ARTS AND HUMANITIES

101 Mesa Arts Building: (949) 824-6646
Nohema Fernández, Co-Director (Arts)
Carrie J. Noland, Co-Director (Humanities)

Faculty

Kei Akagi, B.A. International Christian University, Tokyo, Professor of Music (history of jazz)

Luis F. Aviles, Ph.D. Brown University, Associate Professor of Spanish (Golden Age literature and literary theory)

Stephen Barker, Ph.D. University of Arizona, Professor of Drama (post-modern theatre, Beckett, critical theory)

Rae Linda Brown, Ph.D. Yale University, Associate Professor of Music (history, American musics)

Juan Bruce-Novoa, Ph.D. University of Colorado, Professor of Spanish (Latin American and Chicano literatures)

Steven D. Carter, Ph.D. University of California, Berkeley, Department Chair and Professor of East Asian Languages and Literatures (medieval Japanese poetry and intellectual history)

James Chiampi, Ph.D. Yale University, Professor of Italian (Italian Renaissance)

Michael P. Clark, Ph.D. University of California, Irvine, Associate Executive Vice Chancellor for Academic Programs and Professor of English (Colonial American literature, critical theory)

Robert Cohen, D.F.A. Yale University, Claire Trevor Professor of Drama (acting, directing, dramatic literature)

Mary Corey, M.A. University of California, Riverside, Certified Professional Labanotator, Professor of Dance (dance history, modern dance, notation and reconstruction, dance and digital technology)

Christopher Dobrian, Ph.D. University of California, San Diego, Associate Professor of Music and of Information and Computer Science (electronic music)

Alice Fahs, Ph.D. New York University, UCI Chancellor's Fellow and Associate Professor of History (U.S. intellectual/cultural history)

Nohema Fernández, D.M.A. Stanford University, Associate Dean of the Claire Trevor School of the Arts, Co-Director of the Major in Arts and Humanities, and Professor of Music (Latin American musics, piano)

Natalka Freeland, Ph.D. Yale University, Assistant Professor of English and Comparative Literature (Victorian literature, the novel, cultural studies and criticism)

Edward Fowler, Ph.D. University of California, Berkeley, Professor of Japanese (modern Japanese literature, cultural studies, film)

Alexander Gelley, Ph.D. Yale University, Professor of Comparative Literature (eighteenth- and nineteenth-century European novel, critical theory, comparative literature)

Bernard Gilmore, D.M.A. Stanford University, Professor of Music (composition, theory)

Inderpal Grewal, Ph.D. University of California, Berkeley, Director of the Program in Women's Studies and Professor of Women's Studies (feminist theories of internationalism and transnationalism, cultural studies, British nineteenth-century studies, South Asia and its diasporas)

Gail Hart, Ph.D. University of Virginia, Director, Humanities Core Course and Professor of German (eighteenth- and nineteenth-century German literature, drama, fictional prose)

James D. Herbert, Ph.D. Yale University, Department Chair and Professor of Art History (modern European art, critical theory)

Lamar M. Hill, University of London, Professor of History (Tudor-Stuart Britain)

Laura H.-Y. Kang, Ph.D. University of California, Santa Cruz, Associate Professor of Women's Studies and Comparative Literature (feminist visual cultures)

Ketu H. Katrak, Ph.D. Bryn Mawr College, Department Chair and Professor of Asian American Studies and Professor of English (Asian American literature, post-colonial literature)

Susan B. Klein, Ph.D. Cornell University, Director of Religious Studies and Associate Professor of Japanese (premodern and modern theatre and dance, Japanese religions, feminist critical theory)

Richard W. F. Kroll, Ph.D. University of California, Los Angeles, Associate Professor of English (rhetoric, Restoration and eighteenth-century British literature, literary theory)

Meredith Lee, Ph.D. Yale University, Dean of the Division of Undergraduate Education and Professor of German (lyric poetry, eighteenth-century literature, Goethe, music and literature)

