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<!--Generated by Squarespace V5 Site Server v5.13.158 (http://www.squarespace.com) on Wed, 22 May 2013 06:05:38 GMT--><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/"><title>Journal</title><subtitle>Journal</subtitle><id>http://www.toofrank.com/journal/</id><link rel="alternate" type="application/xhtml+xml" href="http://www.toofrank.com/journal/"/><link rel="self" type="application/atom+xml" href="http://www.toofrank.com/journal/atom.xml"/><updated>2013-05-02T07:53:14Z</updated><generator uri="http://five.squarespace.com/" version="Squarespace V5 Site Server v5.13.158 (http://www.squarespace.com)">Squarespace</generator><entry><title>Occupy Sandy Wedding Registries</title><id>http://www.toofrank.com/journal/2012/12/20/occupy-sandy-wedding-registries.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2012/12/20/occupy-sandy-wedding-registries.html"/><author><name>Frank Episale</name></author><published>2012-12-20T16:51:11Z</published><updated>2012-12-20T16:51:11Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><span>I thought I'd post a gentle reminder that the recovery from Sandy is ongoing, and people in NYC and NJ still need your help. One easy way to do a little something is to buy something from one of the Occupy Sandy "Wedding Registries."&nbsp;</span><br /><br /><span>I've been sending items from time to time since the registries went active. It doesn't have to cost a lot, and it can be a real help to people whose homes and businesses are still in ruins, and those who are volunteering to help the recovery.</span></p>
<p>Here are links to two of the registries:&nbsp;</p>
<p><br /><span>NYC (520 Clinton hub):&nbsp;</span><a rel="nofollow nofollow" href="http://amzn.to/UTBegU" target="_blank">http://amzn.to/UTBegU</a><br /><br /><span>NJ (Manahawkin):&nbsp;</span><a rel="nofollow nofollow" href="http://www.facebook.com/l.php?u=http%3A%2F%2Famzn.to%2FU0Cqy0&amp;h=WAQHXe4mtAQEoLvstxvkj3L3hfUDnrLMJMF7hPfN72Rq6gQ&amp;s=1" target="_blank">http://amzn.to/U0Cqy0</a></p>]]></content></entry><entry><title>Amendment I (or, Why We Matter)</title><category term="politics"/><id>http://www.toofrank.com/journal/2011/10/26/amendment-i-or-why-we-matter.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/10/26/amendment-i-or-why-we-matter.html"/><author><name>Frank Episale</name></author><published>2011-10-26T04:45:35Z</published><updated>2011-10-26T04:45:35Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.</p>]]></content></entry><entry><title>Invasion!</title><category term="self-promotion"/><category term="theatre"/><id>http://www.toofrank.com/journal/2011/10/11/invasion.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/10/11/invasion.html"/><author><name>Frank Episale</name></author><published>2011-10-11T15:29:24Z</published><updated>2011-10-11T15:29:24Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><span class="full-image-block ssNonEditable"><span><img style="width: 600px;" src="http://www.toofrank.com/storage/Invasion150.JPG?__SQUARESPACE_CACHEVERSION=1318348305448" alt="" /></span><span class="thumbnail-caption" style="width: 600px;">Photo Credit: Carol Rosegg. Photo Caption: Andrew Ramcharan Guilarte in The Play Company's production of Jonas Hassen Khemiri's INVASION! at The Flea - September 6 - October 1, 2011.</span></span>This month's CUNY Graduate Center <em>Advocate</em>&nbsp;includes my (belated) <a title="http://www.gcadvocate.com/2011/10/theater-review-invasion/" href="http://www.gcadvocate.com/2011/10/theater-review-invasion/" target="_blank">review</a> of Jonas Hassen Khemiri's fantastic play&nbsp;<em>Invasion!</em>, as produced by The Play Company at the Flea Theatre in September:</p>
<blockquote>
<p>For Khemiri, even though he allowed and even encour&shy;aged his col&shy;lab&shy;o&shy;ra&shy;tors in New York to change the set&shy;ting, and to adjust cer&shy;tain cul&shy;tural and top&shy;i&shy;cal ref&shy;er&shy;ences accord&shy;ingly,&nbsp;<em>Inva&shy;sion!</em>&nbsp;is a&nbsp;play about Swe&shy;den. That it feels so top&shy;i&shy;cal, timely, and rel&shy;e&shy;vant in a&nbsp;set&shy;ting 4,000&nbsp;miles from Stock&shy;holm, is cer&shy;tainly a&nbsp;credit to trans&shy;la&shy;tor Rachel Willson-Broyles and direc&shy;tor Erica Schmidt, who have suc&shy;cess&shy;fully made the play&nbsp;sound&nbsp;like New York, or like a&nbsp;ver&shy;sion of New York envi&shy;sioned by a&nbsp;play&shy;wright with a&nbsp;bit&shy;ing sense of humor and a&nbsp;love of lan&shy;guage. It is also, of course, a&nbsp;credit to Khemiri him&shy;self, who has writ&shy;ten a&nbsp;prob&shy;ing, intel&shy;li&shy;gent play that is at turns funny and alarm&shy;ing, chal&shy;leng&shy;ing and engag&shy;ing, polit&shy;i&shy;cal and heart-wrenching</p>
