B E T W E E N
t h e
L I N E S
A Publication of UC Irvine School of Humanities • Winter 2013
By Virginia Jackson
We all seem to agree that poetry is a good thing for the American public. Most of us also agree that the American public does not care very much about poetry-if caring means reading a lot of it or buying it or sharing it with others. How did both of these things come to be true at the same time? If we really think that poetry is good for us, then why don’t we like it? Of course, the answer to that question is tricky. Most of you have already silently protested, “But I do like it!” Whether you read it or not is another question. The idea of poetry and the practice of reading poems have become two different things, and it is worth asking why this is so. Twenty years ago, Dana Gioia (later chair of the NEA) wrote that “the situation has become a paradox, a Zen riddle of cultural sociology. Over the past half century, as American poetry’s specialist audience has steadily expanded, its general readership has declined.” Gioia
blames the university—the very institution that has protected and proliferated poetry during the decline of its publicly traded stock—for “unwittingly contributing to its disappearance from public view.” Gioia recommends that we get poetry out of the classroom and onto the radio and internet, out into mass media and public performance. Several public and private national organizations have followed Gioia’s lead. The National Endowment for the Arts, the National Endowment for the Humanities, the Library of Congress, and the Poetry Foundation have all launched highly capitalized projects aimed at bringing poetry back into American public life. In the Favorite Poems Project http:// www.favoritepoem.org/project.html, Robert Pinsky, former Poet Laureate, invited ordinary people to submit their favorite poems and a personal story about the meaning of that poem for that person. According to Pinsky and the Library of Congress-affiliated project,
the enormous response to this invitation “demonstrates the significance of poetry to contemporary Americans.” When Americans do read poems, apparently they like poetry very much. But how to get enough people to read enough poems to prove this point? Is Gioia right that poetry has become a subculture that has retreated from a general audience, or is Pinsky right that all kinds of people can respond to all kinds of poems if we just give them the chance to do so? Perhaps the real question is why we think Americans should read poetry in the first place. Quite often, when these contemporary arguments are made about the use and abuse of poetry in American public life, phrases like Gioia’s “over the past half century” tend to pop up. What happened in the twentieth century that made poetry disappear? In
the nineteenth century, so the story goes, poetry was part and parcel of American popular culture. When Henry Wadsworth Longfellow published The Song of Hiawatha in 1855, it was a national best-seller. As Gioia has written, in order to imagine the popularity of a poet like Longfellow, we need to imagine something closer to the audience for the Beatles or Hollywood films, since his poems “were popular works of art enjoyed by huge, diverse audiences that crossed all social classes and age groups.” Was the nineteenth century really a golden age for poetry in America? If so, what happened in the twentieth century to tarnish poetry’s public appeal? Did the printed page simply lose out to sound recording, film, and television? Did poets turn jaded and ironic, and lose those diverse audiences that had come to trust them? You can imagine that there are as many answers to these questions as there are views of American cultural history
...in order to imagine the popularity of a poet like Longfellow, we need to imagine something closer to the audience for the Beatles or Hollywood films, since his poems “were popular works of art enjoyed by huge, diverse audiences that crossed all social classes and age groups.”
after 1900. Those views are certainly relevant, but we might also want to think about the widening gap between the idea of poetry and the practice of reading poems when we think about the history of poetry in American public life. Here’s an interesting example of the way that gap makes it difficult for us to think about poetry in public these days at the same time that it makes such thinking inevitable. Here is the side of a box of Celestial Seasonings brand peppermint tea, which you may have encountered and may even have read:
Celestial Seasonings box image courtesty of the Maine Historical Society.
