Published, Performed Presented: Faculty Accomplishments

Ernest Abuba (theatre) was awarded a National Endowment for the Arts grant.

Neil Arditi (literature) published "The Unfinished Poetry of Samuel Greenberg," an essay, in the spring 2013 issue of Parnassus: Poetry in Review.

Nancy Baker (philosophy) published "The Difficulty of Language: Wittgenstein on Animals and Humans" in the anthology Language, Ethics, and Animal Life: Wittgenstein and Beyond (Bloomsbury, 2012).

David Bernstein (history) lectured on "Freedom and Creativity in Illuminated Manuscripts" at the Community Congregational Church in Tiburon, California, in September. He spoke about "The Ideological Antecedents of Google Logos: Creativity in Illuminated Manuscripts" at the Wellfleet Public Library in Massachusetts in November.

As part of Sounding Beckett, a collaborative project, the Roger Shapiro Fund for New Music commissioned Chester Biscardi (music) to compose a piece titled "Footballs" for flute, oboe, two guitars, tingsha, violin, and violoncello. It was produced by Marsyas Productions and premiered off-Broadway in September at Classic Stage Company in Manhattan.

In July, Adam Brown (psychology) published "Memory's malleabilty: Its role in shaping collective memory and social identity" in Frontiers in Cognition. In January, he published "Experimentally Examining the Role of Self-Identity and Autobiographical Memory in Posttraumatic Stress Disorder" in the anthology Clinical Perspectives on Autobiographical Memory (Cambridge University), "Episodic and semantic components of autobiographical memory and future thinking in posttraumatic stress disorder" in Memory (co-authored with Nicole Kouri ’12), and "Positive and negative emotion prospectively predict trajectories of resilience and distress among high-exposure police officers" in Emotion.  Also in January, Brown received a Congressional Directed Medical Research grant to study memory in US veterans returning from Iraq and Afghanistan.

Rachel Cohen (writing) published "Priceless," an essay in the New Yorker in October, and "Gold, Golden, Gilded, Glittering" in the November/December issue of The Believer.

Kevin Confoy (theatre) appeared opposite Loretta Swit in Neil Simon’s Barefoot in the Park at the Forestburgh Playhouse in New York. It was one of several shows he has acted in recently at the Playhouse, where he also serves as resident director and coordinator of the SLC Playhouse Apprenticeship Program.

In November, Mary Dillard (history) edited a special issue on gender and education for JENdA: Journal of Culture and African Women Studies, an online journal that strives to hear perspectives of African women and scholars on African history, culture, and politics. 

In April, David Fieni (French) published "Ernest Renan," an entry in Gale Cengage Learning’s Dictionary of Literary Biography: Orientalist Writers. In December, he published an article titled "What a Wall Wants, or How Graffiti Thinks: Nomad Grammatology in the French Banlieue" in the journal diacritics, and in January, the article "Algerian Women and the Inverntion of Literary Mourning" appeared in Dalhousie French Studies. Over the summer, he also contributed "French Decadence, Arab Awakenings: Figures of Decay in the Nineteenth Century Arab Nahda" to Duke University’s journal boundary 2.

In September, Marvin Frankel (psychology) published "How non-directive therapy directs: the power of empathy in the context of unconditional positive regard," an article in Person-Centered & Experiential Psychotherapies. In November, he delivered a lecture on "The Empathic Attitude" for the New York Mediation Society on Long Island.

Melissa Frazier (Russian) published "Sun-bathed Steppes in French Prisons:  Bresson Reading Dostoevsky" in the fall issue of Ulbandus. In October, she spoke on "The Science of Sensation:  Dostoevsky, Wilkie Collins, and the Detective Novel" at New York University’s Slavic Colloquium. In November, Frazier participated in a panel discussion on "Tolstoy, Dostoevsky, Turgenev" at the 2012 Association for Slavic, East European, and Eurasian Studies convention in New Orleans.

In October, Peter Kyle (dance) performed "100 DAYS"—a 60-minute solo built from borrowed movements gathered over 100 consecutive days of studying 100 people as they moved through their daily lives—at Triskelion Arts in Brooklyn; the piece featured music by William Catanzaro (dance). Kyle performed the piece again in December for the Second Contemporary Dance Festival: Western Frontier, sponsored by Casa de las Artes Proyecto Ensamble in Colima, Mexico, where he also taught two master classes for local professionals. In January, Kyle led phase one of a new creative performance project for young artists in Flint, Michigan.

Mary LaChapelle (writing) received a 2012 New York Foundation for the Arts fellowship.

Greg MacPherson (theatre) designed the lighting for a series of "Summer Shorts" at the 59E59 Theater B in New York City in August. In December, he designed the lighting for "Peter Pantomime," a tap-dance interpretation of Peter Pan, for MMAC, as well as for "It’s a Jungle Out There," a series of one-act plays at the 52nd Street Project, both in New York City.