</blockquote>
<p>It also includes a few thoughts on a couple of recent visits to Broadway shows <em>Hair</em>&nbsp;and <em>Priscilla, Queen of the Desert:</em></p>
<blockquote>
<p>But here&rsquo;s the thing. I&nbsp;know some drag queens. And I&nbsp;know some hip&shy;pies. And they don&rsquo;t all look like Aber&shy;crom&shy;bie and Fitch mod&shy;els, or like they&rsquo;re audi&shy;tion&shy;ing for the next sea&shy;son of&nbsp;<em>True Blood</em>. The decades-long quest to address images of women&rsquo;s bod&shy;ies in pop&shy;u&shy;lar cul&shy;ture hasn&rsquo;t resulted in more real&shy;is&shy;tic images of women; it has instead resulted in less real&shy;is&shy;tic images of men. I&nbsp;guess that&rsquo;s a&nbsp;move toward equal&shy;ity in some sense (we&rsquo;re all objec&shy;ti&shy;fied now), and again: I&rsquo;m not entirely against the objec&shy;ti&shy;fi&shy;ca&shy;tion of bod&shy;ies and the com&shy;mod&shy;i&shy;fi&shy;ca&shy;tion of sex. But I&nbsp;do wish that in the the&shy;atre, of all places, we might make some effort to rec&shy;og&shy;nize that there is more than one way to be sexy, and that there are kinds of diver&shy;sity not reflected in Benet&shy;ton catalogues.</p>
</blockquote>
<p>You can read the full article&nbsp;<a href="http://www.gcadvocate.com/2011/10/theater-review-invasion/" target="_blank">here</a>.</p>]]></content></entry><entry><title>Jeffrey Wiesenfeld, Tony Kushner, and the Assault on Academic Freedom</title><category term="academia"/><category term="politics"/><category term="rant"/><category term="teaching"/><category term="theatre"/><id>http://www.toofrank.com/journal/2011/5/5/jeffrey-wiesenfeld-tony-kushner-and-the-assault-on-academic.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/5/5/jeffrey-wiesenfeld-tony-kushner-and-the-assault-on-academic.html"/><author><name>Frank Episale</name></author><published>2011-05-05T14:56:11Z</published><updated>2011-05-05T14:56:11Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>Tony Kushner is a red herring.</p>
<p>My first academic conference was a graduate Humanities conference at the University of California, Riverside in 2005, while I was still a Masters student at the University of Hawaiʻi at Mānoa. The keynote speaker that year was Judith/Jack Halberstam, a scholar and activist for whom I have a great deal of respect. During Halbserstam's mostly extemporaneous remarks, s/he took a detour to note what s/he saw as a potential chilling effect on the future of intellectual exchange and academic freedom. Looking back to the "culture wars" of the 1980s and 90s, Halberstam asserted that the war against artists that had been waged in the late 20th century would be waged against teachers and professors in the 21st century. We're next, s/he claimed. They're coming for us.</p>
<p>About eight months later, it should be noted, David Horowitz published his inflammatory (and ludicrous) shot across the academy's bow: <a href="http://www.amazon.com/gp/product/1596985259/ref=as_li_ss_tl?ie=UTF8&amp;tag=tofr-20&amp;linkCode=as2&amp;camp=217145&amp;creative=399349&amp;creativeASIN=1596985259" target="_blank"><em>The Professors: The 101 Most Dangerous Academics in America</em>.</a>&nbsp;a book marked, like much of what has followed, by intellectual dishonesty, out-of-context quotations, a dearth of primary sources, and deliberate distortions of the work of its subjects. Like much of Horowitz's recent work, it disguises these attempts at supressing free speech in the academy as an attempt to <em>preserve</em>&nbsp;free speech in the academy (see his Orwellian, deceptively resonable-sounding "<a href="http://www.studentsforacademicfreedom.org/documents/1925/abor.html" target="_blank">Academic Bill of Rights</a>.")</p>
<p>When I began my doctoral studies in 2006, I was proud to be studying at CUNY. This was partly because of the extraordinary <a href="http://web.gc.cuny.edu/theatre/faculty/index.html" target="_blank">faculty</a> of the <a href="http://www.gc.cuny.edu" target="_blank">Graduate Center</a>'s theatre department, many of whose books already adorned my shelves, but also because of the unique and inspiring history of the wider university. Founded as a tuition-free open-admissions institution (though neither free tuition nor open admissions survived the vissisitudes of the late twentieth century), the City University of New York has a long history of intellectual inquiry, community engagement, and the open exchange of ideas and beliefs across an extraordinary range of demographics.</p>