The herbal tea corporation apparently thought that we would be more likely to read a poem called “Life’s Purpose” while sipping—or buying—our tea, than we would be to read a poem called “A Psalm of Life,” the actual title of the poem since it became a popular favorite in 1839. In 1839, the poem was such a success because in it Longfellow framed a generic alternative to a popular verse genre. The “mournful numbers” of the 1640 Bay Psalm Book, for example, were strictly 8/6 quatrains; Longfellow’s numbers are the only slightly different 8/7 quatrains, extending the hymnal pattern by just one beat in the alternating trimeter lines. The effect of that single beat is to modernize traditional American Professor of German Anke Biendarra psalm meter, thus literalizing in the structure of the poem the injunction of the sixth and seventh stanzas: Trust no Future, howe’er pleasant! Let the dead Past bury its dead! Act,--act in the living Present! Heart within, and God o’erhead! Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sands of time. The call to secular action fictively addressed in the poem (though not on the tea box) to “the Psalmist” was directly addressed to readers who had learned to read and write by imitating and translating psalms. By reading the modern verse genre of “A Psalm of Life” rather than reading the common verse genres of popular psalms, Longfellow’s American public was invited to imagine itself on the brink of a new and giddy literary practice that would transform everyday life—or would make everyday life make history. At the same time, the modern literary genre of Longfellow’s “Psalm” reassured its public that it would do what psalms do, providing advice for living that could be taken away from its context and made portable and adaptable. In fact, Longfellow’s “Psalm” takes the portability of its content as its subject, encouraging its readers to “be up and doing/ With a heart for any fate”—quite literally any fate, since what readers are encouraged to do is left open, a blank order the reader is invited to fill. If psalms were used for many different purposes in early America, Longfellow’s “Psalm” was made for all possible purposes, since it could be adapted to “any fate” at will. Longfellow’s first hit single was not only framed as a secular alternative to devotional reading, but was itself the best possible example of such reading, since the reader could choose what sort of devotion to pursue.
No wonder it is the most popular poem not translated from the Bible ever circulated in English. We might think of the example of Longfellow’s poem on the tea box as an answer in miniature to the question of poetry’s Virginia Jackson importance to American public life. There is simply no way for us to imitate nineteenth-century reading practices in the hope of making a poem like “A Psalm of Life” important to us now. Even renamed and available on grocery store shelves across the country, the poem will not do what it did for readers in 1839. The tea company does appear to have thought that a poem on the box might be as salutary for you as herbal tea, but exactly what it is supposed to do for you remains an open question (especially once the title has been changed to make the poem even more secular than the original). As the stipulative verse genres that had particular cultural functions have waned, so their purchase on the cultural imagination has waned. What is left, like footprints on the sands of time, are vague ideas that poetry should have a cultural purpose. By thinking through old purposes—and especially by thinking through their distance from how we read and think about poetry these days—perhaps we can begin to do more than repurpose those vague ideas. By looking back, we might begin to look beyond the current national nostalgia for a popular poetry that would be everyone’s cup of tea, no matter what you believe or what flavor you prefer. Virginia Jackson is Chair in Rhetoric and Communication in the Department of English. Her first book, Dickinson’s Misery: A Theory of Lyric Reading, won the MLA Prize for a First Book in 2005 and the Christian Gauss Prize from Phi Beta Kappa in 2006. With Yopie Prins (University of Michigan) she has edited The Lyric Theory Reader, out next year. Her new book, Before Modernism: Nineteenth-Century American Poetry in Public, is forthcoming.
KOREAN POP CULTURE CONFERENCE Contributed by the Department of East Asian Languages & Literatures
The 3rd edition of the Korean Popular Culture Conference at UC Irvine was held on September 20-22, 2012. This year’s topic “Political/ Popular: Intersection of Democracy and Popular/ Public Culture in South Korea,” focused on the political nuances and effect of Korean popular culture over the past 30 years. Seventeen papers were presented by scholars working on varied aspects of Korean culture. Additionally, the keynote speech by Professor Kim Uchang from Ewha University elaborated on the philological meeting point between politics and culture that cited his reflections on Korean democratization. Uchang’s theoretical discussion followed the screening of the feature-length independent animation, King of Pigs, with Director Yeon Sang-ho and Producer Cho Young-kag. set the tone of the conference that probed the problematic binaries between political protest and popular entertainment, between autonomous art and politically engaged art, and between subversion and cooptation. The opening celebration on September 20 was attended by Dean Joseph Lewis from the Claire Trevor School of the Arts and former Interim Dean James Steintrager from the School of Humanities. Dean Lewis presided over “Being Political Popular: South Korean Art at the Intersection of Popular Culture and Democracy, 1980-2010” an exhibition at the University Art Gallery. “Being Political Popular,”
was attended by over hundred guests and was the first group exhibition introducing the wide-ranging work of South Korean political art to an American audience. Presented as an exhibit show to coincide with the conference, it was organized by Seoul-based curator Sohl Lee and showcased 17 artists and art collectives and more than 40 works of art. Though the conference was primarily attended by the conference participants—20 paper presenters, two co-organizers (Kyung Hyun Kim of East Asian Languages & Literatures, UCI and David E. James of School of Cinematic Arts, USC), and seven discussants, it also sparked great interest from the broader community keeping the responses extraordinarily animated. Co-sponsored by Academy of Korean Studies and Arts Council, Korea, and hosted by the East Asian Languages & Literatures, was well-represented by two former Ph.D. students, Hyun Seon Park and Michelle Cho, who presented papers on Korean film and Korean television respectively. Their talks on horror films such as Park Chan-wook’s Thirst and television drama Coffee Prince, explored the intersection between the political and the popular. The lively discussion and community interest in the conference and exhibit confirmed the relevance of Korean popular culture in Southern California and on the UCI campus.
