CHASS Study Abroad Program Review 2009-10
All Study Abroad programs that originate in CHASS or courses taught by CHASS faculty as part of other programs
must be reviewed by the CHASS International Programs Committee to assure they meet best practices guidelines.
The committee consists of representatives from all departments within the College and the CHASS Director of
International Programs. Their review goes to the CHASS Associate Dean for Academic Affairs for final approval.
This decision is then conveyed to the Study Abroad Office. All other dimensions of the proposed program are the
responsibility of the Study Abroad Office.
For new programs, a series of questions about the content of the program needs to be addressed. For returning
programs an email that includes any changes in content is all that is needed. Both should be submitted to Allen
Emory at al_emory@ncsu.edu by August 7, 2009, the Study Abroad deadline for program renewals. The IP
Committee will convene no later than the first week of classes to review these materials and notifications will be
issued immediately. This review will be completed quickly to allow full participation in the Fall Study Abroad
Fair on September 17, 2009.
To facilitate this process, new programs please respond to the questions below.
1.
What is the title/site of your proposed Study Abroad? Ireland Summer Abroad
2.
What course(s) will be taught?
A. Irish Renaissance Literature;
B. Irish Film and Literature.
3.
Please provide a syllabus and note the following guidelines.
(See Below.)

Your syllabus should be compliant with university guidelines http://www.ncsu.edu/policies/academic_affairs/courses_undergrad/REG02.20.7.php

Given the special nature of study abroad, be sure to document how you will take advantage of the
location. Refer to the following website to be sure you have counted contact hours correctly in
assigning credit hour value - http://www.ncsu.edu/uap/academicstandards/courses/crsguidetail.html#VI

While encouraged whenever possible, the statement on accommodations for disabilities does not apply
to overseas programs.

If this is a special topics course, be sure your department head and/or the relevant departmental
committee has approved it and that approval is available to both Study Abroad and the IP Committee.

If there is a field research or service component to the course, be sure it is clearly documented as to
how the hours and work will be counted toward the student’s final grade.
4.
If you are proposing a graduate course, are you a member of the NC State graduate faculty?
5.
Please include a brief biographical statement that highlights your relevant experience to this international
endeavor. This statement should be prepared in a way that it could be used for promotional materials in
CHASS.
If you have questions, please contact the Director of CHASS International Programs, Heidi Hobbs, at
heidi_hobbs@ncsu.edu. Please remember to submit your documents to al_emory@ncsu.edu. Thanks!
2
Eng 298: Irish Renaissance Literature
North Carolina State University
July 7 – July 26, 2008
3
Ireland Summer Study/Tour, July 2010
ENG 298: "Irish Renaissance Literature"
William P. Shaw, Ph. D.
wpshaw@ncsu.edu
Course Description:
This course will study the poetry of Yeats, Synge's Riders to the Sea and Playboy of the Western World, O'Casey's
Shadow of the Gunman, The Plough and the Stars, Juno and the Paycock, and Joyce's Dubliners and Portrait of the
Artist. This literature covers the period (1890-1940) during which Ireland re-established its post-Famine, neo-Celtic
cultural identity, struggled for, and achieved, its independence from Britain, lacerated itself in a traumatic civil war,
before eventually achieving a measure of stability. Classes will be held in classrooms at the University of Ireland,
Galway, at Trinity College, Dublin, University College Cork, and at various sites around Ireland relevant to the
literature under discussion – Yeats Country in and around Sligo, the Aran Islands of Synge, the Dublin of Yeats,
Joyce, and O’Casey
GER Student Learning Outcomes Correlated with GER Objectives and Means of Assessment:
Objective 1: Understand and engage in the human experience through the interpretation of literature (this objective
must be the central focus of each literature course).

Outcome: Students will be able to identify important critical issues at the center of each poem, short story,
novel, and play we study in order to discover the complexity of the human condition in all areas of
experience – e.g. love, hate, joy, sadness, family, justice, politics, heroism, cowardice, philosophy,
morality.
o

Assessment: A course journal will probe these issues from one class to the next and be turned in at
the end of the course. An 8 – 10 page thesis paper will also assess students’ insights.
Outcome: Students will understand how the form and content of the poetry, drama, and fiction in light of
prevailing cultural and political considerations.
o

Assessment: Reading the literature and visiting the historical landmarks that often inspired the
work of these politically charged authors..
Outcome: Students will understand why psychologically rich and complex authors and their work has
endured and inspired succeeding generations.
o Assessment: Class discussion, journal entries, and essay questions will deliberate on the manner in
which these authors and their characters face conflicts and articulate their world views.
Objective 2: Become aware of the act of interpretation itself as a critical form of knowing in the study of literature.


Outcome: Students will recognize that theatrical and film performances, like armchair academic reading,
require critical choices about the themes and characters in Shakespeare’s plays. And, as with all critical
analyses, some readings are good and some are not.
o Assessment: Class discussion and journal entries will analyze the important critical issues and
interpretive choices of each play.
o Assessment: Class discussion and journal entries will analyze how the various choices might be
translated into performance.
Outcome: Students will be familiar with the ways in which authors as well as critics, scholars, and actors
can shade or shape a text’s meaning.
4
o
Assessment: In-class discussion and/or performance of scenes will demonstrate how ideas may
be translated through speech, gesture, blocking, and movement
Objective 3: Make scholarly arguments about literature using reasons and ways of supporting those reasons that are
appropriate to the field of study.

Outcome: Students will be able to demonstrate the validity of a statement (one pertaining to the period, the
author and the work under consideration) by analyzing and explicating its underlying assumptions and
concepts.
o

Outcome: Students will have formulated a position on how social, historical, and political forces work on
an author’s imagination and conspire in the formation of the art.
o