<p>Inevitably, I've suffered some bumps and bruises on the path to my PhD: Intra- and interdepartmental politics often subvert the ideal of collegiality; juggling writing, teaching, and paying bills extends the dissertation process; the two-tier labor system of teaching at the college level is rife with injustice and exploitation; etc. Most of these concerns are familiar to doctoral candidates at any university. They're part of the process: a collision of ideals, and pragmatism, and stamina, and attention span that mark the passage into the profession and help us determine what roles we want to play in the academy.</p>
<p>Most students, doctoral or otherwise, also experience frustration with administration and bureaucracy, particularly at public universities. CUNY is made up of twenty-three institutions that together serve approximately half a million students; there is no way to avoid some red tape entanglements. It should come as no surprise, then, that I have occasionally had to deal with administrative obstacles, both as student and as faculty, over the past several years.</p>
<p>The most disheartening and disillusioning aspect of my doctoral education, though, hasn't been confronting my own lapses in judgment, or the the limitations of my tenacity and time management; or navigating the personality quirks of senior faculty and administrative assistants; or dealing with delayed paychecks and lost paperwork; it has been the increasing centralization and polticization of authority in the university, too often leading to compromises in, and subversions of, open inquiry and academic freedom.&nbsp;</p>
<p>The latest example, the one that has spurred the writing of this post, is the CUNY Board of Trustees having voted to table a motion to honor Tony Kushner with an honorary degreee from John Jay College. Much has already been written about this debacle, about how Jeffrey Wiesenfeld, an investment consultant who was appointed to the board by former Governor Pataki, voiced his objection to Kushner's award on the basis of alleged anti-Israel statements. The rest of the board, unprepared to defend Kushner, hurried to table the motion and approve the University's other thirty-nine honorary degrees. The next day, the<em> <a href="http://www.thejewishweek.com/news/new_york/cuny_board_nixes_honorary_degree_playwright_tony_kushner" target="_blank">Jewish Week</a></em>&nbsp;reported on the events; Kushner <a href="http://www.scribd.com/doc/54643560/Letter-to-CUNY-Trustees-05-04-11" target="_blank">responded</a> forcefully; the<em> New York Times</em>&nbsp;started <a href="http://topics.nytimes.com/top/features/theater/newsandfeatures/people/tonykushner/index.html" target="_blank">covering</a> the story;&nbsp;faculty and students were <a href="http://playgoer.blogspot.com/2011/05/kushner-dissed-by-cuny.html" target="_blank">appalled</a>; John Jay's honorary degree committee was <a href="http://www.scribd.com/doc/54659826/JohnJayOnKushner4May11" target="_blank">livid</a>; CUNY's union <a href="http://www.psc-cuny.org/latest-news/psc-cuny-board-dishonors-university-nixing-honorary-degree-tony-kushner#PSC statement" target="_blank">responded</a>; <a href="http://www.thepetitionsite.com/1/Tony-Kushner-CUNY/" target="_blank">petitions</a> were launched; former honorary degree recipients started threatening to <a href="http://www.scribd.com/doc/54709370/ESchreckerReturnsCUNYHonoraryDegree" target="_blank">return</a> their degrees; and people with very different views on Israel than Kushner's, from <a href="http://www.scribd.com/doc/54743078/Ed-Koch-Letter" target="_blank">Ed Koch</a> to <a href="http://andrewsullivan.thedailybeast.com/2011/05/the-mind-of-jeffrey-s-wiesenfeld.html" target="_blank">Andrew Sullivan</a>, spoke out. By the time the <em>Times </em>editorial board <a href="http://www.nytimes.com/2011/05/07/opinion/07sat4.html" target="_blank">weighed in</a>, board chairman Benno Schmidt had <a href="http://issuu.com/bholmstrom/docs/board_of_trustees_exec_meeting___schmidt_s_stateme" target="_blank">called for</a> an emergency meeting to reconsider the decision to snub Kushner.</p>
<p>Along the way, we all learned <a href="http://www.nytimes.com/2011/05/06/nyregion/opponent-of-honor-for-tony-kushner-criticizes-palestinians.html" target="_blank">a little more</a> about Jeffrey S. Wiesenfeld.</p>
<p>(For a more thorough recounting of the Wiesenfeld-Kushner saga, check out the blog kept by the Graduate Center <em>Advocate </em><a href="http://www.gcadvocate.com/category/blogs/kushner-crisis/" target="_blank">here</a>).</p>