Examples of works from the exhibit Political Popular: South Korean Art at the Intersection of Popular Culture and Democracy, 1980-2010.
A Glimpse of Sylvia Reines
By Alisa Reines Cowden - September 2007
I am most honored and pleased to join UC Irvine as your new Dean for the School of Humanities. For decades now, UCI has been a primary international destination for the humanities, attracting top faculty and students to the most vibrant intellectual community on the American West Coast. I have often enjoyed and appreciated the excitement of Irvine humanities through many visits here since the early 1980’s. I remained, then and today, ever amazed by the passion of intellectual engagement, the inspirational levels of academic achievement, and the relentless capacity to chart new directions and reset the boundaries for the enterprise we call the humanities. To the extent that the humanities, true to the name, encompass everything human beings think and do (including thinking what lies beyond the human), our school locates itself at and as the fundamental core of the university. Literally flanked by the natural and social sciences, we bisect the line between engineering and the arts while offering the best (career) paths to law and medicine. Not only do we engage the totality of the university within the critical, cultural and historical axes of our research, but our teaching and scholarship also urges the unending task to better who we are -individually, collectively, institutionally. Indeed, this is what the comparative form of the expression studi humaniores implies. However we define betterment, it most certainly cannot be limited to mere fiscal and technological improvement. Rather, the contemporary buzz of terms like “innovation” and
“entrepreneurship” mean little in the absence of that fearless soul-searching the humanities prescibe, so that we can better understand who we are, how we came to be who we are, and the as yet unimagined ways we might be tomorrow. That is the task of the humanities, that is the task of the university, that is our task. Sincerely,
Georges Van Den Abbeele , Dean
G e t t o k n o w. . . DE A N G E ORG E S VA N DE N A B B E E L E Dr. Van Den Abbeele joins UC Irvine from Boston’s Northeastern University, where he was founding dean of the College of Social Sciences & Humanities and a professor of English as well as of Languages, Literatures & Cultures. In addition to setting in place the college’s basic staff organization, infrastructure and governance procedures, he fostered new initiatives in digital humanities and computational social sciences, international studies, and sustainable urban systems. Prior to joining Northeastern University, he served in a number of important positions at our sister UC campuses. In 2006, he was appointed dean of humanities at UC Santa Cruz. In this role, he established the Institute for Humanities Research, created the major in Jewish Studies, raised endowed chairs in Ethics and in Sikh Studies, and supported initiatives in digital humanities, Mediterranean studies and the study of the ancient world. At UC Davis, he directed the Davis Humanities Institute from 1996–2006 and chaired the Department of French and Italian from 1997–2001. He holds a B.A. from Reed College and a Ph.D. in romance studies from Cornell University. A scholar of French and European philosophical literature, Dr. Van Den Abbeele was elected to the European Academy of Sciences in 2008, and that same year received its prestigious Blaise Pascal Medal in Social Science. His research interests include travel narratives, the history of cartography and tourism/migration studies; critical theory and aesthetics; and humanities and public policy.
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BOOKSHELF In the House of the Interpreter, from Distinguished Professor of English and Comparative Literature, Ngugi wa Thiong’o covers his experience at boarding school in British-ruled Kenya during the Mau Mau Uprising. The follow-up to Dreams in a Time of War, this fascinating memoir charts the formative experiences of a significant voice in international literature, and stands as a record of the struggles of a nation to free itself. In Manifest Injustice, Barry Siegel, a Pulitzer Prize–winning journalist and chair of UCI’s Literary Journalism program, recounts the dramatic saga of Bill Macumber, imprisoned for thirty-eight years for a double homicide he denies committing. Macumber’s story illuminates startling, upsetting truths about our justice system, and introduces readers to the generations of dedicated lawyers who never stopped working on his behalf. With precise journalistic detail, intimate access and masterly storytelling, Barry Siegel will change your understanding of American jurisprudence, police procedure, and what constitutes justice in our country today. Haunted Histories: Creepy Castles, Dark Dungeons, and Powerful Palaces by history alum J.H. Everett ’09, is chockfull of details that kids will find intriguing--dungeon life for prisoners, methods of torture, and even the most popular methods of poisoning enemies.Guided by tween “ghostorian” Virgil, readers will discover fascinating facts about calamitous events throughout history as they explore castles, palaces and dungeons and those infamous figures associated with each.
