of films that portray the filmmaking terrain itself. Thus we watch Thanhouser and Marston's Evidence of the Film (1913), Charlie Chaplin's The Masquerader (1914), Dziga Vertov's Man with a Movie Camera (1929), Edward F. Cline’s Never Give a Sucker an Even Break (1941) Billy Wilder's Sunset Boulevard (1950), Donen and Kelly's Singing in the Rain (1952), Jean Rouch's Chronicle of a Summer (1960), Michael Powell's Peeping Tom (1960), Federico Fellini's 8½ (1963), Jean-Luc Godard's Contempt (1963), François Truffaut's Day for Night (1973), Robert Altman's The Player (1991), David Lynch's Inland Empire (2006), Michel Gondry's Be Kind Rewind (2008), and Charlie Kaufman's Synecdoche, New York (2008).

In the final sessions we examine the distinctive aesthetics of current meta-television in shows like 30 Rock and Community in order to make connections across media.
Course Requirements: 1. Weekly response paper: student responds to the film and the ideas presented in the reading and session.  2. Presentation of a reading.  3. Paper proposal, due 10th week: written like an abstract for a conference paper, 500 words. Also presented in class. Sending out this abstract to a conference is strongly recommended. 4. Research paper: Due one week after final day of class, at least 12 pages. This paper is theoretically informed and reflects the content of the course, involving a close formal reading of a meta-film.

 
MALS 77300 – History of Cinema II – Film Noir in Context: From Expressionism to Neo-Noir Tuesday, 2:00-5:30pm, 3 credits, Prof. Morris Dickstein [23848] Rm. C419
Cross listed with THEA 81500, FSCP 81000, & ART 89600


This course will explore the style, sensibility, and historical context of film noir. After tracing its origins in German expressionism, French “poetic realism,” American crime movies, the hard-boiled fiction of Dashiell Hammett and James M. Cain, and the cinematography and narrative structure of Citizen Kane, we will examine some of the key films noirs of the period between John Huston’s The Maltese Falcon of 1941 and Welles’s Touch of Evil in 1958. These will include such works as Double Indemnity, Mildred Pierce, Out of the Past, Detour, Shadow of a Doubt, Pickup on South Street, In a Lonely Place, Gun Crazy, The Killers, DOA, Ace in the Hole, The Big Heat, and Kiss Me Deadly. We’ll explore the visual style of film noir, the different studio approaches to noir, importance of the urban setting, the portrayal of women as lure, trophy, and betrayer, and the decisive social impact or World War II and the cold war. We’ll also examine the role played by French critics in defining and revaluing this style, and touch upon its influence on French directors like Melville (Bob le Flambeur, Second Breath), Truffaut (Shoot the Piano Player), and Chabrol (La Femme Infidele, Le Boucher). Finally, we’ll look at the post-1970s noir revival in America in such films as Chinatown, Blade Runner, Body Heat, and Red Rock West. Readings will include materials on the historical background of this style, key critical and theoretical texts on film noir by Paul Schrader, Carlos Clarens, James Naremore, Eddie Muller, Alain Silver and others, and the work of some hard-boiled fiction by writers such as Dashiell Hammett, James M. Cain, David Goodis, and Patricia Highsmith.  Students will be expected to do an oral report and a 15-page term research paper, as well as to study the assigned films both in and out of class.


MALS 77500 -  Global Cities
Wednesday, 2:00-4:00pm, 3 credits, Prof. Elena Vesselinov [24036] Room 3306

Cross listed with SOC 83000 - Comparative Urbanization
 
The course aims to introduce graduate students to the complexity of urbanization in historical and comparative contexts. From Rome to Jerusalem, from Manchester to Beirut, from Mecca to Berlin, from Paris to New York, the course is a survey of historical and contemporary religious, territorial, political, economic and spatial divisions. Thus, throughout this introduction to comparative urbanization, the course will focus on urban inequality in cities around the world and is organized in five sections.

The first section, Comparative-Historical Perspectives in the Study of Cities, focuses on historical and theoretical evidence of city formation. The readings in this section examine the origins of cities and the origins of inequality, particularly in Middle Eastern and European cities. The second section then focuses on Middle Eastern cities in the context of religion and the contemporary uprisings, termed “Arab Spring.” The readings in the third section contemplate the contemporary causes and consequences of social and spatial inequality in Paris and Berlin. The fourth section will take the students to Asia, and specifically to Chinese cities, where issues of population and economic growth will be explored. The fifth section of the course will take us from the Asian financial crisis to the continuous Great Recession and its impact on global cities.

The class will operate as a seminar in which every reading is introduced by one student (responsible also for 1-2 pages of written summary to be distributed in class). There will be two take home essays assigned during the semester, corresponding to major sections of the course. In addition, each student will prepare a final paper on comparative urban research based on scholarly research published in top sociological journals (also books). The final grade will be calculated as follows: class discussion - 20 percent; essays - 25 percent each; paper - 30 percent.



MALS 78200 – The Politics of Contemporary Urban Education
Monday, 4:15-6:15 pm, 3 credits, Prof. Joel Spring [23353] Room 3306

Cross listed with U ED 75200
Globalization of Education: Power, Language, and Culture

Today education is globalized with most nations sharing similar education structures and goals that link schooling to economic development. The Organization for Economic Cooperation and Development (OECD is now referred to as the “World Ministry of Education” because of the influence of its international tests (PISA and TIMSS) and its networking with the World Economic Forum, the World Bank, the United Nations, national governments, and global educational corporations.
 
Corporations are important players in the globalization process. Of particular importance is the global reach of publishers and test makers, such as Pearson and the Educational Testing Services, hardware and software makers, like Apple, NewsCorp, Samsung, and Microsoft, and tutoring services, such as Kumon and Kaplan. In addition, some universities are globalized with branch campuses in many countries and through the attraction of international students.
 
Educational globalization reflects two important concepts: the “economization of education” and the “audit state.” The economization of education refers to schooling being linked to economic and income growth in contrast to traditional religious and cultural goals. The value of education is analyzed through the lenses of economists. The ‘audit state’ continually monitors performance, including educational performance, by standardized assessments.
Educational globalization raises important issues to be discussed in the seminar.
Who or what organizations exert power over this globalized educational system? In this context, we will discuss the major players, including the World Economic Forum, OECD, the United Nations, the World Bank and others.
What happens to local cultures and languages in this process of globalization? Will globalization create a world culture and language at the expense of local languages and cultures?
Will English or Mandarin become the world language?
Will graduates of this globalized system struggle for social justice or be compliant workers for global corporations?
Students will choose a topic for a presentation and essay that reflects their academic interests.
 
 
MALS 79600 – Thesis Workshop
Tuesday, 6:30-8:30 pm, 1 credit, Prof. Shifra Sharlin [23355] Room 3308


This is a course for people who are seriously engaged in a thesis or other writing project, such as, conference presentations, articles, or submissions to the MALS online journal.  This course addresses the wide variety of issues that face students who are focused on taking their writing to this next, more professional, level.  There will be several weeks of discussion and readings on writing strategies both practical and conceptual.  It is possible that some class time will be dedicated to getting some writing done.  Most of the semester will be devoted to workshopping.  Enroll in the course if you expect to have writing to share during the semester and are prepared to read and discuss other students’ writing.