Assessment: Twenty-five 250-word Journal entries based on questions from the course packet
will assess the students’ critical analysis of each play and a Final Paper.
Assessment: Journal entries and the Final Thesis Paper will develop some aspect of these ideas
relative to a particular author or authors.
Outcome: Students will have a foundation for assessing the success or failure of a work of literature as art
or propaganda.
o
Assessment: Class discussions, journal entries, thesis paper will critically examine each poem,
play, short story ,and novel.
Requirements:
 Students will be expected to have read the material by the beginning of the tour.
 They will be given a test on the readings within one week of our arrival at the University College Cork.
 Classes will be conducted every morning from 9:00-11:00 A.M., unless there is a field trip that begins in
the morning. When that is the case, the class will be held on site, using the various geographical and/or
historical landmarks as setting for the class.
 Students will be expected to maintain an academic journal to record daily entries on the course content.
 They will also be expected to submit an 8-10 page, typewritten critical paper on an approved topic within
three weeks of our return to the U.S. Though actual class time is ninety minutes, the actual learning
experience continues all day long.
Texts:
Yeats’s Poetry, Drama, and Prose, ed. James Pethica (Norton Critical Edition))
Dubliners, James Joyce (Penguin Classic, ed. Seamus Deane)
A Portrait of the Artist as a Young Man, James Joyce (Penguin Classic, ed. Seamus Deane)
Sean O'Casey: Three Plays, St. Martin's Press
John M. Synge: The Complete Plays, Vintage Press
5
North Carolina State University
Summer Study in Ireland Itinerary: July 5 – July 24, 2010
DAY
MORNING
Monday
Arrive Shannon Airport
July 7
Bus to Galway
Tuesday
Lit Class One: Historical Context for
Irish Literature.
July 8
AFTERNOON
EVENING
Visit the Cliffs of Moher
Check into Approved Family Homes
in Galway
Tour Galway; Galway Film
Festival
Galway Film Festival
Film Class One: Dracula and the Irish
Gothic.
Wednesday
Lit Class Two: Yeats’ Poems,
July 9
pp. 3-53 “Riders to the Sea”
Galway Film Festival
Film Class Two: Ireland West and
East: Beyond the Pale.
Thursday
July 10
Bus to Sligo
Friday
Lit Class Three: Yeats’ Poems, pp. 5499.
July 11
Saturday
July 12
Lit Class Four: Yeats, 101-140.
Check into Family Homes in
Tubbercurry, Sligo
Tour Yeats Country, North
Tour Yeats Country, South
Traditional Music Session
Free
Free
Film Class Three: The Romance of
Migration.
Sunday
July 13
Monday
July 14
Bus to Cork
Check into Victoria Cross, UCC
Lit Class Five: J.M. Synge. “Playboy
of the Western World.”
Film Class Four: The Romance of
Migration, Take Two.
Tuesday
Visit Yeats’ Tower and Coole
Park en route
Free
6
July 15
Lit Class Seven: Yeats’ Poems.
Film Class Five: Colonialism and the
Ghosts of Language and Land
Wednesday
Guided Tour of Cork City.
Free
Lit Class Eight: Yeats’ Poems.
July 16
Film Class Six: Rural Ireland
Revisited.
Thursday
July 17
Lit Class Nine: O’Casey: “The Plough
and the Stars.”
Cobh (“Queenstown Museum”)
Theatre
Film Class Seven: Cre Na Cille
Friday
July 18
Lit Class Ten: O’Casey: “Juno and the
Paycock.”
Free
Saturday
July 19
Lit Class Eleven: James Joyce ”The
Dubliners.”
Film Class Eight: National Narratives:
Dublin and Cork
Overnight Trip to Dublin
Abbey Theatre or Film Museum
Sunday
July 20
Guided Tour of Dublin
Return to Cork
.
Monday
July 21
Lit Class Twelve: Joyce’s “The Dubliners”
Film Class Nine: Transnational
Translations
Tuesday
July 22
Wednesday
July 23
Lit Class Thirteen:
Joyce: ”A Portrait of the Artist as a
Young Man”
Visit Blarney Castle
Lit Class Fourteen: “Portrait.”
Film Class Ten: Gothic Dublin, Then and
Now
Thursday
July 24
Lit Class Fifteen:
Joyce: “Portrait.”
Free
Film Class Eleven: The Cold War Gothic
Friday
July 25
Film Class Twelve: Final Discussion
Farewell Dinner
7
Saturday
July 26
Depart for U.S.
Course Introduction: Historical Outline of Ireland
A.
B.
Pre-History
i. Mesolithic (Middle Stone Age) @ 6600 B.C. = first traces of humanity.
ii. Neolithic (Late Stone Age) @ 4000 B.C. = Settlers begin farming.
1. Self-sufficient farms
2. Stone Axes
3. Burial remnants: dolmens (3 standing stones), passage graves (Newgrange
and Carrowkeel)
Historical Period (often leavened with Myth
i. Celtic Period @ 1200 B.C. – 400-500 A.D.
1. Superior iron weapons helped them rule Ireland
2. This pagan civilization lasted almost 1000 years and contributed legends,
myths, and folklore that are still a fundamental part of the Irish experience
(cf. Appendix)
3. Tain Bo Cualage (also calledThe Tain, pronounced “toin”) is the great Irish
epic of Celtic wars, warriors, and farming people.
4. Ireland divided into @ 150 small kingdoms.
a. Brehon Laws = a legal system administered by Brehon lawyers who
provided legal stability.
b. Druids = priests responsible for religious observation and
preservation of historical memories.
5. Ogimos – Celtic deity of eloquence. Poets who recited communal lore were
extremely powerful in a culture respectful of the spoken word.
6. Celtic Civilization survived long after the fall of Rome.
ii. Christian Period = from about 450 A.D.
1. St. Patrick converted Celtic Kings and tribes from some time between 432462 A.D. and founded monasteries
2. St. Columba developed a monastic organization that differed from the
European model of Church governance.
3. Book of Kells = Illuminated manuscripts of the Latin texts of the Four
Gospels created @ 800 A.D. and renowned for its beauty – “insular majuscule
script is accompanied by magnificent and intricate whole illuminated pages,
with smaller painted decorations everywhere within the text” (Trinity
College Brochure).
iii. Viking Invasion = towards the end of the 8th Century till the 11th Century.
1. Founded Dublin @ 840.
2. Maintained power for 200 years.
3. Defeated by the Irish High King and Overlord, Brian Boru at the Battle of
Contarf in 1014.
iv. Normans (From @ 1100-1400)
1. William the Conqueror defeats Danes in England in 1066 at the Battle of
Hastings.
2. Henry II receives a Papal Bull allowing him to declare his Lordship over
Ireland.
8
3.
v.
vi.
vii.
viii.
Strongbow, a powerful English warrior, defeats Rory O’Connor in 1175. He
settled in Ireland and built stone guard towers (Norman Towerrs) and
castles across Ireland.
4. By 1250 three-fourths of Ireland was under Norman control.
5. Normans, however, rapidly “went native,” inter-marrying and adopting Gallic
culture and customs to the extent that by the 14th and 15th centuries, they
had effectively merged with the natives and proceeded to rebel against a
succession of English dynasties.
The Tudors – 16th century
1. Henry VIII
a. Instituted the Protestant Reformation in England
b. Declared sovereignty over Ireland and attempted to secure
obedience through eviction and plantation.
c. He demanded conformity to his new Protestant religion and
outlawed all things Gaelic.
2. Elizabeth I
a. Attempted to domesticate Dublin. She founded Trinity College in
1592.
b. Her favorite, Earl of Essex, was defeated by Irish chieftain, Hugh
O’Neill. After being reprimanded by the Queen, Essex fomented a
rebellion, was quickly apprehended and executed for treason.
c. Charles Blount, Lord Mountjoy, defeated the Irish at the bloody
Battle of Kinsale.
Stuarts and Cromwell – 17th Century
1. Persecution continued under James I and Charles I, but Irish rebels rose in
October 1641 and massacred between 2000 and 300,00 people (depending on
whose propaganda one believes).
2. Oliver Cromwell and his “New Model Army” invaded Ireland and slaughtered
thousands of men, women and children in Drogheda and Wexford (1650).
3. King William of Orange completes the destruction and suppression of the
Irish at the Battle of the Boyne in 1690 and the Battle of Aughrim in 1691.
th
18 Century
1. Passage of Penal Laws signaled cruel repression (see Web Notes on the
Penal Laws included in “The Great Irish Famine” –
http://www.nde.state.ne.us/SS/irish/irish_pf.html).
2. Dublin elite lived in aristocratic luxury in Georgian stone town homes while
the Irish starved and died in the street.
3. Cf. Jonathan Swift’s “A Modest Proposal”.
4. Social inequities grew deeper between Protestant and Catholic, rich and
poor, landed gentry and tenant farmers.
5. Wolfe Tone (1791)
6. Act of Union (1801)
7. Robert Emmet – “Let No Man Write My Epitaph…”
19th Century: Famine & Growth of Nationalism
1. Daniel O’Connell – “The Liberator” -– succeed in bringing an end to the Penal
Laws in 1829 via the “Roman Catholic Emancipation Act.”
2. Sought Home Rule and Repeal of the Act of Union.
3. Young Irelanders under Thomas Davis
4. The Fenians under Charles Gavin Duffy
5. United Irishmen looking for a “holy war.”
9
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
The Famine – “The Great Hunger” – See the above indicated website.
James Stephens founded the Irish Revolutionary Brotherhood in 1858,
later the Irish Republican Brotherhood, later The Irish Republican Army.
American “sister” groups formed from recent arrivals on Amerrican shores,
most notably, The Fenian Brotherhood.
John O’Leary
Irish Literary Revival, or Irish Renaissance = Grew out of the efforts of
people like W.B. Yeats and Lady Gregory to hearken back to Ireland’s heroic
past, before she had been enslaved by England and gelded by the Catholic
church
a. “Celticism”
b. Folk Tales
c. Occultism
d. Mysticism
e. Non-English and Non-Catholic in character
Parnell – “The Chief,” “The Uncrowned King of Ireland”
a. The Land League (with Michael Davitt)
b. Boycotting
c. Home Rule
d. Kitty O’Shea
Socio-Political Activities
a. Gaelic Athletic Association
b. The Irish National Theatre (The Abbey)
c. Gaelic League
d. Transport Union
The Easter Rising
a. Padraic Pearse
b. James Connolly
c. John Macbride
d. Constance Markewicz
World War I
Anglo-Irish War
a. Michael Collins
b. Winston Churchill
c. Black and Tans
Irish Civil War
a. Pro-Treaty Forces (Collins)
b. Anti-Treaty forces (Eamonn De Valera)
Irish Free State (1923)
18. Irish Republic (1947)
19. The Continuing “Troubles”
20. Peace and Prosperity: “The Celtic Tiger”
10
Literary Ireland in 1880 = Trapped between Two Traditions: One Dead;
One Not Born
Yeats’ Evolution as a Poet
Celtic Twilight
 Dreamy poems of longing, lost love (Romantic, Pre-Raphaelite)
 Images and place names associated with nature (esp. Sligo
landscapes)
 Allusions to Irish Folklore and Celtic Mythology
 Lyrical (musical) rhythms, simple rhyme schemes
 Mystical, supernatural, occult overtones (reality vs. fantasy;
waking vs. dreaming)
 Purpose: subtly didactic, educational, nationalistic (intended to
insinuate a sense of national, cultural pride – “Celticism”)
 Poems:
o “The Stolen Child”
o “Down by the Salley Gardens”
o “The Lake Isle of Innisfree”
o “The Sorrow of Love”
o “When You are Old”
o “To Ireland in the Coming Times”
o “The Hosting of the Sidhe”
11
o “The Song of the Wandering Aengus”
o “The Fiddler of Dooney”
Love Poems










Coole Park Settings – the Seven Woods
Lady Gregory –Patron, Partner, Friend
Experience with the Abbey Theatre
Maud Gonne – Lover Who Rejected WBY, Patriot, Symbol
Less reliance of Folklore and Celtic Mythology
Less Romantic, More Realistic in Style
Themes less of supernatural and natural
Themes of lost or unrequited love
Theory of the “Mask”
Poems:
o “The Arrow”
o “The Folly of Being Comforted
o “Adam’s Curse”
o “No Second Troy”
o “Upon a House Shaken by the Land Agitation”
o “All Things Can Tempt Me”
Political Poems
 Style = Direct, Unadorned, Experimental
 Topics:
o Attacks on Bourgeoisie
o Pre-Revolution
o Revolution
o Anglo-Irish War
o WWI
o Irish Civil War
o Chaos
12
 Poems:
o “To a Wealthy Man”
o “September 1913”
o “To a Shade”
o “Parnell’s Funeral”
o “On Those That Hated The Playboy of the Western
World, 1907”
o “Easter 1916”
o “On a Political Prisoner”
Last Poems
 Subject Matter Becomes More Universal in Reach
o Passing Use of Celtic Mythology (often used
retrospectively)
o Less Concern with Political & Social Events
 Style
o Imagery Moves Away from Nature
o Greater Experimentation with Stanzaic Patterns, Rhythm
and Rhyme
o Poems Become More Symbolic:
 Gyres
 Golden Birds
 Trees (Chestnuts, Laurels)
 The Tower
 The Winding Stair
 The Scarecrow
 Byzantium
 Circus Animals
 Themes:
o Ceremony & Custom
o Rootedness, Generosity, Service
o Art in Life
13
o Taking Stock of His Life in Art and Politics
o Old Age (“Scarecrow”)
 Spirit Transcending Flesh
 Artifact vs. Artist
 Physical vs. Spiritual World
 Mortality vs. Immortality
 Legacy
 Memory
 Immortality
 Poems:
o “The Wild Swans at Coole”
o “In Memory of Major Robert Gregory”
o “An Irish Airman Foresees His Death”
o “A Prayer for My Daughter”
o “Sailing to Byzantium”
o “The Tower”
o “Second Coming”
o “Leda and the Swan”
o “Among School Children”
o “Coole Park, 1929”
o “Coole Park, 1931”
o “Byzantium”
o “Circus Animals’ Desertion”
o “Municipal Gallery Revisited”
o “Under Ben Bulben”
14
JAMES JOYCE
(1882-1941)
The Supreme Insider of the Urban Irish Experience
Subject Matter










Nationality
Urban Middle Class
Dublin Life
Family
Humor
Imagination & Eloquence
Repression
Belligerence
Dublin as Metaphor (cf. Yeats’ Sligo as Metaphor)
Religion
i. Irish Roman Catholicism
ii. Education
Themes
Paralysis




iii. Social
iv. Political
v. Spiritual
Entrapment
Exile
Epiphany
i. Spiritual
ii. Intellectual
Guilt: “Painful Cases”
Style
 Economy & Precision