Six Questions about Don Heiney
Ann Heiney, wife of the late professor of writing & author (MacDonald Harris), in conversation with Humanities staff 1) Don’s book The Balloonist was recently reissued with a forward by Phillip Pullman. What was behind the reissue and what part did Phillip Pullman play in the process? Heiney: Although I had read reviews of Philip Pullman’s novels, and given some of them as Christmas presents, and been aware that he is an important figure in British literary circles, I became particularly interested in what he had to say when I saw an article by him in The Week in which he listed his favorite books. The Balloonist was included in that list, and he said that MacDonald Harris was “the best unknown writer of the last 50 years”. He had written an article for The Guardian in which he said more along this line. That essay had caught the attention of Robert Hyde, of the Galileo Publishing House, who wrote me asking to buy the right to publish a re-issue of The Balloonist.
2) The Carp Castle, will be published for the first time in October 2012. This was Don’s final novel before he passed away. Could you give us a little background on this story? What is this book about? Heiney: The Carp Castle concerns a charismatic spiritualist and her followers, drawn to her vision of a world more attractive than the one they live in, and involves a dirigible. Don researched the lives of Madame Blavatsky and Annie Besant, of the Theosophical Society, and other spiritual leaders. I’m not sure what it was that sparked this interest, but the Society’s presence in Pasadena, where Don grew up, may have been a factor. The biographical source for
dirigibles, which also play an important role in the novel, is clearer. From 1942 on there was the large presence of the Lighter Than Air Base close to where the Santa Ana Airport is now, an imposing sight for all with its two enormous blimp hangars but especially for a young aspiring writer. He was attracted to fine automobiles, balloons--as is shown in The Balloonist--early airplanes, as in Herma, mythological contraptions in Bullfire, and blimps in The Carp Castle, as well as machines in supporting roles in his other writing. 3) Don was one of the founders of UCI’s nationally acclaimed graduate program in writing. He was known as a professor who demanded excellence from his students. Former students like Michael Chabon and T. Jefferson Parker still sing his praises. What was it about him and the way he taught that brought out the best in his students? Heiney: His students would be better equipped to answer that question than I! As a teacher, Don demanded and respected hard work; respect that has been hard won is sweet. Although he was impatient with those he felt were failing to use the two years they had to their best advantage (Two years when what you were supposed to do was what you most wanted to do, to write!), he gave willingly of his time to those who were serious. He did not want students to write like himself, but each to write his best in his own voice. His goal for himself and for the students was not to make the most money but to write his personal best. 4) How did Don come up with the ideas for his novels? What was his creative process like? Heiney: Always a careful observer of what was going on around him, he took notes on what he saw and heard which he then typed up for future use; some of these he used in fleshing out characters in his work or expanded to create scenes. Incidents and personalities from his experiences in WWII, in which he served on an oil-refueling ship, triggered the background story in his second novel, Mortal Leap, and travels abroad introduced new locations and customs to pique his interest. As a Fulbright lecturer in Bologna and Venice, his imagination was captured by the gondola and he interviewed the makers of these beautiful boats, research which produced an article and the novel Pandora’s Galley. And as I said, the interest in dirigibles sparked by the Lighter Than Air Base was an important element in The Carp Castle. Whatever he might be doing, he kept with him a notebook, later a personal recorder, in which he would note incidents, insights