Daphne Lei, Ph.D. Tufts University, Assistant Professor of Drama (Asian theatre, Asian American theatre, intercultural theatre, gender theory, performance theory)

Simon Leung, B.A. University of California, Los Angeles, Assistant Professor of Studio Art (queer theories, modernism and post-modern theories)

Akira Mizuta Lippit, Ph.D. The Johns Hopkins University, Associate Professor of Film Studies (film history and theory, critical theory, experimental film and media, Japanese cinema)

Catherine Lord, M.F.A. State University of New York, Buffalo, Professor of Studio Art (critical theory, feminism)

Julia Reinhard Lupton, Ph.D. Yale University, Associate Professor of Comparative Literature (Renaissance literature, literature and psychology)

Lynn Mally, Ph.D. University of California, Berkeley, Department Chair of Classics and Associate Professor of History and Classics (modern Russian and Soviet history)

Daniel Martinez, B.F.A. California Institute of the Arts, Associate Professor of Studio Art (public art, installation, performance)

David McDonald, Ph.D. Stanford University, Associate Professor of Drama (dramatic theory, Irish drama, theatre history, and playwriting)

Glen Mimura, Ph.D. University of California, Santa Cruz, Assistant Professor of Asian American Studies (independent film and video, theory and methods, and popular culture)

Yong Soon Min, M.F.A. University of California, Berkeley, Department Chair and Associate Professor of Studio Art (diaspora and post-colonial theories, race and representation)

Margaret Murata, Ph.D. University of Chicago, Professor of Music (history, analysis, criticism)

Gonzalo Navajas, Ph.D. University of California, Los Angeles, Professor of Spanish (eighteenth- through twentieth-century Spanish literature, film and visual arts, aesthetics and contemporary cultures)

Jane O. Newman, Ph.D. Princeton University, Professor of Comparative Literature (sixteenth- and seventeenth-century German literature, contemporary theory and criticism, feminism)

Robert Nideffer, Ph.D. University of California, Santa Barbara, Associate Professor of Studio Art and of Information and Computer Science (interface theory and design, technology and culture, contemporary social theory)

Carrie J. Noland, Ph.D. Harvard University, Co-Director of the Major in Humanities and Arts and Associate Professor of French (twentieth-century poetry, World War II and literature of the avant-garde)

Margot Norris, Ph.D. State University of New York, Buffalo, Professor of English and Comparative Literature (modern British literature)

Ann Pellegrini, Ph.D. Harvard University, Associate Professor of Drama (performance studies, queer theory, feminist theory, cultural studies, psychoanalytic criticism)

Simon Penny, Graduate Diploma in Sculpture, Sydney College of the Arts, New South Wales (Australia), Professor of Electrical Engineering and Computer Science, Studio Art, and Information and Computer Science (robotic sculpture, interactive environments, electronic media, art practice history, and critical theory)

Janelle Reinelt, Ph.D. Stanford University, Associate Dean of the Claire Trevor School of the Arts and Professor of Drama (political theory and performance)

Bryan Reynolds, Ph.D. Harvard University, Associate Professor of Drama and Head of Doctoral Studies in Drama (Shakespeare, Renaissance drama, critical theory, feminist theory, performance theory, cultural studies)

Jens Rieckmann, Ph.D. Harvard University, Department Chair and Professor of German (twentieth-century literature, fin-de-siècle Austria, Hofmannsthal, Thomas Mann)

Nancy Lee Ruyter, Ph.D. Claremont Graduate School, Professor of Dance (dance history, research methods)

Connie Samaras, M.F.A. Eastern Michigan University, Professor of Studio Art (photography, media and film criticism, gender studies, culture and technology)

Martin Schwab, Ph.D. University of Bielefeld, Associate Professor of Comparative Literature and Philosophy (philosophy, aesthetics, comparative literature)

Sally Stein, Ph.D. Yale University, Associate Professor of Art History (American art, history of photography, feminist theory)