Social Realism
Love/Hate Conflicts
Dublin
Nation
Family
15




Religion
“Finely Realized Miniatures”
“Scrupulous Meanness”
Language = cadenced precision of poetry
“The Sisters”
Old Cotter
Aunt
Father Flynn
The Boy
Uncle Jack
Eliza
1. Who is Father Flynn? What was his relationship with the boy?
What happened to him? Why?
2. What is Old Cotter’s and Uncle Jack’s response to the life and
death of Father Flynn? What do they say about his relationship
to the boy?
3. How do the sisters describe the life and death of the priest?
4. How does the boy react to the death of the priest?
16
5. How would you describe the atmosphere of the “world” of this
story?
“An Encounter”
Father Butler & College
Mahony
Adventure – Menace =
Games, Reading,
“Miching,” “The Old Man”
The Old Man
The Speaker
1. Describe the activities of the boys, their reading habits, their behavior in
school.
2. Describe the school they go to – teacher, classes, discipline.
3. The boys decide to “mich,” that is, go truant in search of adventure. Why?
4. What happens when they “encounter” the old man, the “queer old josser.”
5. How does the story end? What has the narrator learned from his
experience? How do you understand the story’s final paragraph?
17
“Araby”
Uncle & Aunt
Christian
Brother’s School
Old Priest
Dublin
Mrs. Mercer
Mangan
Mangan’s Sister
“I”
Araby
Young (English)
Lady
Epiphany
1. Who is the speaker?
a. Age? Temperament?
b. Home life? House? Class status?
c. Obsessions?
2. Discuss the conflicting environments in the story.
a. Duty vs. Play
b. Old vs. Young
c. Reality vs. Imagination
d. Death vs. Life
3. What does “Araby” symbolize?
4. Describe the boy’s attitude about Mangan’s sister. How do you understand
their first meeting? Why does he promise to bring her something from the
bazaar?
5. What prevents him from getting to the bazaar in a timely fashion? What
happens when he finally gets to the bazaar? How do you interpret the final
18
sentence of the story: why is the speaker so filled with anguish and anger?
Is the ending sad and tragic, or comic?
“Eveline”
Father
Frank
Eveline
Ireland
Buenos Aires
1. Who is Eveline? How old is she? What is her dilemma?
2. When faced with a decision to leave Ireland and her father, she
opts to stay. Why?
3. Point to details in the story that explain her decision? Is Joyce’s
perspective on her plight hinted at?
19
“After the Race”
Father
Seguin, Riviere,
Villona, Farley
Jimmy Doyle
Outsiders – France,
Canada, Hungary, USA
Dublin
1. Describe Jimmy Doyle. How is he different from his race day
companions?
2. Jimmy enjoys the excitement of the occasion for three reasons
(mentioned at the beginning of the fifth paragraph. What are
they and what do they tell us about Jimmy?
3. The good cheer of the evening is almost destroyed when the
discussion turns to politics and Jimmy “felt the buried zeal of his
father wake within him.” What does this allude to?
4. Describe the turn of events that occur on the American’s yacht
during and after the card game.
20
5. What is Jimmy’s epiphany “after the race,” especially after the
card game?
“Two Gallants”
1. If “most people considered Lenehan a leech,” what would they
have considered Corley?
What is the relationship between Lenehan and Corley?
2. Why is Lenehan considered a “leech”?
3. What is a “gallant”? Is Joyce using it ambiguously, for purposes
of irony?
4. How has Corley’s consciousness of how to treat women evolved?
What is the nature of his relationship with the unnamed woman
he meets after leaving Lenehan.
5. What was Corley attempting “to pull off” when he met this young
woman of his acquaintance?
6. What does Lenehan do when he is by himself? What does this tell
us about him?
7. When Corley reappears, his manner has changed. He is silent,
stern, and grave. When Lenehan asks him “did it come off?”
Corley with a “grave gesture” extended “a hand toward the light
and, smiling, opened to the gaze of his disciple. A small gold coin
shone in the palm.” What is signified in this gesture? In the
manner of the gesture? By the girl’s reaction, as described from
a distance by Lenehan? What is the epiphany here? Whose is it?
21
“The Boarding House”
Career/Religion
Mrs. Mooney
Mr. Doran
Polly
Jack Mooney
1.
Desire to be
single/free
Who is Mrs. Mooney? What is she like? What was her marriage like? Her daughter?
2. What is the reputation of the boarding house? What kind of people live there? How does
Mrs. Mooney run the place?
3. What is Polly like? How does she relate to the other borders? How does she become
involved with Mr. Doran?
4. Explain Mrs. Mooney’s behavior when she learns that Mr. Doran has soiled her daughter’s
honor. How does son, Jack Mooney, factor in?
5. Describe the range of emotions, conflicts, and considerations experienced by Mr. Doran.
6. Describe Polly’s psychological state in the final two paragraphs of the story.
7. When Mrs. Mooney calls to Polly “Come down, dear, Mr. Doran wants to speak to you.” What
is he going to say? Why? Based on her recent state of mind, what do you imagine Polly’s
reaction will be?
22
“A Little Cloud”
Gallaher
Success
Escape
Single
Bold
Gregarious
Triumphalist
Patronizing
Continental
Coarse/Insensitive
Little Chandler
Wife & Child
1. The story’s conflict derives from the very different personalities, life
choices, and current circumstances of Little Chandler and his old Dublin
acquaintance, Ignatius Gallaher. Explore there differences with specific
references to the story.
2. Explore the details of Little Chandler’s home life, and show how they help us
to understand his unhappiness?
3. Why, at the end of the story, are Little Chandler’s cheeks “suffused with
shame”, and why do “tears of remorse” fill his eyes? What has he to feel
remorseful about? In other words, what is his epiphany?
23
“Counterparts”
1. Explain the significance of the title. Who are the “counterparts in this
story.
2. Two main conflicts occur in this story: one is between Farrington and
Alleyne; the other is between Farrington and himself. Develop this notion
with illustrations from the story.
3. How does our image of Farrington evolve in the story, from one event to the
next?
4. Why does Farrington feel most at home in one of his public houses? Describe
the life of the pubs – pawning watch for cash, story telling, woman with the
big hat, the arm-wrestling contest against young Weathers.
5. The last section of the story begins with an expression of Farrington’s
shame and anger. What are the circumstances that bring him to this pass?Is
this his epiphany?
6. Why, when he arrives home, does he beat his little boy with a stick?
24
Clay
1.
2.
3.
4.
5.
6.
7.
8.
Describe Maria’s Dublin.
What his her job? What do her fellow employees think of
her? How does she treat people?
When she laughed, “the tip of her nose nearly met the tip
of her chin.” Why is this repeated? What does she think
of herself?
Maria and the cake shops.
Maria and the old gentleman on tram.
The Halloween Party
a. Lost plumcake
b. Good word for Alphy & Joe’s angry response
c. Hallow Eve Games – soft, wet, substance.
d. Maria’s song and Joe’s sentimental response
What is unspoken in this story? What are the details
behind the details?
What is the epiphany in this story?
25
“A Painful Case”
James Duffy
Mrs. Sinico
Single
Reason
Order/Control
Darkness (Duffy=Dubh)
Repressed
Reclusive
Distant
Married
Passion
Spontaneity
Light
Open
Social
Intimate
1. Describe Mr. Duffy’s home. What are his daily habits?
His hobbies?
2. What are the stages in the developing relationship
between Mr. Duffy and Mrs. Sinico?
3. Why is she susceptible to Mr. Duffy’s attentions?
4. Describe the events leading up to, and following, Mrs.
Sinico’s catching up “his hand passionately and holding it
to her cheek”?
5. How do you explain Mr. Duffy’s immediate reaction and
subsequent behavior?
6. What happens to Mrs. Sinico and why?
7. Discuss the two distinct phases to Duffy’s response to
the news of Mrs. Sinico’s death.
8. Discuss the theme of “paralysis” in this story.
9. What is Mr. Duffy’s epiphany?
26
“Ivy Day in the Committee Room”
Old Man
Mat O’Connor
Henchy
Crofton
Fr. Keon
Lyons
PARNELL
Hynes
1. Who is Charles Stuart Parnell? What is “Ivy Day”? What is his
significance in Irish politics, especially the political situation in the late
19th century?
2. “Parnell is dead,” said Mr. Henchey. Consider the proposition that the
dead Parnell is nonetheless the central character of the story.
3. To what extent is Parnell the “center of value”? Read various references
to him by different characters.
4. How may the characters in the story be understood in reference to
Parnell? Comment on references to the English king (Edward).
5. What is the setting of the story: the place, the date, the occasion
(election day: Tierney vs. Colgan).
6. What activity engages the characters in this story? What are their
motives, e.g. Money? Status? Patriotism? What is their commitment to
the electoral process? To Ireland as a Nation?
7. Comment on Hynes’ poem. How do all present react to the poem? Note
Hynes’ reaction after he reads the poem.
8. Comment on the story’s symbols: the Ivy Sprig; the Limp Fire; the
Popping Corks.
9. Discuss the following themes:
a. Betrayal vs. Loyalty
b. Disintegration of Order
c. Paralysis
10. Is there an “epiphany” in this story? Whose is it, and what is its nature?
27
“The Mother”
Mr. Fitzpatrick
Mr. Holohan
Mr. O’Madden Burke
Mrs. Kearney
Mr. Kearney
Miss Kearney
Miss Healy
1. Joyce claims he draws his characters and plots with a “scrupulous meanness.”
How is that true in “The Mother.”
2. Describe Mrs. Healy.
a. What was she like as a young woman, before she married?
b. Why did she marry Mr. Healy? Describe their relationship
c. What were her habits and pursuits? What are we to make of her
enthusiasm for the Irish Revival and the Irish language?
3. Explain the role of Mr. Holohan. Examine deterioration of his relationship with
Mrs. Kearney. How do Messrs.. Fitzpatrick and O’Madden Burke feature in the
conflict with Mrs. Healy.
4. Explain the role of Miss Kearney. Is she a mere puppet in her mother’s
contractual dispute with Holohan and Fitzpatrick? What is the nature of the
relationship between Miss Kearney and her mother?
5. Is Mrs. Kearney, the mother, ultimately a sympathetic figure, one who was
simply defending her rights and those of her daughter? Is she correct when
she argues “they wouldn’t have dared to have treated her that way if she had
been a man”? Or, is she an egocentric person, more interested in asserting her
prerogatives and dominance than protecting her daughter? Is she a wounded
lady, justified in her claims, or is she an outrageous grandstander? What sorts
of clues does Joyce provide to assert one position or the other? Or both?
28
“Grace’
1. What are the various meanings of the word “grace” that might