or changes in the work in progress to be added to the manuscript the next day or to explore at some later time. The advent of the word processor or computer did not tempt him to change his writing process; he clung to his Selectric typewriter, fearing that changing the process might change the style. Donald Heiney
5) In the mid-1960s Donald Heiney became one of the pioneer faculty of UC Irvine, while Macdonald Harris turned to writing novels. Why did Don decide to write under the pseudonym of MacDonald Harris? Did this dual persona allow him to compartmentalize his artistic side from his professorial side? Heiney: Don’s first publications were in magazines and in his own name. I remember celebrating the first story sold; that would have been 1947, I believe, and to Esquire. His first published novel was Private Demons in 1961, by which time he was MacDonald Harris. As you suggest, he adopted the pseudonym later to separate his academic career from his writing persona. Readers’ eyes do not light up when they see the author is a college professor. And in a job interview in the late 50’s in which he mentioned that as well as being a professor of comparative literature, he was also a published novelist, he was told that as long as that did not interfere with his work, there would be no objection. 6) It’s always interesting to learn the story behind an author’s nom de plume. Is there a story behind why he chose the name MacDonald Harris? Heiney: “MacDonald Harris” uses a family name and is unlikely to belong to another writer as well. He liked the sight and sound of it. For more information on Don Heiney/MacDonald Harris, visit www.physics.upenn.edu/~heiney/harris/index.html
S T U D E N T A WA R D S We are proud to acknowledge the recipients of this year’s named scholarships in the School of Humanities. UNDERGRADUATE AWARD
Ariel Miranda Caldwell Memorial Award Lily Grimes Arthur Marder Essay Prize Paige Caldwell Bret Baldwin Prize in Poetry Lily Grimes David Israelsky Award in English Lauren King Hannah J. Caldwell Student Award Parth Raval Hester A. Laddey Memorial Award Alexandra Lossada Howard Babb Memorial Essay Prize Thomas Franke Howard B. Lawson Memorial Scholarship Alexandra Lossada Humanities Dean’s Gateway Sanam Amini Jao Foundation Award in Asian Studies Tiffany Hamamoto Lindon Barrett Memorial Award Ashley Huges Marjorie G. Reday Scholarship in Art History Whitney Johnson Nira Kozak Roston, Daniel Ethan and Elena Suzanne Film Studies Award Yudho Aditya Nora Folkenflik Essay Prize in E28 Katie Kea Nora Folkenflik Essay Prize in Humanities Core Bo Lundqvist Samuel and Sara Ellen McCulloch Award in History Jannevince Bontog Quija Theodore Brunner and Luci Berkowitz Award in Classics Ashton Sanderson Nora Folkenflik Essay Prize Erin Hughes Nora Folkenflik Essay Prize in Humanities Core Eric Young Orange County Italian Cultural Association Award Anna Garac Samuel and Sara Ellen McCulloch Award in History Erik Kelly Theodore Brunner and Luci Berkowitz Scholarship in Classics Shaina Eser
Donor Virginia Laddey and Alexandra Lossada, recipient of the Hester A. Laddey Memorial Award
Arlene Cheng Fellowship in Creative Writing Lisa Douglas, Vinh-Paul Duy Ha, Rebecca Gray, Antoinette Kelly, John Kim, Abbie Leavens, Olga Moskvina, Zoe Vandeveer, Daniel Yu