<p>It seems almost certain at this point that the Board of Trustees will reverse itself, and offer the honor to Kushner (who may or may not accept, given the drama of the past few days). But the resolution of this specific issue shouldn't be the end of the conversation.</p>
<p>Which brings me back to how I began this post: Tony Kushner is a red herring. Important as they are, even Israel, Zionism, and Palestine are, in this case, distractions from the core issue (though it is indeed troubling how often this debate, and this dynamic, catalyze such controversies). I've received a few responses from friends and colleagues asking how refusing to honor Kushner is repression of free speech: after all, no one is censoring him; they just don't want to honor him. Others have pointed out that they don't like "honorary degrees" anyway, seeing them as a hollow gesture that inadvertently devalues the years of work that go into receiving ACTUAL degrees. Jonathan Mandell, theatre critic for the&nbsp;<em>Faster Times</em>, recently posted to <a href="http://twitter.com/#!/NewYorkTheater" target="_blank">his twitter account</a> that "Kushner has been given 15 degrees from institutions of higher learning. He'll survive without a 16th."&nbsp;These objections, too, are beside the point.</p>
<p>By choosing to override the decision of John Jay's honorary degree committee, the Board of Trustees subverted both academic freedom and the autonomy of John Jay College's adminstrators and faculty. CUNY has long allowed its constituent institutions a great deal of autonomy, in part because a number of them (City College, Brooklyn College) predate CUNY itself. This has its advantages and disadvantages, of course, but one of the primary strengths of the City University system has been that its colleges maintain distinct identities and its faculties are able to exercise significant agency in how to best serve their respective communities. There is certainly room for streamlining certain aspects of the system, and an eye toward reform is a necessary part of university governance. But a disturbing trend has emerged throughout the university: the consolidation of power at the top of the proverbial food chain, disenfranchising both students and faculty.</p>
<p>Like Horowitz/Wiesenfeld-style attacks on academic freedom, this consolidation of authority attempts to masquerade as positive change for the university. In a lettter to the <em>New York Times</em>, Wiesenfeld wrote that "CUNY should remain a place of comfort and welcome for all of our students, faculty and administrators&mdash;including supporters of the Jewish state." This distorted notion of what academic freedom entails seems to imply that students should be "free" not to be exposed to ideas that will offend them, or make them uncomfortable.</p>
<p>Very similar arguments were made by State Assemblyman Dov Hikind, when he&nbsp;<a href="http://matzav.com/hikind-decries-appointment-of-pro-suicide-bomber-professor-to-brooklyn-college" target="_blank">pressured</a> the Brooklyn College administration to fire Adjunct Lecturer Kristofer Petersen-Overton, calling him "pro-suicide bomber." The administration did try to fire Petersen-Overton, but they pretended to be enforcing a policy that did not exist, attacking Petersen-Overton on the basis of his credentials and saying that they were attempting to preserve the high standards of the university. In reality, they were bowing to pressure from Hikind, Wiesenfeld, and others who deliberately distorted Petersen-Overton's politics and misrepresented the content of his syllabus. This political controversy was used in an attempt to undermine the agency and autonomy of the Political Science department, who had decided as a faculty to hire Petersen-Overton for the semester. (Read more about the Petersen-Overton case <a href="http://www.gcadvocate.com/category/blogs/academic-freedom/" target="_blank">here</a>.)&nbsp;</p>
<p>(When I say these distortions were deliberate, I may be giving too much credit to Wiesenfeld, et al.; I am not in fact convinced that they have the capacity to evaluate sources of information, or to navigate the complexities of academic writing. This is particularly concerning since Wiesenfeld, as a trustee of a major university, must be seen as an influence on students; how can I teach my students the importance of rigorous and ethical research practices when the people in charge of the university apparently haven't mastered those skills?)</p>