apply in a discussion of this story?
2. The central ploy in the plot of this story is to get an alcoholic to a
religious retreat to reflect on his life. What attitudes about
religion, particularly Roman Catholicism come across here? Is the
topic treated in a straightforward or ironic manner? What in
particular is said about the Jesuits (aka the Society of Jesus)?
3. Mr. Kernan has been a habitual drinker, a fall-down drunk who one
evening is helped home by the decent Mr. Power. Mr. Power decides
that he and others will help Mr. Kernan “turn over a new leaf.” How
does Kernan react when he gets wind of this (what we call today)
“intervention”? How does his wife react? Importantly, what kind of
wife has she been? What has their married life been like?
4. In the final section of the story, what kind of rhetorical emphasis
does the priest place on his interpretation of religious texts to
make his message palatable to Kernan and the others?
5. After reading the final paragraph, does it seem likely that Kernan
has had his “epiphany”? Will he now be “a good, holy, God-fearing
Roman Catholic? Has he been reformed?
6. Assessing the tone of this story is a key to appreciating it. Is the
story comic, tragic, melodramatic? Look to the language and
dialogue for clues.
29
The Dead
Setting: Dublin, 1904:
Morkan Sisters Annual Christmas Dance; Cold, Snowy Evening.
Central Character = Gabriel Conroy
Appearance and status
Personal Manner
Relationships:
Aunts & Niece (“The 3 Muses”)
Garbiel’s Mother
Lily
Freddy Malins; Mr. Browne
Miss Ivors
Gretta
Major Events
The Encounter with Lily
The Dance with Miss Ivors
Carving the Goose
The After Dinner Speech
The “Lass of Aughrim”
Gretta’s Memory of Michael Furey
Thematic Concerns
Irish Politics
Hospitality, Memory
Self-perception
False vs. genuine:
Generosity
Charity
The Title?
Snow as Symbol
30
A Portrait of the Artist as a Young Man
The Making of an Exile (from Religion, Family, and Country)
 Bildungsroman = The novel traces the moral and
intellectual development of Stephen Daedalus’ journey to
becoming a writer:
o Childhood: a non-judgmental receiver of images and
impulses, an observer; political and religious
influences are woven into Stephen’s imagination.
o From Adolescence to Young Manhood;
PASSIONGUILTPURIFICATIONMORAL ORDERLINESS
REJECTS RELIGION
|
PRIESTHOOD<<<
EMBRACES ARTINTELLECTUAL
ORDERLINESS
|
AESTHETIC PRINCIPLES:
 Static vs. Kinetic
 Hierarchy of Kinds
o Lyric
o Epic
o Dramatic
 Stages of Appreciation
o Wholeness
o Harmony
o Radiance
 Style = Modernist experimentations with form
o Stream of consciousness
31
o Disjunction = sudden juxtapositions of time and
place (a cinematic technique) – montage
o Distortion = placing unlikely things together for the
effect of their union
o Deflation = use of frustration, defeat of
expectations, flattening out of climaxes
 Motifs
o “Stephen” – the first Christian martyr
o Daedalus – “artificer,” constructed the labyrinth, father
of Icarus who took flight on waxen wings, flew too close to
the sun and crashed to earth and died
 Structure
o Chapter One
o Infancy at Bray (town south of Dublin)
o Childhood at Clongowes Wood
 playground
 classroom
 dormitory
 infirmary
o Home for Christmas Dinner = Religion vs. Politics
o Playground (broken glasses), classroom, rectory
complaint, playground (triumphant)
o Chapter Two
 Childhood at Blackrock
 Removal to Dublin
 First years at Belvedere – grows to adolescence
 Visit to Cork & whorehouse
32
o Chapter Three
 Explore troubles of adolescence
 Preoccupation with sin, guilt, confession
 Communion – takes place of sex in his life
o Chapter Four: Short Climactic Chapter
 RepentanceAusterity
 Rejection of one priesthood for another:
Catholic PriesthoodArtistic Priesthood
 “The Wading Girl” = Epiphany
o Chapter Five: Diminuendo. This section recapitulates
while it resolves: It considers the inevitable
consequences of Stephen’s vision – Stephen here is
fully revealed.
 The University
 Aesthetic Theory
 The Poem
 Interview with Cranly
33
John Millington Synge:
Riders to the Sea
Michael
“The Sea”
Bartleby
Cathleen
Maurya
“The Keeners”
Nora
1. Describe the living conditions of the people who inhabit this island (home,
furnishings, landscape, weather, standard of living). How do they contribute
to the play’s mood?
2. What are the significant forces that affect their daily lives? Provide
relevant details and examples.
3. To what extent are Maurya and her family affected by these forces?
4. Would you describe this play as a tragedy, in the classic sense, in which a
character makes a critical choice that seals his fate or doom? Or, is the play
“naturalistic,” showing how forces beyond the human control crush them
randomly? Might the sea be understood as some malignant pagan deity?
5. Describe the fatalistic, stoical attitude of Maurya, and ponder its sources.
6. What should we understand by Maurya’s vision of Bartleby and Michael
riding the red and gray ponies across the field?
7. Explain Maurya’s speech about “it’s a great rest I’ll have now…” rest, that is,
now that all her sons have been killed by the sea. Comment also on her
closing speech (“No man at all can be living forever, and we must be
satisfied.”)
8. What is the function of the old women “keening” in Maurya’s home when
news of her sons arrives?
34
John Millington Synge:
Playboy of the Western World
Michael
(“The Old Pagan”)
Shawn/Father
Reilly
Old Mahon
(The Father)
Christy Mahon
Pegeen
Widow Quin
The 4 Girls
35
1. Compare the characters who inhabit the poems of Yeats to those who
inhabit he plays of Synge.
2. Why do you think the people of Dublin rioted over the early performances of
this play?
3. Is the ending of the play funny or sad? Comic or tragic? Both? Is the play
“realistic” or “fantastical” (a “fable” for example)? Is it a “realistic
fantasy”? Is Playboy at all satirical? If so, what is it satirizing?
4. Comment on some of the significant features of Irish diction and syntax in
the play.
5. How does Christy evolve and develop in the course of the play; in other
words, how is he different at the end of the play from the beginning?
6. How and why do the attitudes of towards Christy shift in the course of the
play? To what extent is Christy’s image of himself dependent on what others
think of him?
7. Why are all the characters fascinated and excited to have a fathermurderer among them? Why do they adore Christy? What affect does it
have on him?
8. Discuss the character of Pegeen Mike. What is she like herself, and why
does she fall in love with Christy? To what extent is her fascination with
Christy a function of her relationships with her father, Widow Quin, Shawn,
and her larger cultural environment? (Re-read the salty exchanges between
Pegeen and Widow Quin).
9. Consider Playboy as a Christian allegory/fable (with specific characters
assuming symbolic roles). Consider it also as an allegory of Irish history
10. Discuss the play’s following motifs:
a. Oedipal/Electra Conflicts
b. Rites of Passage
c. Resurrections
i. Real
ii. Metaphorical
d. Frustrated Romance
e. Entrapment vs. Escape
36
Sean O’Casey’s The Plough and the Stars
Soldiers
Corporal Stoddart
Tenement Dwellers
The Young Covey
Sergeant Tinley
Peter Flynn
Mrs. Gogan
Mollser
Bessie Burgess
Lieutenant Langon
Fluther Good
Captain Brennan
Nora Clitheroe
Cmdt. Jack Clitheroe
Jack Clitheroe
Rosie Redmond
1.
When this play was first performed in 1926, nationalists in the audience rioted once again.
Discuss some of the items they might have objected to (e.g. characters, portrayal of the
Easter Rising, the conception of the hero). You will notice, here, as with Synge, Yeats, and
Joyce, that the Irish writers whose reputations have endured defy popular expectations
and tend to swim against the current of popular opinion. Why do you think that is so? In
answering this, you might consider how the role the artist is different from that of a press
agent, ad copy writer, public relations agent, political spinmeister, or government
propagandist.
2. The plot of Plough develops over a sprawling four acts in four different settings (Clitheroe’s
living room, a pub, street outside Clitheroe’s tenement, and Bessie’s room) and includes a
large cast of characters. Is there a central character among them? Explain.
37
3. How would you describe the characters O’Casey parades before us? What motivates
them? List the grievances between/among them. Describe their behavior in different parts
of the play. Is there a heroic character among them? Is there any suggestion, explicit or
implicit, of action that might be deemed heroic action? Or, is the play consciously “antiheroic”? Are these characters crushed by forces they cannot control? Or, are they agents
in their own destruction?
4. Does O’Casey (whose own nationalistic impulses led him to teach himself Gaelic, join the
radical labor movement of Big Jim Larkin, and become Secretary of the Irish Citizen Army)
seem to suggest in this play that the Easter Rising was a farce and a mistake? What are
some of the elements he considers in this play that suggest conditions among the rebels and
citizens were not ripe for a successful undertaking? Consider, here, the tenement and pub
where the play’s action occurs as a symbol of Ireland. Consider also some of the play’s
intimations – class divisions, gender issues, social and political awareness, commitment to the
cause, idealism vs. realism, individual egos.
5. O’Casey’s play has been called a mixture of “realism” and “expressionism.” “Expressionism” is
a literary method that distorts ordinary reality so as to show its essential, deeper truth
more clearly. Discuss both features and, in the process, consider the counterpointing that
occurs throughout the play – the onstage action versus the offstage sounds (the speeches,
the guns firing, the calls for Red Cross ambulances, Nora’s moans).
6. What are we to make of the ending – British soldiers singing songs near Bessie’s freshly
killed body?
7. How would you best describe the tone of Plough and the Stars: satiric, tragic, melodramatic,
comic, farcical? Defend your choice. If you believe the tone is tragic, who qualifies as a
tragic figure (distinguish from “pathetic” figure)? Might the tragic figure be Ireland itself?
Explain.
8. Speculate how O’Casey’s poverty-stricken childhood in the Dublin slums (as one of only five
of thirteen children who survived) shaped a different perspective of Ireland from Yeats
and Synge. N. B. Yeats and Lady Gregory recognized O’Casey’s powerful voice, encouraged
his talent, and produced his plays for the Abbey Theatre.
9. What does O’Casey dedication to this play tell us about the man: “To the Gay Laugh of My
Mother at the Gate of the Grave.”
38
O’Casey’s Juno and the Paycock