Bea Baker Fellowship in History Kristina Shull Dorothy and Donald Strauss Dissertation Fellowship Michelle Chihara, Austin Ellis Elaine and Martin Weinberg Creative Writing Fellowship in Fiction Aaron Peters Gerard Award in Creative Writing Warren Fong Gerard Award in Visual Studies Benjamin Aaron Henfield Prize in Fiction Jonathan Keeperman Howard Babb Memorial Fellowship Edward Pinuelas Humanities Deanâ€™s Gateway Conrad Harter, Alexander Jabbari Irvine Museum Fellowship in Visual Studies Kayleigh Perkov Kavka Prize in Philosophy Ashley Dressel, Maura Priest Koehn Fellowship in Critical Theory Diana Leong LaVonne Smith Award for HOT Lance Langdon Lynn Garnier Memorial Award Aaron Peters MacDonald Harris Prize for Fiction Lisa Douglass Machette Foundation Award in Philosophy Daniel Pilchman Murray Krieger Fellowship in Literary Theory Nicole Barnes, Kurt Buhanan, Cecilia Joulain, Nicole LaBouff, Kurt MacMillan Nora Folkenflik Prize Erin Pearson Nora Folkenflik TA Award Brian Fonken Robin Shikiya Memorial Award in Visual Studies Sam Close, Christina Spiker School of Humanities Graduate Fellowship Shaina Trapedo Theodore Brunner and Luci Berkowitz Award in Classics Carly Maris Thomas and Elizabeth Tierney Scholarship Sharareh Frouzesh
Recipients of the Arlene Cheng Fellowship in Creative Writing with donor Jennifer Cheng (center). L to R: John Kim, Nicole Kelly, Zoe Vandeveer and Vinh-Paul Ha
HONOR ROLL OF DONORS We proudly recognize those individuals and companies who have generously supported the School of Humanities this past fiscal year (July ‘11 - June ‘12) * New Donor
$100,000 and above Joseph F. McCrindle Foundation Armine and Vahe Meghrouni $10,000-$99,999 American Association of Teachers of German, Inc. American Council of Learned Societies Shiva Bajpai* Albert & Elaine Borchard Foundation, Inc. Dharma Civilization Foundation* Irene Duell Farhang Foundation The Ford Foundation National Academy of Sciences* Orange County Armenian Professional Society* Roshan Cultural Heritage Institute Manohar Shinde* Taipei Economic & Cultural Office in LA The Te Pei Wong Survivor’s Trust Te Wong $2,500-$9,999 Armenian General Benevolent Union* Charles Barsam Luci Berkowitz Cheng Family Foundation* Lydia and Alishan Halebian The Irvine Museum James Irvine Swinden Sirvart and Garo Tertzakian $250-$2,499 Nannette and Robert Altevers, Jr. ‘75 Armenian Festival, Inc. Terez and Aram Bassenian Laura Blockhus ‘14* Ana Brophy ‘08* Mary and Richard Doebler ‘75 Jeanne Doig ‘83
Haleh Emrani Anne and Albert Encinias ‘72 Ruth and James Given Anna Gonosova Hyungmin Ha ‘10* Seda Yaghoubian and Vahag Hambarsumian Hitachi Chemical Research Center, Inc. David Israelsky ‘04 Kohar and Herair Jermakian* Kathy and Khoren Kassardjian* Diana and Fred Kong* Sara and Miles Logan ‘99 Napoleon Lustre ‘07* Magicbell Communications Inc.* Vehan and Krikor Mahdessian Peggy Maradudin ‘68 The Franklin J. Matchette Foundation Donald McLaurin ‘95 Sara and Samuel McCulloch Arpi and Viken Melkonian Jacqueline and John Miles Kendra Mirasol ‘88 Hasmik and George Mooradian Keith Nelson* Keyvan Safdari Kevin Simonsen ‘90* LaVonne and Brian Smith St. Mary Armenian Apostolic Church* Stanley Electric Shenghsiangsu Su ‘11* Marilyn and Thomas Sutton Hanriette and Arek Tatevossian Robert Teller Serge Tomassian Martha and Steven Topik Universal Business Corporation Vanguard Charitable Endowment Program* Anne Walthall Janet Hadley and H. Webb* Neal Williams, Jr. ‘76
Virginia and Antranik Zorayan Up to $250 Abbott Laboratories Fund* Karen Abel ‘82* Timothy Adams ‘08* Heidi Aharonian James Aichelman ‘98 Katrina Alarcon ‘10* Aldrich Bonnefin & Moore, PLC Ildiko and Jeffrey Allen ‘72 Angela Amador ‘11* Imelda Loya-Amador and Hector Amador ‘95 Michelle Anderson ‘96* The Armenian Relief Society* Anahid and Razmick Asadorian ‘04* Shawn Augsburger ‘05* Patricia August ‘71 Christie Bach ‘97 Miranda-Lin Bailey ‘01 Randy and Robert Baird* Gloria Baldwin Michael Barreto ‘09* Linda and George Bauer Jacob Beizer ‘09* Michael Bilach ‘74 Loren Blackwood ‘13* Janet and P. Blakely Roni Feinstein and Don Blaustein* Roberta and Barton Blinder* Anne and Alan Block Catherine Bowers ‘90 Andrew Braun ‘09* Sandra Loughlin-Burkhead and Daniel Burkhead* Wendy McQuillan and James Burry* Patricia ‘87 and Carl Busch Patricia Bush ‘92* Brian Byllesby ‘06* Lewis Cabrera ‘87* Herminia Cadenas ‘87 Amanda Carlisle ‘10* Ingela Edvinsson-Carter and Daniel Carter* Constance Chen ‘92 Yong Chen Athena Chow ‘09* Carol Burke and Jerome Christensen Margrette Chu ‘11*