<p>CUNY's Graduate Council, which consists of elected representatives of various graduate programs throughout the system, has proposed a change to their bylaws that would prohibit students from running for Secretary of the Council, a move that council leadership says is not "substantive," but is pushing for anyway. (Read the Doctoral Student Council's response to this proposal&nbsp;<a href="http://www.cunydsc.org/sites/default/files/gradcouncilstudentrep.pdf" target="_blank">here</a>.)</p>
<p>In June, the CUNY Trustees will vote on a resolution that will give them a great deal more power over curriculum at the colleges. While University bylaws now state that "the faculty shall be responsible . . . for the formulation" of curriculum, the proposed changes would drastically reduce that authority to &ldquo;the faculty makes policy recommendations&rdquo;&nbsp;regarding curriculum. The ostensible reason for this change is to make it easier for students to transfer between colleges. The transfer issue is a real one, but the solution is a Trojan horse. (Read the CUNY union's statement on this proposal <a href="http://www.psc-cuny.org/clarion/may-2011/viewpoint-fake-solution-real-problem" target="_blank">here</a>.)</p>
<p>This last proposal, like the Kushner debacle, raises the question: who are the Trustees anyway? Who are these people who are in charge of university policy, and who seem to be taking more and more control over the fundamental decisions and structures of the colleges themselves?</p>
<p>The City University of New York's <a href="http://www.cuny.edu/about/trustees/board.html" target="_blank">Board of Trustees</a>&nbsp;is made up of seventeen members, fifteen of whom are political appointees (ten from the governor; five from the mayor). The president of the University Student Senate serves as a student representative. The chair of the University Faculty Senate serves as a faculty representative, but is a non-voting member because the trustees often have to vote on matters of labor relations. As the Graduate Center <em>Advocate</em>&nbsp;<a href="http://www.gcadvocate.com/2010/01/flash-back-september-2007-who-are-the-board-of-trustees-and-why-you-should-care/" target="_blank">points out</a>, "Of the fif&shy;teen appointed mem&shy;bers of the board, not one has a&nbsp;Ph.D., many have only B.A.s or M.B.A.s. and very few have any real expe&shy;ri&shy;ence in acad&shy;e&shy;mia beyond admin&shy;is&shy;tra&shy;tion. How these appointees, then, are sup&shy;posed to rep&shy;re&shy;sent and pro&shy;tect the inter&shy;ests of the stu&shy;dents, fac&shy;ulty, and staff of the uni&shy;ver&shy;sity is a&nbsp;ques&shy;tion worth ask&shy;ing."</p>
<p>(The <em>Advocate</em>&nbsp;also printed an <a href="http://www.gcadvocate.com/2010/02/whose-university/" target="_blank">editorial</a> last year, following through by calling for a radical restructuring of the board that would give far more representation and agency to students, faculty, and staff of the university.)</p>
<p>That the trustees are, on the face of it, not qualified to run an institution of higher learning, doesn't always seem to matter much. They often take the advice of faculty and administrators, deferring to the judgment of those who seem to know what they are talking about. With an increasing number of moves throughout the university to centralize and consolidate power, however, the importance of the board is coming more and more into focus.</p>
<p>The crisis of leadership at CUNY is, in my opinion, central to a much wider attack on the academy, and on education and intellectualism in the United States. From Wisconsin Republicans <a href="http://www.nytimes.com/2011/03/26/us/politics/26professor.html" target="_blank">demanding</a> access to the e-mails of a professor who ran afoul of them politically to the current "<a href="http://www.google.com/search?aq=f&amp;tbs=nws%3A1&amp;hl=en&amp;gl=us&amp;q=%22war+on+teachers%22" target="_blank">war on teachers</a>" being waged in legislatures and newsrooms around the country, it seems that Professor Halberstam may very well have been right.</p>
<p>We're next. They're coming for us.</p>]]></content></entry><entry><title>Teaching in the Age of Twitter</title><category term="academia"/><category term="film"/><category term="teaching"/><category term="technology"/><id>http://www.toofrank.com/journal/2011/3/7/teaching-in-the-age-of-twitter.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/3/7/teaching-in-the-age-of-twitter.html"/><author><name>Frank Episale</name></author><published>2011-03-07T06:10:37Z</published><updated>2011-03-07T06:10:37Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>STUDENT1: This essay is kicking my ass @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a></p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank"></a><a title="Frank Episale" href="http://twitter.com/#!/toofrank" target="_blank">toofrank</a>:&nbsp;@STUDENT1 That's why I told you to start writing it two weeks ago.</p>