2. O’Casey called Juno “A Tragedy in Three Acts.” Whose “tragedy” is it? How is this tragedy
different from a Shakespearean or Sophoclean tragedy? What rogue elements of tone,
diction, and characterization conspire, here, to suggest a peculiarly “Irish” kind of tragedy?
How is the play similar to Plough and the Stars?
3. A repeated phrase in a work is often referred to as a “leitmotif” or, simply, “motif.” Captain
Boyle often repeats the phrase that “th’ whole worl’s. . .in a ter…ible state o’…chassus!” In
this, he echoes of similar Yeatsian theme. Discuss the multiple levels of chaos in this play
and compare to Yeats’ “Second Coming.”
4. Discuss the setting of the play (cf. social, economic, and political factors). How does the
environment affect the charactes who inhabit the world of this play. Are they victims of
larger outside forces that crush and/or debilitate them, or are they agents in their own
downfall?
5. O’Casey typically mixes farce and melodrama in his work. Trace the significant examples of
each in the play’s characterization and plot.
6. The Dublin of this play is inhabited by nincompoops, hucksters, rogues, and zealots. Which
characters rise above this and why? Consider Aristotle’s thesis in his Nichomachean Ethics
that “Virtue is the mean between extremes.” Use the chart below for guidance on this topic.
Mary
Mrs. Tancred
Johnny
Joxer
JUNO
Jerry Devine
Two Irregulars
Capt. Boyle
Bentham
Mrs. Madigan
7. Discuss the theatrical virtues of this play. What effects on the audience is O’Casey trying
to produce? What risks does he run by setting his play in his own time? Is the play “dated”
for a modern audience? Is it only significant now as a time capsule piece, a mirror into the
age of the “troubles”?
39
Film and Literature (English 382)
Ireland Study Abroad Program
Summer 2008
The Irish Gothic in Literature and Film
Dr. Maria Pramaggiore
Email: maria_p@ncsu.edu
Office: Tompkins 233
Irish mobile phone: 353 86 268 5207
Course Description:
This course examines the Irish gothic mode or genre in literary and cinematic works of the 19th,
20th and 21st centuries We will examine works across several literary genres (including short
stories, plays, and novels) as well as narrative fiction films (many of which were adapted from
those literary sources).
In addition to situating these works within their generic and historical contexts and conducting
formal close readings, our class discussions will encompass critical cultural issues such as the
inclusion of Irish writers and directors in the British canon versus the treatment of Irish art as an
40
autonomous tradition; the particular challenges for Irish visual artists in a highly literary
culture; and questions of Irish national, colonial, diasporic, and postcolonial identities.
The course material will be organized according to location, working with texts conceived and
written amidst the urban environment of Dublin when we are in Dublin and addressing plays,
novels, and films that address the rural experiences in the west of Ireland—and the importance of
emigration--during our time in Galway and Cork. In emphasizing the gothic mode, we will pay
particular attention to the stylistic attributes of the gothic and the experimentation that seems to
accompany the search for the proper voice (in literature) and vision (in film) for representing
Ireland’s political and existential identity crises.
Requirements:
Short paper and quizzes: 30 points ( 1 5-page paper; two quizzes)
Research paper/project: 25 points (7-8 page paper)
Final Exam: 20 points
class participation: 25 points
total points=100
Grading
The final grade will be calculated using pluses and minuses, as follows: A+=98-100; A= 93-98; A-=9092; B+=87-89; B=83-86; B-=80-82; C+=77-79; C=73-76; C-=70-72; D+=67-69; D=63-66; D-=60-62;
F=below 60.
Because this is a short study abroad course, students should complete readings and screenings
before arriving in Ireland. I will arrange for the films to be made available on campus prior to our
departure date. Students are responsible for the material.
There will be opportunities to see plays and attend other cultural events in Dublin, Galway, and
Cork—depending upon what is available, the course content may change to take advantage of live
productions or other activities.
Class Meetings
JULY 8
FILM CLASS ONE
Dracula and the Irish Gothic
Dracula, Bram Stoker (1897)
Nosferatu FW Murnau (1922)
Dracula Tod Browning (1932)
41
Bela Lugosi in Browning’s Dracula
JULY 10 FILM CLASS TWO
Ireland West and East: Beyond the Pale
James Joyce
“The Dead,” James Joyce
The Dead John Huston (1987)
JULY 12
FILM CLASS THREE
The Romance of Migration
The Quiet Man John Ford (1954)
JULY 14
FILM CLASS FOUR
The Romance of Migration, Take Two
Quiz 1 (Subjects: the characteristics of the gothic; is it a genre?)
“Philadelphia, Here I Come” Brian Friel
Philadelphia, Here I Come John Quested (1975)
JULY 15
FILM CLASS FIVE
Colonialism and the Ghosts of Language and Land
“Translations” Brian Friel
JULY 16
FILM CLASS SIX
Rural Ireland Revisited
Poitin Bob Quinn (1977)
JULY 17
FILM CLASS SEVEN
Cre Na Cille Robert Quinn (2007)—subject to film availability
JULY 19
FILM CLASS EIGHT
National Narratives: Dublin and Cork
5 page paper due—topic will be assigned
Michael Collins Neil Jordan (1996)
The Wind That Shakes the Barley Ken Loach (2005)
42
JULY 21
FILM CLASS NINE
Transnational Translations
Quiz 2 (Subjects: migration and the gothic: urban versus rural gothic)
Once John Carney (2007)
JULY 23
FILM CLASS TEN
Gothic Dublin, then and now
Jonathan Swift, “A Modest Proposal” (1724)
Eireville James Finlan (2002)
Jonathan Swift
JULY 24
FILM CLASS ELEVEN
The Cold War Gothic
5-7 page paper due (your choice of topic)
The Butcher Boy Neil Jordan (1997)
The Butcher Boy Pat McCabe
The Butcher Boy and a Friend
JULY 25
Final Discussion/Exam
Film and Literature (English 382)
43
Maria T. Pramaggiore
Professor of Film Studies
North Carolina State University
Raleigh, NC 27695-8105
maria_p@ ncsu.edu
Contact information
919-787-8653 (home)
919-417-0931 (mobile)
Academic and
Administrative
Positions
Professor of Film Studies
North Carolina State University, 2007-present
Director of the Film Studies Program
North Carolina State University, 2003-06
Associate Professor of Film, Department of English
North Carolina State University, 2000-07
Director, Women’s and Gender Studies Program
North Carolina State University, Fall 2001
Acting Director, Graduate Programs in English
North Carolina State University, Fall 2000
Assistant Professor, Department of English
North Carolina State University, 1994-2000
Visiting Assistant Professor, Institute for Women's Studies
Emory University, 1993-94
Education
Ph.D., Emory University, 1993
Film Studies and Women's Studies
M.S., Lancaster University, UK, 1983
International Trade and Development Economics
B.A., cum laude, Williams College, 1982
Political Economy
44
Publications
Books
Neil Jordan. University of Illinois Press. Forthcoming Spring 2008.
Irish and African American Cinema: Identifying Others
and Performing Identities, 1980-2000. State University of New
York Press, April 2007.
Film: A Critical Introduction, 2nd edition. Laurence King
Publishing (UK) and Allyn and Bacon (US), May 2007. Maria
Pramaggiore and Tom Wallis.
RePresenting Bisexualities: Subjects and Cultures of Fluid
Desire.
New York University Press, 1996. Ed. Donald E. Hall and Maria
Pramaggiore.
Articles
“Chick Strand’s Experimental Ethnography.” In Women's
Experimental
& Book Chapters Cinema: Critical Frameworks. Edited by Robin Blaetz.
Forthcoming from
Duke UP, Fall 2007.
“Neil Jordan’s Postmodern Gothic: or, Why The Good Thief
Originally Called Double Down.” In Genre and Cinema:
Ireland and Transnationalism. Edited by Brian
McIlroy. Routledge, 2007.
171-190.
was
“‘Papa Don’t Preach’: Pregnancy and Performance in
Contemporary
Irish Film.” The Irish in Us : Irishness, Performativity, and Popular
Culture. Edited by Diane Negra. Durham, NC: Duke UP, 2006.
110-29.
“High and Low Art: Bisexual Women and Aesthetics in
Chasing Amy
and High Art,” Journal of Bisexuality, Vol 2, Issue 2/3 (Fall 2002):
245-66.
45
“Seeing Double (s): Reading Deren Bisexually.” Maya Deren
and the American Avant-Garde. Edited by Bill Nichols.
Berkeley: University of California Press, 2001. 237-60.
“Unmastered Subjects: Fabricating Identity in Joseph Strick’s
Ulysses and Portrait of the Artist as a Young Man,” European Joyce
Studies 11 (Summer 2001): 52-70.
“Film Drama” and “Film History.” Reader’s Guide to Lesbian
and Gay Studies. Edited by Timothy Murphy. Chicago: Fitzroy
Dearborn Publishers, 2000. 218-20 and 220-21.
“‘I Kinda Liked You as A Girl’: Masculinity, Postcolonial
Queens, and the
Nature of Terrorism in Neil Jordan's The Crying Game.”
Contemporary Irish Cinema: From The Quiet Man to Dancing
at Lughnasa. Edited by James MacKillop. Syracuse: Syracuse
UP, 1999. 85-97.
“Webbed Women: Information Technology in the
Introduction to Women’s Studies Classroom,” with Beth
Hardin. Teaching Introduction to Women’s Studies. Edited by
Carolyn DiPalma and Barbara Scott Winkler. Westport, CT:
Bergin and Garvey Press, 1999. 163-75.
“The Celtic Blue Note: Jazz in Neil Jordan’s Angel, The Miracle,
‘Night in Tunisia,’” Screen 39.3 (1998): 272-88.
and
“Performance and Persona in the U.S. Avant Garde: The
Case of Maya
Deren,” Cinema Journal 36.2 (1997): 17-40.
College
“Fishing for Girls: Romancing Lesbians in New Queer Cinema,”
Literature 24.1 (1997): 59-75.
“Straddling the Screen: Bisexual Spectatorship and
Contemporary
Cultures of
Pramaggiore.
Narrative Film.” RePresenting Bisexualities: Subjects and
Fluid Desire. Edited by Donald E. Hall and Maria
New York: NYU Press, 1996. 272-97.
46
“Epistemologies of the Fence.” RePresenting Bisexualities:
Subjects and Cultures of Fluid Desire. Edited by Donald E. Hall
and Maria Pramaggiore. New York: NYU Press, 1996. 1-7.
Hardin.
“Using the Web as a Women’s Studies Resource,” with Beth
Feminist Collections, 17.2 (1996): 3-4.
“Resisting/Performing/Femininity: Words, Flesh, and Feminism
in Karen Finley's The Constant State of Desire,” Theatre Journal
44 (1992): 269-90.
“Belly Laughs and Naked Rage: Resisting Humor in Karen
Finley's Performance Art.” New Perspectives on Women and
Comedy. Edited by Regina Barrecca. New York: Gordon and
Breach, 1992. 47-56.
Reprinted
Articles
“Pescando Chicas: Relatando Romances Lésbicos en el
Nuevo Cine
Queer.” Reprinted in Cinemeras.
http://www.galf.org/cinemeras.php. July 2005.
“Performance and Persona in the U.S. Avant-Garde: The Case
of Maya
Deren.” Reprinted in Stars: The Film Reader. Edited by
Lucy Fischer and Marcia Landy. New York and London:
Routledge, 2004. 129-50.
“Epistemologies of the Fence” (excerpt). Reprinted in The