Cathryn Collopy ‘96* Pamela Corante ‘88 Karen Cordova ‘75* Roberta Wue and Keith Corpus* Claudia and Keith Culling Lesley and James Danziger* Erika Lee Deru ‘92 Brian Eastman ‘10* Jane Hingert-Eiduson and Mark Eiduson ‘79 Marcia Engstrom* Denise and Paul Erwin ‘88 Susan and Norman Ewers* Arlene and Paul Flanagan* Theresa and Standish Fleming ‘76 Albert Fu ‘02 Karla Galdamez ‘01 Roberta Geier ‘83* Marie Ritzo and Norman Gleichman ‘76 Daisy and Christopher Golke ‘96 Aletha and Robert Green ‘74 John Gunnin* Raymond Han ‘03 Jinx ‘72 and William Hansen ‘69* Jamie and Jerome Harney ‘92 Deborah and Jeffrey Hause ‘84 David Hemphill* James Herbert Laura Herlacher ‘01 Susan Hernandez ‘90 Carole and Mark Hodnick ‘72 Linda Huba ‘86 Mary Humphreys ‘68 Tiffany Huynh ‘11* David Igler Irvine Yamaha Music Center* Jewish Community Foundation of Greater Long Beach & West Orange County* Colleen and Jeffery Johnson ‘72 Virginia and Sky Johnston ‘07* Rachel and Rabbi Drew Kaplan Bryan Kawahara ‘73 Bonnie Kent* Eugene Kessler ‘70* Sheila and Christopher King ‘83 Judy and Bryan Kleckner* Sandra and Vincent Komara ‘90 Virginia Laddey
Up to $250 (continued) Kathleen LaFetra ‘70 LASSCO Studio Di Mosaico* David Lee ‘10* Hyun Lee ‘07* Diane Olsen and David Lew ‘74 Julie Littman ‘06* Catherine Locke ‘73 Judith Conroy-Lomas and James Lomas III ‘83 Cristi Lopez ‘11* Michael Lopez ‘11* Lortie Community Property Trust* Susan and Warren Lortie* Michele Mage ‘98* Michael Mageean ‘96 Ann and Earl Maki ‘69 David Manlin ‘09 Nancy and Richard Martin ‘72 Shannon and Michael Martin ‘77 Julie McAlpine* Persis McCarley ‘71 Joanna McCoy ‘11* Joan and John McCue ‘68 Amanda McGowen ‘04* McKenna Family* Jene and Douglas Meece* Joelle Mintz ‘09* Laura Mitchell Lynn Mally and Robert Moeller Thomas Moore ‘78 Michael Morris Lynne Neagle ‘89* Sara and Robert Nealy ‘68 Christine Rostvold and Dennis Neff ‘73* Alice Neishi* Elizabeth Nguyen ‘97* Frederick Niditch ‘74 Joanne and Kurt Norlin ‘90* Eileen Nozaki* Eileen Nyberg ‘86 Spencer Olin Lisa and Robert Olsen ‘80 Rachel O’Toole Diane Page ‘67 Elizabeth Perl ‘93* Scott Pollard ‘83 Kenneth Pomeranz
Ann Posthill ‘80 Linda and James Prudhomme ‘92 Gwen Raaberg ‘78* Lois and Keith Raffel ‘71 Michelle and G. Raitt, Jr.* Alicia Ramirez ‘05 Lynne and Christopher Ramsey* Julia Reinhard Lupton and Kenneth Reinhard Janis and Robert Rizzuto ‘89 Emily Rosenberg Nira Kozak Roston Molly Rothenberg ‘85 Rose Saludo ‘10* Ann and Gerasimos Santas Kristen Schmidt ‘92 Stephanie Schreiner ‘90* Carol and Peter Seitz ‘87* Leatrice and Wayson Shikiya Lanell Shirai ‘70 Quisteen Shum ‘91 Marvin Smalling ‘71* Caroline McGuire and Jon Sprouse* Polly and Eric Stanbridge Sally Stein Gordon Sykes ‘99* Heidi Tinsman Signe Dunn and Brett Trauthen ‘76* Bryan Uyeda ‘09* Serena and W. Walker ‘09* Roger Walsh* Gayleen and Randall Warren ‘69 Sarah Watson ‘03 Wells Fargo Lindsey Westbrook ‘97 Cecile Whiting Meg and Michael Wiatt ‘72 Jonathan Wiener Julianne and Gary Wilder ‘72* Christina and Michael Williams ‘82 Kristie Williams ‘05 Elizabeth Wood ‘75 Karen and Steven Wylie ‘74 Darren Yomogida ‘07* Stephanie and Mark Zalin Adrineh Zarokian ‘02* Giamaica Zeidler ‘07*
In appreciation for your support of the School of Humanities This year, we’re embarking on the first-ever School of Humanities donor wall to honor those who have given a cumulative gift of $25,000 or more to any program in the history of the school. We are in the beginning stages of envisioning our donor wall, and would like to thank you for your continued support. Once the wall is complete, we will have a reception to recognize those who have made such a tremendous impact on our students, programs and faculty at this distinguished level. Please contact Kristie Williams, Associate Director of Development, at (949) 824 -1342 or email@example.com with any questions.
