UNDERGRADUATE PROGRAM IN HUMANITIES AND ARTS

150 Humanities Instructional Building: (949) 824-8119
Catherine Liu, Co-Director (Humanities)
James Penrod, Co-Director (Arts)

Faculty

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

Luis F. Avilés, 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)

David Brodbeck, Ph.D. University of Pennsylvania, Department Chair and Professor of Music, and The Robert and Marjorie Rawlins Chair in Music (musicology)

Rae Linda Brown, Ph.D. Yale University, Associate Professor of Music (musicology)

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

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

Michael P. Clark, Ph.D. University of California, Irvine, Vice Provost 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 theory, acting, directing)

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 Informatics (composition, music technology)

Alice Fahs, Ph.D. New York University, Associate Professor of History (U.S. intellectual/cultural history)

Nohema Fernández, D.M.A. Stanford University, Dean of the Claire Trevor School of the Arts, Professor of Music, and Claire Trevor Dean's Endowed Chair (Latin American musics, piano)

Jennifer Fisher, Ph.D. University of California, Riverside, Assistant Professor of Dance (dance history, theory and ethnography, performance studies)

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

Edward Fowler, Ph.D. University of California, Berkeley, Department Chair of East Asian Languages and Literatures and 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)

Martha Gever, Ph.D. City University of New York, Associate Professor of Studio Art (video and media studies)

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

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

Gail K. Hart, Ph.D. University of Virginia, 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, Comparative Literature, and English (feminist visual cultures)

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

Susan B. Klein, Ph.D. Cornell University, 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, Professor of English (rhetoric, Restoration and eighteenth-century British literature, literary theory)

Anthony Kubiak, Ph.D University of Wisconsin, Milwaukee, Professor of Drama (American and modern drama, modern poetry, critical theory, philosophy)

Meredith Lee, Ph.D. Yale University, Professor Emerita 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, Associate Professor of Studio Art (new genres, critical theory, contemporary art history)

Catherine Liu, Ph.D. City University of New York Graduate School and Center, Co-Director of the Humanities and Arts Major and Associate Professor of Film and Media Studies and of Comparative Literature (visual cultures, psychoanalysis, theories of the novel)

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

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

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

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

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

James McMichael, Ph.D. Stanford University, Director of Poetry, Programs in Writing, and Professor of English and Creative Writing (contemporary poetry, poetry writing, prosody, Joyce)

Glen Mimura, Ph.D. University of California, Santa Cruz, Associate Professor of Film and Media Studies (independent film and video, theory and methods, and popular culture)

Yong Soon Min, M.F.A. University of California, Berkeley, Professor of Studio Art (sculpture, cultural studies)

Ian Munro, Ph.D. Harvard University, Associate Professor of Drama (European drama and performance, early modern popular culture, theatrical performance of wit)

Margaret Murata, Ph.D. University of Chicago, Professor of Music (musicology)

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, Director of European Studies and Professor of Comparative Literature (sixteenth- and seventeenth-century German literature, contemporary theory and criticism, feminism)

Robert Nideffer, M.F.A., Ph.D. University of California, Santa Barbara, Associate Professor of Studio Art and Informatics (electronic intermedia, interface theory and design, technology and culture, contemporary social theory)

Carrie J. Noland, Ph.D. Harvard University, Associate Professor of French (twentieth-century poetry, literature of the avant-garde, and performance studies)

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

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 Informatics (robotic sculpture, interactive environments, electronic media, art practice history, and critical theory)

James Penrod, M.F.A. University of California, Irvine; C.M.A. Laban Institute of Movement Studies, Associate Dean of the Claire Trevor School of the Arts, Co-Director of the Arts and Humanities Major, and Professor Emeritus of Dance (ballet, modern, dance notation, choreography, movement analysis)

Colleen Reardon, Ph.D. University of California, Los Angeles, Associate Dean of the Claire Trevor School of the Arts and Professor of Music (musicology)

Janelle Reinelt, Ph.D. Stanford University, Professor Emerita of Drama (political theory and performance)

Bryan Reynolds, Ph.D. Harvard University, UCI Chancellor's Fellow, 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, Professor Emeritus 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 and Women's Studies (photography, media and film criticism, gender studies, culture and technology)

Martin Schwab, Ph.D. University of Bielefeld, Director of the Minor in Humanities and Law and Professor of Philosophy and Comparative Literature (philosophy, aesthetics, comparative literature)

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

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

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

Alan Terriciano, M.A. Eastman School of Music, Department Chair and Professor of Dance (musical resources, music for dancers, dance accompaniment, composition, multimedia arts)

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

Frank B. Wilderson III, Ph.D. University of California, Berkeley, Assistant Professor of African American Studies and Drama (film theory, Marxism, dramaturgy, black political theory)

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

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

The major in Humanities and Arts provides students with a broad exposure to a range of disciplinary and methodological opportunities in the Humanities and Arts. It insists on the productive intersection of these two fields as the focus of each student's program. Students improve their critical and historical mastery of aesthetic theories and practices while learning about the process of making creative work. This humanist background will equip them to participate more effectively as artists, citizens, and critics in a world where critical thinking and creativity are vital to success in a variety of work environments.

Humanities and Arts students are given the opportunity to work closely with faculty from different academic disciplines. They are able to design a highly individualized course of study and have the opportunity of completing a senior project thesis with one of the Humanities and Arts affiliate faculty. 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 Humanities and Arts 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.

CAREER OPPORTUNITIES

There is a steadily growing market in private industry for students whose training combines skills sharpened by both the Humanities and Arts. 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 of this program will be very attractive to teacher-training programs as well as academic Ph.D. programs. Graduates may find 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.

Application Process for the Humanities and Arts Major

New students are not admitted directly to the Humanities and Arts major. Continuing students apply to change their major to Humanities and Arts no earlier than the fall quarter of their sophomore year. Complete information about changing majors to Humanities and Arts is available at http://www.due.uci.edu/Change_of_Major.html. Students must submit a transcript and meet the change-of-major criteria for each of the two departments they propose to combine. In addition, a program of study, approved by the designated faculty member in the Claire Trevor School of the Arts and in the School of Humanities, is required for admission to Humanities and Arts. Students are strongly encouraged to consult with the Humanities Student Affairs Office early in their decision to apply to Humanities and Arts.

REQUIREMENTS FOR THE BACHELOR'S DEGREE

University Requirements: See pages 57-62.