Bisexuality Reader. Edited by Merl Storr. London: Routledge, 1999.
144-9.
Journal
Issue
Edited “Ireland 2000,” a special issue of jouvert: a journal of
postcolonial studies, Oct
1999.http://social.chass.ncsu.edu/jouvert.
Current
“Jane Fonda, Cultural Crisis, and Postmodern Stardom.”
Under
contract with Rutgers UP for Star Decades: the 1970s, a
collection edited by James Morrison.
Projects
Barry Lyndon, book proposal in progress for Blackwell Series
on Film and Television, edited by Diane Negra and Yvonne
Tasker.
47
“Expanded Media: NPR and the Katrina Anniversary,”
proposed for 2008 SCMS Conference.
Awards and Fellowships
Fulbright Fellow, University College Cork, Ireland, 2007
Outstanding Teacher, NCSU College of Humanities and Social
Sciences, 2006
Outstanding Junior Faculty Member, NCSU College of Humanities
and Social Sciences, 1999
Emory University Fellowship for Excellence in Teaching, 1992-93
National Institutes of Health (NIH) Graduate Fellowship, 1986-87
Rotary Foundation Graduate Fellowship, 1982-83
Phi Beta Kappa, 1982
Grants
NCSU College of Humanities & Social Sciences (CHASS) Research
Grant, 2001
CHASS Curriculum Development Grant, 2000
NCSU Faculty Center for Teaching and Learning Instructional Grant,
2000-01
NCSU Division of Undergraduate Studies Curriculum Development
Grant, 1999
National Endowment for the Humanities (NEH) Summer Grant, 1998
Women’s and Gender Studies Curriculum Development Grant, 1997
CHASS Research Grant, 1996
Emory Institute for Women's Studies Research Grant, 1992
Published Reviews, Conference Papers, and Invited Talks
Film
23-9, Reviews
“Eight Women.” The Independent Weekly Vol. XIX No. 44 (Oct
2002): 104.
“Hollywood Secures the Homeland?” (Review of The Banger
Sisters and Trapped). The Independent Weekly Vol XIX No. 40
(Sep 25-Oct 1, 2002): 86-7.
“Stimulating Simulation” (Review of Simone). The Independent
Weekly
Vol. XIX No. 37 (Sep 4-10, 2002): 77.
“The Cho-sen One” (Review of Notorious C.H.O.). The
Independent Weekly Vol. XIX No. 35 (Aug 21-28, 2002): 69.
48
“Body Politics” (Review of À ma soeur/Fat Girl). The
Independent Weekly Vol. XIX No. 22 (May 22-28, 2002): 67.
“Fixer-Upper” (Review of Panic Room). The Independent
Weekly Vol. XIX No. 16 (Apr 17-23, 2002): 67.
“In Denial” (Review of 40 Days and 40 Nights). The
Independent Weekly, Vol. XIX No. 11 (Mar 13-19, 2002): 57.
“Take Four” (DoubleTake Documentary Film Festival). The
Independent Weekly Vol. XVIII No. 18 (May 2-8, 2001): 24.
“Bullet-Riddled/Star Studded History,” jouvert: a journal of
postcolonial
studies 1.1 (1996)
http://social.chass.ncsu.edu/jouvert/v1i1/pramag.htm
Book
59.1 Fall
Reviews
Irish National Cinema (2004), by Ruth Barton. Film Quarterly
2005: 57-9.
The Horror Film, ed. Stephen Prince (2004), and Horror and
Psychoanalysis, ed. Stephen Schneider (2004). Film Quarterly
59.2 Winter/Spring 2005-6: 76-7.
Fort Lee: The Film Town, by Richard Koznarski (2005). Quarterly
Review of Film and Video, forthcoming, 2007.
“Setting the Record Straight” (Review of Rebels, Rubyfruits,
and Rhinestones: Queering Space in the Stonewall South by
James Sears). The Independent Weekly Vol. XVIII No. 52 (Dec
26-Jan 1, 2002).
“Processing ‘the Process’” (Review of Joan Didion’s Political
Fictions). The Independent Weekly Vol. XVIII No. 42 (Oct 1723, 2001): 34-6.
“Meet Market” (review of Selling Out: The Gay and Lesbian
Movement Goes to Market by Alexandra Chasin). The
Independent Weekly Vol. XVIII No. 32 (Aug 8-14, 2001): 28.
49
“After AIDS” (review of Loss Within Loss: Artists in the Age of
AIDS, ed. Edmund White). The Independent Weekly, Vol. XVIII
No. 25 (Jun 20-26, 2001): 48.
“Second Chances” (review of This Body by Laurel Dowd).
North Carolina Review of Books, Winter 1999, 17, 28.
“Ethnic Motions: Gender, Generation and Geography in
Crossing
Ocean Parkway,” Voices in Italian Americana 6.2
(1995): 189-95.
NWSA
Theater
and Tell).
Reviews
“Black Women as Cultural Readers, by Jacqueline Bobo,”
Journal 8.2 (1996): 130-31.
“Playing Politics” (Review of Sunrise in My Pocket and Show
The Independent Weekly Vol. XIX No. 44 (Oct 23-9, 2002): 46-7
“Tears Fill Mary’s Ocean” (review of And Mary Wept) The
Independent Weekly Vol. XIX No. 41 (Aug 28-Sep 3, 2002): 39
“The Art of Gluttony” (Review of Michael Quattlebaum’s
Gluttony). The
Independent Weekly XIX No. 36 (Aug 28-Sep 3, 2002): 33
“Ties That Bind” (Review of Fit to Be Tied). The Independent
Weekly, Vol. XVIII No. 50 (Dec 12-18, 2001).
“Testing Taboos” (Review of Paperdoll Psychology). The
Independent Weekly Vol. XVIII No. 49 (Dec 5-11, 2001).
“Play Tectonics” (Review of Bash, The Laramie Project, and
The Mound Builders). The Independent Weekly Vol. XVIII No.
43 (Oct 24-30, 2001): 33-4.
“Risky, Frisky” (review of UNC-Chapel Hill’s Lab! Theatre). The
Independent Weekly Vol. XVIII No. 40 (Oct 3-9, 2001): 25.
“Guerrilla Theater” (review of Cat’s-Paw). The Independent
Weekly Vol. XVIII No. 37 (Sep 12-18, 2001): 39.
“Not Just Politics as Usual” (fall theater preview). The
Independent Weekly, Vol. XVIII No. 36 (Sep 5-11, 2001): 32-5.
50
“Dancer in the Dark” (on the American Dance Festival). The
Independent Weekly Vol. XVIII No. 29 (Jul 18-24, 2001): 31.
“Outside the Box” (review of Three Days of Rain). The
Independent Weekly Vol. XVIII No. 22 (May 30-Jun 6, 2001): 30.
“Sex, Art and Analysis” (review of A New Fine Shame). The
Independent Weekly Vol. XVIII No. 20 (May 16-22, 2001): 47.
“Unbending History” (review of Bent). The Independent
Weekly Vol. XVIII No. 18 (May 2-8, 2001): 41.
“Praising James Agee” (review of Let Us Now Praise Famous
Men). The Independent Weekly Vol. XVIII No. 16 (Apr 18-24,
2001): 37.
“Role Reversal” (review of Uncle Tom’s Cabin). The
Independent
Weekly Vol. XVIII No. 10 (Mar 7-13, 2001): 33
Conference
Papers
“Stanley Kubrick’s Barry Lyndon: From Thackeray’s picaresque
to Burke’s
picturesque” Rocky Mountain Modern Language
Association, October 4-6, 2007.
“Landscaping Ireland: Altman and Kubrick in the 1970s,”
Screening Irish
America Conference, UCD, Dublin, Ireland, April 13-15, 2007.
“Altman’s Images and Kubrick’s Barry Lyndon,” Society for
Cinema and Media Studies, Vancouver, BC, Canada, March
5, 2006.
“Neil Jordan’s Postmodern Gothic,” Genre and Irish Cinema
conference, University of British Columbia, Canada, March
14-16, 2005.
“Chick Strand’s Experimental Ethnography,” Society for
Cinema and Media Studies, Atlanta, GA, March 7, 2004.
Feminist Film Theory Workshop, Society for Cinema and Media
Studies, Atlanta, GA, March 4, 2004.
51
“Cinematic and Televisual Sexualities: Sandra Bernhard and
Margaret Cho’s Performance Films,” Society for Cinema and
Media Studies conference, Minneapolis, MN, March 6, 2003.
“A Distinct Aesthetic? Bisexual Masculinity in Wonder Boys,”
Society for Cinema Studies Conference, Denver, CO, May 26,
2002.
“’Papa Don’t Preach’: Pregnancy, Performance, and
Postnationalism in Contemporary Irish Film,” Screen Film
Conference, University of Glasgow, UK, June 30, 2001.
“Teaching Introduction to Women’s Studies: Expectations and
Strategies,” Roundtable Discussion, National Women’s Studies
Association Conference, Albuquerque, NM, June 18, 1999.
“Carnival and the Canonical Western: Mel Brooks’ Blazing
Saddles,” Society for Cinema Studies Conference, Florida
Atlantic University, Boca Raton, FL, April 16, 1999.
“Celtic Blues: Irish Jazz in Neil Jordan’s Films,” Modern
Language Association Conference, San Francisco, CA,
December 30, 1998.
“Jazz and Neil Jordan,” American Conference for Irish Studies,
Nova Southeastern University, Ft. Lauderdale, FL, April 18,
1998.
“Queering the WiseGuy: Ethnicity and Sexuality in the
Gangster Film,” American Italian Historical Association,
Cleveland, OH, November 14, 1997.
“A Web Page of One’s Own: Implementing Information
Technology in the Women’s Studies Classroom,” National
Women’s Studies Association Conference, St. Louis, MO, June
21, 1997.
“Aliens at Home: Race and Gender in Irish Cinema,” Society
for Cinema Studies Conference, Ottawa, Canada, May 17,
1997.
“Seeing Double(s): Reading Deren Bisexually,” Christine
Saxton Memorial Symposium, Transfiguring the Works of Maya
52
Deren, San Francisco State University, San Francisco, CA,
April 27, 1996.
“Performing Others: Narrative Form and Neocolonial History in
Contemporary Irish Cinema,” British Commonwealth and
Postcolonial Studies Conference, Georgia Southern University,
Statesboro, GA, April 19, 1996.
“Touching the Female Body/Appropriating the Medical
Gaze,” First Annual Performance Studies Conference, New
York University, New York, NY, March 25, 1995.
"Queer Couplings: The Romantic Triangle in Contemporary
Film," In Queery/Theory/Deed Conference, University of Iowa,
Iowa City, IA, November 18, 1994.
"Performance and Identification: Audience Resistance in
Sandra Bernhard's Without You I'm Nothing," Midwest Modern
Language Association Conference, Chicago, IL, November
12, 1994.
"Double Crossing Identities: Gender, Race and Sexuality in
Television and Film," Console-ing Passions: Television, Video
and Feminism Conference, Tucson, AZ, April 22, 1994.
"A Woman Too Many: A Queer Feminist Reading of Recent
Gay Male Films," Florida State University Literature and Film
Conference, Tallahassee, FL, January 28, 1994.
"'I Kinda Liked You as A Girl': Sexual Politics in Neil Jordan's The
Crying Game," South Atlantic Modern Language Association
Conference, Atlanta, GA, November 4, 1993.
"Lesbian Lookers: Vision, Visibility and Performance in Barbara
Hammer's Audience, " International Association of Philosophy
and Literature Conference, Duquesne University, Pittsburgh,
PA, May 13, 1993.
“Watching Spectators Perform: Barbara Hammer's Audience,"
Ohio University Film Conference, Athens, OH, November12,
1992.
53
"Embodiment as a Critical Strategy in Toni Morrison's
Beloved," Twentieth Century Literature Conference, University
of Louisville, Louisville, KY, February 29, 1992.
"Marginality and Madonna," Florida State University Literature
and Film Conference, Tallahassee, FL, February 8, 1992.
"A Poetics of the Body in Karen Finley's Performances,"
International Association of Philosophy and Literature,
University of Montreal, Montreal, Canada, May 17,1991.
"Repetitive Bodies, Rewritten Texts and the Agency of The
Scarlet Letter in Kathy Acker's Blood and Guts in High School,"
Twentieth Century Literature Conference, University of
Louisville, Louisville, KY, February 23, 1991.
"Rob Lowe's Anxiety of (Bad) Influence and the Atlanta Sex
Tape Scandal," Florida State University Conference on
Literature and Film, Tallahassee, FL, January 27, 1991.
"Framing the Female Body: Feminism and Self-Representation
in Maya Deren's Meshes of the Afternoon and Carolee
Schneemann's Fuses," West Virginia University Conference on
Literature and Film, Morgantown, WV, October 5, 1990.