In August, James Marshall (computer science) co-authored "Interactional Motivation in Artificial Systems: Between Extrinsic and Intrinsic Motivation" and "The Small Loop Problem: A Challenge for Artificial Emergent Cognition," which were published in Proceedings of the 2012 Institute of Electrical and Electronics Engineers’ Conference on Development and Learning and Epigenetic Robotics and Proceedings of the 2012 International Conference on Biologically Inspired Cognitive Architectures, respectively. These articles were also presented at international scientific conferences held in San Diego and Palermo, Italy.

In October, Priscilla Murolo ’80 (history) lectured on "Re-Imagining Feminism" at the University of Maine at Machias, and in November, she presented a paper titled "The Forces of Disorder: Indian Fighters Confront the Pullman Strike" at the annual meeting of the American Studies Association in San Juan, Puerto Rico.

In September, Poiesis Editrice published an Italian translation of El Sueno de Ursula ("Ursula's Dream"), a novel by Maria Negroni (Spanish). In November, Negroni published Teatro de Sombras ("Shadow Theater"), a collection of poems(Bonobos); she also read her poetry at the First Irish Spanish Literature Festival for Trinity College Dublin and Instituto Cervantes in Ireland. The same month, Negroni delivered a lecture on "Translation and its Verbs" at the Universidad de Buenos Aires International Conference on the Politics of Translation in Argentina.

In August, David Neumann (theatre) participated in a panel discussion for Dance/NYC about his experience fundraising using Kickstarter. Neumann also choreographed Fun Home, a musical based on the graphic novel by Alison Bechdel, which was presented in October and November as part of the Public Theater's Public Lab season in New York City.

In November, Dennis Nurkse (writing) published the poems "Dog to Pain" and "Nike at Twilight" in the Times Literary Supplement (UK) and "August on the Coast" in Ploughshares. In September, he read his work at The Poetry Foundation in Chicago; in October, at Poetry Santa Cruz in California; and in November, at the Blacksmith House in Cambridge, Massachusetts.

In September, John O'Connor (visual arts) published "Artist on Artist: John O'Connor on the Work of Katie Bell," an essay in Bomb magazine. In November, he gave a visiting artist lecture about his work at the Maryland Institute College of Art.

In October, Stephen O'Connor (writing) published a poem titled "Above the Lake" in Beloit Poetry Journal. He gave a reading at the Franklin Park Beer Garden’s reading series in Brooklyn in November. In December, he published "Ranking Student Writing as Bad Pedagogy and a Bogus Pretense of Objectivity" in the anthology Teaching Creative Writing (Palgrave Macmillan), as well as a story titled "We Want So Much to Be Ourselves" in New England Review. In January, he published stories "Decoherence" in Black Clock and "Next to Nothing" in Conjunctions.

In December, Gilberto Perez (film history) published "Bourgeois Nightmares: Gilberto Perez on Michael Haneke" in the London Review of Books (Vol. 34, No. 23).

In September, Kevin Pilkington (writing) read his poetry at the Burlington Book Festival in Vermont and at the Shippan Literary Group’s Summer Shares program in Connecticut. In December, he spoke about his book The Unemployed Man Who Became a Tree (Black Lawrence, 2011) at the Wilton Reading Group in Connecticut. 

In September, Martha Rhodes (writing) read her work at Pacific Lutheran University in Tacoma, Washington, and at Open Books, a poetry bookstore in Seattle. She also received a poetry fellowship from the Aninstantia Foundation of California.

In October, Sara Rudner (dance) performed "Cage on Vinyl on Marley" at Norte Maar and the National Academy Museum in New York City, contributing a 15-minute collaborative piece created with SLC alumni and a 15-minute improvised solo. In November, she performed "No Music, No Title, No Text, No Funding" for Platform 2012: Judson Now at Danspace Project at St. Mark's Church in New York City—a 12-minute version of a collaborative work with more alumni—as well as her solo performance of "The Talky," an improvised conversation involving dancing and responses to audience queries.

In September, Mark Shulman (history) published "Lead Me, Follow Me, or Get Out of My Way: Rethinking and Refining the Civil-Military Relationship" in the Army War College Monograph Series. In October, he participated in a panel discussion titled "Teaching International Law: Principles for Framing a Survey Course" at the American Branch of the International Law Association’s International Law Weekend 2012 in New York. He also served as program chair for the conference. The following month, he delivered a lecture about the concept of national security in the United States from 1890 to 1920 at the Conference on the History of the Concept of Security at the University of Copenhagen and the Royal Danish Academy of Sciences and Letters.

For the "Crossing Boundaries" series at Dixon Place in Manhattan, Kathy Westwater MFA ’01 (dance) performed "Chambered (Solo)," a piece that responds to the site of Fresh Kills Landfill on Staten Island. Westwater also had a residency this fall at the Millay Colony for the Arts in Austerlitz, New York, where she also worked on a project about Fresh Kills.