<p>STUDENT1: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;it's not even the time, but the ideas! I'm lacking. But yes, I should've listened.</p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>:&nbsp;@STUDENT1&nbsp;The essay is really about understanding other people's ideas (I'd be more specific, but it depends on which you chose).</p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>:&nbsp;@STUDENT1&nbsp;It's not about YOUR ideas. It's about your ability to critically engage with someone else's ideas.</p>
<p>STUDENT1: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;Both Bazin and Bonitzer were so eloquent and insightful, I almost feel unworthy trying to synthesize what they were saying.</p>
<p>STUDENT1: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;But alright. I'll keep that in mind. BTW I'm doing question 2</p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>:&nbsp;@STUDENT1&nbsp;Ha! Suck-up ;-) But yeah; they're both famous for a reason.</p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>: @STUDENT1&nbsp;Question 2 = surface vs. underbelly. You're more than capable. It's something you've thought about on your own, I'm sure.</p>
<p>STUDENT1: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;No lie! I started on #1 and called it quits because Bazin was judging me from the afterlife.</p>
<p>STUDENT1: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;Thanks! I'll do my best.</p>
<p>STUDENT2: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;@STUDENT1&nbsp;im having a perfectly wonderful time on this essay. i already wrote a kickass intro and i have 4 pages of notes.</p>
<p>STUDENT2: @<a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>&nbsp;@STUDENT1&nbsp;also, im doing extra research because its just so FASCINATING! mwahahahahaha!</p>
<p><a rel="nofollow" href="http://twitter.com/toofrank" target="_blank">toofrank</a>:&nbsp;@STUDENT2&nbsp;@STUDENT1&nbsp;I'm probably going to turn this whole conversation into a blog post: Teaching in the age of Twitter. ;-)</p>]]></content></entry><entry><title>A Note Sent to My Students This Morning</title><category term="teaching"/><id>http://www.toofrank.com/journal/2011/3/6/a-note-sent-to-my-students-this-morning.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/3/6/a-note-sent-to-my-students-this-morning.html"/><author><name>Frank Episale</name></author><published>2011-03-06T16:30:21Z</published><updated>2011-03-06T16:30:21Z</updated><content type="html" xml:lang="en-US"><![CDATA[<div id="_mcePaste">To: Students of History of the Western Theatre II, Brooklyn College, Spring 2011</div>
<div>From: Frank Episale, instructor</div>
<div>Subject: e-mail etiquette</div>
<p>&nbsp;</p>
<div><span style="border-collapse: collapse;">Dear Students,<br /><br />Several recent e-mails have spurred me to write this. While I keep class very casual, and while I encourage you to call me by my first name, etc., a certain level of professionalism is still called for in communications.<br /><br />More specifically: when you write to a professor, an employer, or anyone you want a certain kind of respect from, you should write in complete sentences, with proper punctuation, capitalization, and grammar. And you should proofread the e-mail before you press "send." This is true even if you are typing on your phone.<br /><br />Of course, mistakes are inevitable (I certainly make my share of typos), but taking at least the minimal care to present yourself as an educated adult both demonstrates respect for the person to whom you are writing and suggests that you deserve respect in return.<br /><br />Best,</span></div>
<div><span style="border-collapse: collapse;">Frank</span></div>
<div>
<p>&nbsp;</p>
</div>]]></content></entry><entry><title>MLK on "Moderates" (think "centrists")</title><category term="politics"/><id>http://www.toofrank.com/journal/2011/1/17/mlk-on-moderates-think-centrists.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2011/1/17/mlk-on-moderates-think-centrists.html"/><author><name>Frank Episale</name></author><published>2011-01-17T17:53:36Z</published><updated>2011-01-17T17:53:36Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p><em>. . . I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro's great stumbling block in his stride toward freedom is not the White Citizen's Counciler or the Ku Klux Klanner, but the white moderate, who is more devoted to "order" than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says: "I agree with you in the goal you seek, but I cannot agree with your methods of direct action"; who paternalistically believes he can set the timetable for another man's freedom; who lives by a mythical concept of time and who constantly advises the Negro to wait for a 'more convenient season.' Shallow understanding from people of good will is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection.</em>&nbsp;</p>