"Performing the Fragmented Self: Autobiography in Karen
Finley's Work," NWSA Conference, University of Akron, Akron,
OH, June 24, 1990.
“Making Mountains Out of Moles: Women's Body Images in
Fay Weldon's Life and Loves of a She-Devil," SEWSA, Salem
College, Roanoke, VA, March 24, 1990.
"Resistance and Raging Humor in Karen Finley's The Constant
State of Desire," Tickled Pink: Women and Humor Conference,
University of Colorado at Boulder, March 17, 1990.
"Women on the Margins: Liberty, Property and Sexuality in
Daniel Defoe’s Moll Flanders and Roxana," Southeastern
Women's Studies Association Conference, Emory University,
Atlanta, GA, February 26, 1989.
Invited
“Celluloid Monsters,” Davidson College, November 14, 2006.
54
Talks
“Risking Bisexual Citizenship, From Lincoln to Kinsey to Gay
Marriage,”
Duke University LGBT Center, April 5, 2005.
“Like A Virgin: The Irish Re-Make Mary,” University of Western
Ontario,
February 6, 2004.
“Interdisciplinary Studies on the Tenure Track,” Emory
University, Atlanta, GA, April 24, 2000.
“The Celtic Blue Note: Improvising Masculinity and Riffing
Oedipus in Neil Jordan’s ‘Night in Tunisia’ and The Miracle,”
Dartmouth College, Hanover, NH, January 16, 1997.
“Beyond The On-Line Syllabus: A Women’s Studies Web
page,” Instructional Technologies Exposition, NCSU,
September 17, 1996.
"The Crisis of Consumption in Contemporary Performance Art,"
Bodies of Theories Conference, Emory University, Atlanta, GA,
March 19, 1994.
"Literal Words and Figurative Bodies: The Talking Cure for
Femininity in Karen Finley's The Constant State of Desire,"
Southeastern College Art Conference, High Museum of Art,
Atlanta, GA, October 27, 1990.
55
Course and Curriculum Development, Teaching, Advising, and Thesis Direction
Curriculum
Development
at NCSU
Created and established a graduate film concentration in
the English MA degree (2000)
Created and established an undergraduate film
concentration in
the English BA degree (2005)
Created and established five film courses:
Undergraduate: Film Theory, African-American Cinema, and
Writing about Film
Graduate: Studies in National Cinema, Film and Visual Theory
Teaching
Film Studies Courses
Undergraduate courses: Introduction to Film, Introduction to
Film and
Film Production, Film and Literature, History of Film since 1940,
Film Internship, Film Theory, The Horror Film, American Cinema
Since 1960 (at UCC) African-American Cinema, American
Directors, Screenwriting
Graduate seminars: Feminist Film Theory, Race and Ethnicity in
U.S. Film, Cinema and Politics, Feminism and Film in Global
Perspective, American Auteurs: Kubrick and Altman, Irish
National Cinema, Screenwriting (at UCC), New Queer
Cinema
Honors Course: Ireland in Literature and Film
Women’s and Gender Studies Courses
Introduction to Women’s and Gender Studies, Feminist
Theory,
Women’s and Gender Studies Internship
Emory
University
Ethnicity
Film Studies Courses
Introduction to Film, Women and Film: Representing Race and
Women’s Studies Courses
56
Feminist Theory, History of Feminist Thought
Thesis Direction
Rob Caldwell, MA, English, May 2006, “Stopgap Falls”
(screenplay).
Sarah Ball, MA, English, May 2006, “Ringu, The Ring, and the
Uncanny in Japanese and American Horror.” Won the NCSU
Graduate School Thesis Award. Nominated by NCSU for the
Southern Conference of Graduate Schools Thesis Award.
Sarah Krocker, MA, English, December 2005. “Half a Woman:
The Cinematic Nun.”
Greg Johnson, MA, English, May 2004. “The Porchlight Trio”
(screenplay).
Mel Free, MA, English, December 2002. “The Grotesque as an
Objection to Silence and Oppression: A Queer Reading of
Carson McCullers’ Fiction.” Nominated by NCSU for the
Southern Conference of Graduate Schools Thesis Award in
the Humanities.
Thomas Phillips, MA, English, 1999. “A Procession of Delegates:
Postmodern Theories of the Subject.”
Elizabeth Hardin, MS, English, 1998. “Designing Information
Technology to Support Feminist Pedagogy.”
Paul Madachy, MA, English, 1997. “Ain’t Nuthin’ but a She
Thing: Emerging Gender Images in Popular Music.”
Tena Helton, MA, English, 1997. “Feminist Elements and
Narrative Experimentation in Toni Morrison’s Jazz and Trinh T.
Minh-ha’s A Tale of Love.”
MA Thesis
Committees
Reader for more than twenty eight M.A. theses, 1996-2007.
Advising
students
Advise 20- 25 undergraduate film majors and graduate film
annually.
University Service and Professional Development
57
Department,
College, and
University
Service
English Head Search Committee, 2005-6
Chair, Film Program Committee, 2003-6
English Undergraduate Studies/Curriculum Committee, 2003-6
Arts Studies Head Search Committee, 2005
English Department Graduate Council, 2002-4
CHASS Outstanding Junior Faculty Selection Committee,
2001-4
Film Studies Search Committees, 2000-, 2001-2, and 2006
English Head Search Committee, 2000-1
English Curriculum Committee, 1999-2001
English Web Site Committee, 2000-1
NCSU Fulbright Review Committee, Fall 2000
NCSU Women in Leadership Development (WILD) Council,
1999-2001
NCSU Sexual Assault Awareness Task Force, 1999-2000
NCSU Women’s and Gender Studies Executive Council, 19992000
CHASS Personnel Committee, 1998-9
Committee for the MA in Teaching World Literature at NCSU,
1998-9
PhD Program Development Committee, English Department,
1998
English Department Elections Committee, 1995-6, 1997-8
Women’s Studies Program Committee, NCSU, spring 1996 and
1996-7
English Club Advisor, 1995-6 and 1996-7
Advisor, “Cultural Cartographies” conference, 1995-6
Professional
Activities
Full Frame Selection Committee, 2003-4, 2005-6, 2006-7, 2007
Full Frame Documentary Film Festival Faculty Advisor, 2006
Job List Editor, Society for Cinema Studies, 2001-4
Editorial Board, jouvert: a journal of postcolonial studies, 19962001
Southeastern Women’s Studies Association Conference Film
Festival
Curator, NCSU, 1998-9
Double Take Documentary Film Festival, Executive
Committee, 1997-8
NCSU Critical Theory Reading Group, 1995-7
Women’s History Month Film Series Coordinator, March 1997
58
Film and Television Educators in North Carolina Conference,
March 31,
1995
Asian American Film Festival, Carolina Theater/NCSU,
February, 1995
President's Commission on the Status of Women, Emory
University,
1993-4
President's Committee on LGBT Life, Emory University, 1992-4
Women's Studies Admissions Committee, Emory University,
1993-4
Native American Film Series Committee, Emory University,
1993-4
Gay, Lesbian and Bisexual Film Festival, Emory University, 19934
Women and Documentary Film Program, Emory University,
1992
Professional
Development
“Teaching Outside the Lines: An Interdisciplinary
Conversation,”
John Hope Franklin Center for Interdisciplinary and
International Studies, Duke University, September 10,
2004
Wildacres Writing Workshop, Little Switzerland, NC, 2000 and
2001
“Translating Tradition: Irish Writing Past and Present,” Summer
Seminar in
Irish Studies, West Virginia University, June 3-6, 1999
Assessing Writing and Speaking Assignments, NCSU Writing
and
Speaking Program, April 24, 2000
What Do the Best Teachers Do?, NCSU, October 12, 1999
Bridges: Academic Leadership for Women, UNC-Chapel Hill,
1998.
Grant Proposal Writing Workshop, May 29, 1998
NCSU Humanities and Social Sciences Teaching Workshop,
August 6,
1997
HTML for the Macintosh seminar, NCSU, February 27, 1997
Preventing Sexual Harassment Workshop, NCSU, September
1996
Speakers Bureau Training, Emory Office of
Lesbian/Gay/Bisexual Life,
1993
Workshop on Avoiding Discriminatory Harassment, Emory
University,
1993
59
T. A. and Teacher Training Opportunity Program, Emory
University, 1991
Membership
in Professional
Organizations
Fulbright Association
Society for Cinema and Media Studies (SCMS)
Rocky Mountain Modern Language Association (RMMLA)
National,
Regional, and
Statewide
Outreach
WUNC (North Carolina Public Radio); “The State of Things”
Invited Panel on Women and Film, February 2006
Invited Panel on Cinema and Science, January 20, 2005
Invited Panel on the Horror Film, January 21, 2004
become a
Visit to Heritage Middle School (Wake Forest, NC), “How to
film critic,” December 12, 2005
North Carolina Museum of Art
Introduction of The Philadelphia Story, February 21, 2004
Advisory Board, Laura Boyes’ Durham Arts Council Grant,
2004-5
North Carolina Museum of Natural History, First Friday Film
Series
Introduced 2001: A Space Odyssey, April 2004
Introduced Godzilla v. Mothra, October 2003
Introduced Invasion of the Body Snatchers, September
2003
Panel Discussion, “Close the Book on Hate,” Barnes and
Noble, Cary,
NC, October 17, 2002.
Chicago Public Radio, “Odyssey” with Gretchen Helfrich
Invited Panel on New Queer Cinema, August 26, 2002
“Stagecoach and the Classic Western,” Chapel Hill Historical
Society,
February 13, 2000.
“The IRA and Gang(sta) Culture,” East Carolina University
Theory
Colloquium, Greenville, NC, February 9, 1998.
60
“Burning both/and at the middle; or, What does an out
bisexual look
like?” Duke University Center for Lesbian,
Gay, Bisexual and
Transgender Campus Life, October
1, 1997.
“Citizen Kane and Hearts of Age: the young Orson Welles,”
Duke
Center for Documentary Studies “25 and Under”
film series, Duke
University, January 23, 1997.
Facilitated discussion on Mädchen in Uniform, Carolina
Theater Gay
and Lesbian Film Festival, November 17,
1996.
“Women’s Films, 1940-1990,” Peace College, August 29, 1996.
Introduced program of short films, Carolina Theater Pride Film
Festival,
Durham, NC, June 11, 1995.
Center,
"Aesthetics and Feminist Politics," Nexus Contemporary Art
Atlanta, GA, October 30, 1991.
"Female Bodies Wearing Freudian Slips: Psychoanalysis and
Feminism in
Karen Finley's The Constant State of Desire,"
Emory University
Institute for Women's Studies
Colloquium, May 4, 1990.
NC State
Curator, Youth Culture on Screen Series, 2006-7, NCSU
Campus Cinema
Campus
Activities
Film Studies Program Screenings at the Campus Cinema
(selected)
Introduced The Butcher Boy, September 21, 2006
Introduced Nashville, September 15, 2005
Introduced Dawn of the Dead, October 31, 2004
Introduced Jezebel, February 15, 2004
Introduced Just Another Girl on the IRT, Fall 2003
a visit with
2005
Film Events
Organized and introduced “From Here to Hollywood,”
director-screenwriter Ray Greenfield, October 18,
61
Africana Studies Film Series
Introduced Moolaade, March 21, 2005
Raleigh IndyMedia Independent Media Week,
Introduced documentary filmmaker Barbara Trent, April
15, 2004
CHASS International Programs Film Screening
Introduction and Q&A for Battle of Algiers, March 20,
2004
CHASS International Film Series
Curated series and introduced Cleo from 5 to 7, NCSU
Cinema, August 26, 2002.
Campus
“Race, Gender, and Popular Culture,” CHASS First Year
Seminar on the
Ethical Community, November 28, 2000.