James Steintrager, Ph.D. Columbia University, Assistant Professor of Comparative Literature (eighteenth-century French, German, and English literature and aesthetics)

Dana Sutton, Ph.D. University of Wisconsin, Professor of Classics (Greek and Latin drama, Greek poetry, Anglo-Latin literature)

Alan Terriciano, M.A. Eastman School of Music, Department Chair and Associate Professor of Dance (musical resources)

David Trend, Ph.D. School of Education, Miami University, Professor of Studio Art (visual studies)

Hu Ying, Ph.D. Princeton University, Associate Professor of Chinese (narrative literature, translation theory, feminist theory)

Bruce Yonemoto, M.F.A. Otis Art Institute, Assistant Professor of Studio Art (video, multimedia, film theory)

The major in Arts and Humanities provides students with a broad exposure to a range of disciplinary and methodological opportunities in the Arts and Humanities. It insists on the productive intersection of these two fields as the focus of each student's program. Students improve their critical and historical sophistication while learning about the process of performance and creative work, a combination that equips them to participate more effectively in a society that increasingly joins critique and creation just as closely as it fuses image and information.

Arts and Humanities students investigate the symbolic dimension of human behavior and identity, an interest shared by many critics and artists alike. Often, this interest is expressed in the context of interdisciplinary programs designed to facilitate contact among faculty and students from a wide range of different academic disciplines. This major's focus on the connection between practice and analysis distinguishes it from the broader and more diverse scope of more general interdisciplinary programs. The scholarly work of many UCI faculty in the Arts and Humanities lies at an intersection between the two academic units, and the major translates this intellectual and creative activity into a coherent curriculum and projects current forms of scholarship and artistic practice into the classroom.

CAREERS FOR THE ARTS AND HUMANITIES MAJOR

Graduates of this program will be very attractive to teacher-training programs. There is also a steadily growing market in private industry for students whose training combines skills sharpened by both the Arts and Humanities. Business demands graduates with strong writing and analytic skills, talents stressed in the Humanities. They also desire people with creativity and visual skills who have experience putting their original ideas into practice, something emphasized in the Arts. Graduates will have special skills that will enable them to work in professional fields directly allied with the Arts, including museum work, art foundations, art criticism, journalism, theatre, and the entertainment industry.

The UCI Career Center provides services to students and alumni including career counseling, information about job opportunities, a career library, and workshops on resume preparation, job search, and interview techniques. See the Career Center section for additional information.

REQUIREMENTS FOR THE BACHELOR'S DEGREE

University Requirements: See pages 54-59.

School Requirements: None.

Requirements for the Major

Humanities 1A-B-C; a language other than English through 2C; one lower-division survey in a specialization in the Arts, chosen from Dance 90A-B-C, Drama 40A,B,C, Music 14A-B-C, Studio Art 10A,B,C; six units of "studio courses" in Dance, Drama, or Studio Art or six units of "ensemble courses" in Music (if students have the necessary skills, these can be upper-division courses); Arts and Humanities 100, 101; 16 additional units of upper-division Arts courses and 16 additional units of upper-division Humanities courses focusing on a specific theme, region, or period, chosen with the approval of an Arts and Humanities faculty advisor. (Students must have their proposed program of study approved by their advisor each year.)

It is expected that students will choose their courses from one major in the Arts and one major in the Humanities. Students with well-developed interests can shape their curriculum more precisely to their needs.

Residence Requirement for the Major: At least five upper-division courses required for the major must be completed successfully at UCI.

Courses in Arts and Humanities

100 The Arts in Theory and Practice (4). Writing seminar explores writings on art from different times and cultures. How have artists and critics in different cultural contexts tried to explain the principles and theories that guide their work? How can students use their concepts to assess art works? Prerequisite: satisfactory completion of the lower-division writing requirement. Same as Humanities and Arts 100.

101 Topics in Arts and Humanities (4). This interdisciplinary course examines themes relevant to both the Arts and the Humanities. May be repeated for credit as topics vary. Same as Humanities and Arts 101.