APRIL “Wikileaks beyond Julian Assange: The Politics and Aesthetics of Big Data Activism” Wednesday, April 3, 2013 - 3:00 p.m. Humanities Gateway 1030
A lecture by Geert Lovink, media theorist, internet critic author and research professor in the School for Communication and Media Design at the Amsterdam University of Applied Sciences.
“Pico Iyer, In Conversation with Amy Wilentz” Thursday, April 11, 2013 - 3:30 p.m. Humanities Gateway 1030
Join the Literary Journalism Program and the Department of History for a conversation between Time essayist Pico Iyer and literary journalism professor Amy Wilentz. Light refreshments, book sale and signing to follow. For more information, contact Patricia Pierson at firstname.lastname@example.org.
Humanities Author Series - Alex Espinoza
Thursday, April 11, 2013 - 6:00 p.m. Humanities Gateway 1010
Dates, times and locations subject to change. Please visit www.humanities.uci.edu for up-to-date information about Humanities events. Unless otherwise noted, all events are free and open to the public.
Please join us to hear Alex Espinoza read from his new book, The Five Acts of Diego Leon, a novel set in Hollywood’s Golden Age, as a gifted and determined young man leaves Mexico—and everything he’s ever known—to follow his dreams.
Judaism and Health
Humanities Author Series - William Kittredge
April 23, 2013 - 12:00 p.m. Humanities Gateway 1030
Please join us to hear William Kittredge read from his book, Hole in the Sky, a memoir that is at once auto-biography, family chronicle, and a Westerner’s settling of accounts with the land he grew up in. Kittredge will also share a new piece of short fiction, “Should Go Nicely.”
Humanities Author Series - Barry Siegel
Tuesday, February 26, 2013 - 6:00 p.m. Humanities Gateway 1030
MARCH “The Talmud in Ancient Iran. The Rabbis and Persian Priests in a Judicial Context” Monday, March 11 2013 - 4:00 p.m. Humanities Gateway 1010
A lecture by Jason Mokhtarian, assistant professor of Religious Studies and Jewish Studies at Indiana University, co-sponsored by the Persian Studies Center and the Program in Jewish Studies.
Judaism and Health is a one-day symposium that addresses Jewish approaches to bioethics and well-being. This event should be of broad interest to students, faculty and staff in the health sciences, philosophy, and religious studies as well as members of the general public.
Tuesday, April 30, 2013 - 6:00 p.m. Humanities Gateway 1030
Please join us to hear Barry Siegel, Pulitzer Prize–winning journalist and chair of the Literary Journalism Program, talk about his book Manifest Injustice, which recounts the dramatic saga of a man imprisoned for 38 years for a double homicide he denies committing and the dedicated lawyers who never stopped working on his behalf.
EPISTEMIC ENGINES: MEDIA TECHNOLOGY AND CULTURAL HISTORY Contributed by the Department of Film and Media Studies Film and Media Studies achieved department status a decade ago, and the faculty marked the occasion with a conference this past October, featuring presentations by colleagues from UC Irvine and its sister campuses. The talks considered the role of audiovisual media as “epistemic engines” throughout history: for Descartes and Locke it was the camera obscura, today it may be the computer - and along that trajectory there are many other devices for the storage, processing, and distribution of texts, sounds, and images. Lisa Parks (UCSB) emphasized the critical and very material media infrastructure in a close look at mail Jean-François Blanchette (UCLA) sorting, the power grid, and satellite access in Iran. Jean-François Blanchette (UCLA) countered the rhetoric of immaterial digital culture with a presentation on the history of materiality in computing. Ben Bratton (UCSD) interrogated the ways in which mobile access to mapping and location data is contesting geopolitical divisions. Geof Bowker (UCI) traced the academic article from its origins to its current status, as established modes of peer review have reached points of crisis, and scholars are once again speculating about information overload. In his introduction, department chair and conference moderator Peter Krapp focused on how film studies at UCI since before 1980 gradually expanded to include other audiovisual cultural expressions; milestones in this institutional history include the first FTE (1985), Program status (1988), the Visual Studies Doctoral Program (1998), and Department status as Film and Media Studies (2002). From the invention of writing to stenography and from the printing press to typewriters and copying machines, from idiosyncratic private collections to Ben Bratton (UCSD) computerized databases, from library catalogs on the backs of playing cards to office machines with punched cards, from silent film to cable TV and on to the irreducible difference networked computers make in human culture, media studies concerns ways of storing, processing, and transmitting information. Between storytelling, interactivity, and immersion, audiovisual media are not only representations of space but also spaces of representation; they are pivotal as cultural technologies that reflect how we view and construe our past, present, and future.
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