Presented Stanley Kubrick’s Dr. Strangelove, “Film, History, and
the Cold
War” Series, NCSU Department of History, March
29, 1999.
Curated NCSU Women’s History Month Film Series series and
introduced
Double Happiness, March 23, 1997.
Curated series and introduced West Side Story for NCSU
Series, February 23, 1997.
Musical Film
“Women’s Studies and the Web,” Provost’s Lecture Series,
NCSU, April 11, 1996.
Presented Europa Europa for Dr. Sally Drucker’s Holocaust
Literature
and Film course, NCSU, March 19, 1996.
Brown, NCSU,
Curated Blaxploitation Film Festival and introduced Foxy
February 4-10, 1996.
“Freedom Fighters or Gangsters in Green? Representations of
the Irish
Republican Army (IRA),” Graduate English Association,
NCSU,
November 21, 1996.
62
Center,
Introduced Marnie for Hitchcock Series, University Student
NCSU, September 8, 1996.
Presented Daughters of the Dust to Dr. Lucinda MacKethan’s
Graduate Seminar in African American Literature, NCSU, December
1, 1994.
“Women and the Contemporary Horror Film,” NCSU Women’s
Center,
October 30, 1994.
References
James Morrison, Professor and Director of Film Studies
Claremont McKenna College
Claremont CA
james.morrison@claremontmckenna.edu
Joe Gomez, Professor and Founding Director of Film Studies
North Carolina State University
Raleigh NC
gomez@social.chass.ncsu.edu
Diane Negra, Professor and Director of the Ph.D. Program in Film and Television
University of East Anglia
Norwich UK
D.Negra@uea.ac.uk
Laura Severin, Professor of English and Former Dean of Academic Affairs
College of Humanities and Social Sciences
North Carolina State University
Raleigh, NC
lrs@gw.fis.ncsu.edu
Martin McLoone, Professor of Film and Media Studies
University of Ulster at Coleraine
Coleraine UK
m.mcloone@ulster.ac.uk
63
311 Creeks Edge
Chapel Hill, NC 27516
Phone (919) 803-9790
E-mail wshaw3@nc.rr.com
William P. Shaw
Education
Boston College, Chestnut Hill, Massachusetts, B.A.
Boston College Law School, Brighton, Massachusetts
Adelphi University, Garden City, New York, M.A.
Ohio University, Athens, Ohio, Ph. D.
Teaching
Experience
Chaminade High School, Mineola, New York
Course Taught
English Renaissance Literature (Poetry/Drama);
Ohio University, Athens, Ohio
Waynesburg College, Waynesburg, Pennsylvania
Le Moyne College, Syracuse, New York
University College Cork, Cork Ireland
North Carolina State University, Raleigh, North Carolina
Major British Authors (Survey),
Author’s Seminars: Shakespeare; Milton; Donne; Yeats; Joyce;
Shakespeare in Performance; History of English Drama;
English Literature I (Beginnings through Milton);
History of the English Language; Linguistics;
World Masterpieces; Creative Writing (Poetry/Drama);
Irish Renaissance Literature;
Genre Courses: Tragedy; Comedy; Satire; Epic.
Administrative
Experience
Chair, Le Moyne College English Department (1978-1983).
President, Le Moyne College Faculty Senate (1991-1992).
Director of a Pennsylvania Equal Opportunity Program (Act 101)
(1976-77).
64
Founded and directed the Le Moyne College Writing Center.
Organized and directed ten Study Abroad Summer Programs – six to
Ireland and four to England.
Organized and moderated four Classical Acting Workshops
conducted by members of the Royal Shakespeare Company.
Organized and moderated four major international conferences:
(1) Second Le Moyne Forum on Religion and Literature: “Drama
and Theology in the Work of John Milton,” May 4-5, 1979.
Keynote Speakers: Anthony Low, Joseph Summers, Roy
Flannagan.
(2) Third Annual Le Moyne Forum on Religion and Literature:
“John Cheever and His Fiction,” April 26-27, 1980. Keynote
Speaker: John Cheever.
(3) Eighth Annual Le Moyne Forum on Religion and Literature:
“Salvation and Damnation in the Religion and Literature of
the Seventeenth-Century,” October 1985. Keynote
Speakers: Christopher Hill and Mary Ann Radzinowicz.
(4) New York College English Association Conference, October
7-9, 1982. Keynote Speaker: Novelist, Tobias Wolff
Le Moyne College Student Exchange Coordinator: Established a
student exchange program between Le Moyne College and University
of Leicester, England, and between Le Moyne College and the
University of Stirling, Scotland.
President, Fayetteville Residents’ Association (1985-1988).
Vice-President, Syracuse Chargers Track Club (1986-1991).
Owner and President, Renaissance Chocolatier, (2002-2006)
Director, Ireland Study Abroad, N.C. State University (2006 Director, First Year Inquiry Program, N.C. State University (2008Committee Service
Self-Study for Middle States Evaluation
Member of the Regional Council for International Education
Planning and Development; Academic Standards
Affirmative Action; Core Curriculum Study Group
Search Committees: Academic Dean; Dean of Enrollment
Management; Academic Vice President; President
Continuous Learning Study Group; Equal opportunity Advisory Board
Total Facilities Planning Group; Presidential Planning Board;
College Planning Committee
Dissertation
Director
“Book IX of Paradise Lost: The Tragedy of Adam.” Directed by Roy C.
Flannagan, Ohio University
65
Publications
A. Articles
“Milton’s Choice of the Epic for Paradise Lost.” English Language Notes,
XII, I (September, 1974), 15-20.
“Lycidas 130-131: Christ as Judge and Protector.” Modern Language
Studies, VII, I (Spring, 1977), 39-42
“Structure and Meaning in Troilus and Cressida, V,iv – V, x.” Selected
Papers of the Shakespeare and Renaissance Association, II (1977),
24-48.
“Producing Samson Agonistes.” Milton Quarterly, XIII, iii (October,
1979), 69-79.
“Wrestling With a Centuries’ Old Script.” The Heights
(Winter/Spring, 1980), 18-21.
“Teaching Shakespeare to Undergraduates.” The Journal of English
Teaching Techniques, X, ii (Winter, 1980), 25-30.
“Sense and Staging in Shakespearean Comedy.” The Laurel Bough
(Blackie and Son, Ltd., 1983), 25-33.
“Violence and Vision in Peter Brook’s King Lear.” Shakespeare on Film
Newsletter, IX, ii (April, 1985), 7.
“Hall’s and Barton’s 1960 RSC Production of Troilus and Cressida:
Giving Chaos a Local Habitation and a Name.” Theatre History
Studies V (1985), 72-83.
“The Euripidean Influence on Milton’s ‘Tragedy of Adam’.” Milton
Quarterly, XIX, ii (May, 1985), 29-34.
“Meager Lead and Joyous Consequences: RSC Triumphs Among
Shakespeare’s Minor Plays,” Theatre Survey, XXVII, i & ii (May and
November, 1986) 37-67.
“Vision and Violence in Polanski’s Macbeth and Brook’s Lear.”
Literature/Film Quarterly, XIV, iv (1986), 211-213.
Text, Performance, and Perspective: Peter Brook’s Landmark
Production of Titus Andronicus (1955). Theatre History Studies, X.
(Spring 1990), 31-55.
“Textual Ambiguities and Cinematic Certainties in Henry V.” Special
Shakespeare Twentieth Anniversary Issue of Literature/Film
Quarterly (Winter, 1994).
B. Books
“Praise Disjoined: Changing Patterns of Salvation in SeventeenthCentury Literature.” A Collection of Essays by Various Hands. Edited,
and with Introduction by William P. Shaw. Seventeenth-Century Texts
and Studies, gen. Ed. Anthony Low (New York: Peter Lang Publishers,
1991).
Fellowship of Dust: Retracing the World War II Journey of
Sergeant Frank Shaw. (Illinois: Wildenradt Press, 2005).
66
C. Reviews
“Milton’s Theatrical Epic, by John Demaray. Milton Quarterly, XIV, iv
(December, 1980), 133-135.
Milton’s Puritan Masque by Maryann Cale McGuire. Milton Quarterly,
XVIII, iii (October, 1984), 95-97.
“Richard III: Royal Shakespeare Company production, directed by
Bill Alexander.” Shakespeare Bulletin, II, xii/III, I (NovemberDecember, 1984 – January-February, 1985), 19-20.
“Hamlet: Royal Shakespeare Company production, directed by Roy
Daniels.” Shakespeare Bulletin, III, ii (March/April, 1985).
“Fortinbras Gets Drunk,” Shakespeare Bulletin, III, iii (May/June,
1985).
D. Conference
Papers
“Milton’s Choice of the Epic for Paradise Lost.” “Age of Milton”
Section, NEMLA, Montreal, 1975.
“Troilus and Cressida, V, iv –V, x: Giving Chaos a Local Habitation and
a Name.” Shakespeare and Renaissance Association, West Virginia
University, March, 1975.
“Teaching Shakespeare with a Teacher-Prepared Study Guide.” New
York College English Association, Rochester, 1978.”
“Violence and Vision in Polanski’s Macbeth and Brook’s Lear.”
“Shakespeare on Film” section, NEMLA, Pittsburgh, 1977.
“Jaques’ Self-Exile: A Study in Shakespeare’s Organic Perspective.”
Shakespeare and Renaissance Association, West Virginia, 1978.
“Sense and Staging in Shakespeare’s Comedies: Jaques and the
Wedding Dance.” Conference on Comedy in Literature and Art,
Birmingham, Alabama, March 16-17, 1979
“Shakespeare’s Sense of the Ending: King Lear.” SAA, Boston, 1980.
“The Other Side of the Green World.” SAA, Minneapolis, 1981.
“The Development of Milton’s Political Consciousness While a
Student at Christ’s College.” Second International Milton
Conference, Christ’s College, Cambridge, 1983.
“The Euripidean Influence on Milton’s ‘Tragedy of Adam’.” NEMLA
Convention, New York, 1984.
“Spatial Design in Peter Brook’s Major Shakespeare Productions,”
Shakespeare Association of America Conference, Nashville, 1985.
“Peter Brook’s 1955 Production of Titus Andronicus: Shakespeare’s
‘Perfection’ or Brook’s Invention?” International Shakespeare
Conference, West Berlin, April 1986.
“Peter Brook’s Shakespeare: Text, Performance, and Perspective.
XIth World Conference of the International Federation for Theatre
Research, Stockholm, June 1989.
“Critical Theory and Theatrical Practice.” Shakespeare Association
of America Conference, Vancouver, B.C., 1991.
“Cultural Politics in Peter Brook’s Shakespeare Productions,” The
67
International Federation for Theatre Research Conference, Dublin,
September 1992.
“Search for Theatrical Evidence in Peter Brook’s 1947 Production of
Romeo and Juliet.” Shakespeare Association of America Conference,
Washington, D.C., 1997.
“Peter Brook’s King Lear. Millenial Shakespeare Conference, Hofstra
University, November 1999.
Other Activities
Contributing Editor to the Commentary Section (1960-1969) of
Songs and Sonnets, Donne Variorum, Gary A. Stringer, General
Editor
Developed a Summer Study Abroad Program for the N.C. State
University English Department – Ireland & the study of Irish
Renaissance Literature (2005, 2006, & 2008).
References
Roy C. Flannagan, Ph.D., University of South Carolina
Patrick J. Keane, Ph. D., (Emeritus) Le Moyne College
Anthony Low, Ph.D. New York University
Albert Labriola, Ph.D., Duquesne University
John Roberts, Ph.D., University of Missouri
Christopher Hill, Ph.D. (Emeritus) Balliol College, Oxford
Tobias Wolff, Stanford University
Gary Stringer, Ph.D. Texas Tech University
Lila Meeks, Ph.D., University of South Carolina, Beaufort
Mary Helen Thuente, Ph.D. North Carolina State Univeristy
Dossier
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