<p><span style="white-space: pre;"> </span>Martin Luther King, Jr.,&nbsp;<a href="http://www.stanford.edu/group/King/frequentdocs/birmingham.pdf" target="_blank">"Letter from a Birmingham Jail" (1963&ndash;1964)</a></p>]]></content></entry><entry><title>In the Wake</title><category term="theatre"/><id>http://www.toofrank.com/journal/2010/11/21/in-the-wake.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2010/11/21/in-the-wake.html"/><author><name>Frank Episale</name></author><published>2010-11-22T04:21:02Z</published><updated>2010-11-22T04:21:02Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>At our first full rehearsal for the University of Hawai<span class="okina">ʻ</span>i's 2005&nbsp;production of <em><a title="http://www.publictheater.org/component/option,com_shows/task,view/Itemid,141/id,1012" href="http://the.honoluluadvertiser.com/article/2005/Sep/14/il/FP509140308.html" target="_blank">Vinegar Tom</a></em>, my friend and director Lurana O'Malley urged us to allow our characters to be as strange and specific as we ourselves are in life. Each of us, especially when we are alone or with only those we are close to, has odd habits, quirky behaviors, wrinkles in our personalities that rarely find their way on stage. Actors too often create characters who are so efficiently in service to <em>intention</em>&nbsp;and <em>action</em>, to <em>objective</em>&nbsp;and <em>tactic</em>, that the messiness, the strangeness, the <em>specificity</em>&nbsp;and <em>eccentricity</em>&nbsp;of the human being are lost.</p>
<p><span class="full-image-float-left ssNonEditable"><span><img src="http://www.toofrank.com/storage/iw1.jpg?__SQUARESPACE_CACHEVERSION=1294270444824" alt="" /></span><span class="thumbnail-caption" style="width: 320px;">Marin Ireland and Michael Chernus. Photo by Joan Marcus.</span></span>One of the things I admired most about Lisa Kron's <em><a href="http://www.publictheater.org/component/option,com_shows/task,view/Itemid,141/id,1012" target="_blank">In the Wake</a></em>, which I saw toward the end of its run at the Public Theater a couple of months ago, was that Kron wrote characters that couldn't possibly be played without quirks. The actors didn't have the option to make too much sense, or to be so committed to moving their objectives (and the plot) forward that they reduced the lives of their characters to cogs in a well-made machine. (Of course casting first-rate actors like Marin Ireland didn't hurt the cause.)</p>
<p>The play isn't perfect, but Kron does a remarkable job channeling her formal restlesness, in the context of this relatively conventional play, into the shape of her characters. The result, perhaps surprisingly from this playwright, is a text inhabited by people I'd never met but recognized almost immediately. They could very well have been my neighbors in the early post-9/11 years during which the play is set. The oddness of the characters didn't distract from the issues raised by the play, it made them easier to engage with. <em>In the Wake</em> isn't quirky for quirky's sake; it's startlingly realistic and believable (with the exception of some ill-considered direct-address monologues).</p>
<p>I often declare my suspicion of, and disdain for, words like "universal," carping that universalism is more often an act of erasure than of illumination. Another reason the quest for something "universally" identifiable, of course, is that identifiication itself is personal. If there is a "universal" experience, it is the recognition that we can never quite understand each other, and that we can never quite be understood. Empathy is not about complete understanding; it is about the fact that it is okay <em>not</em>&nbsp;to understand completely, and the fact that each of us is as mysterious to our respective "other" as the other is to us.</p>]]></content></entry><entry><title>A Queer Sort of Bibliography</title><category term="academia"/><category term="books"/><category term="gender"/><category term="politics"/><category term="rant"/><category term="sexuality"/><category term="theatre"/><id>http://www.toofrank.com/journal/2010/10/22/a-queer-sort-of-bibliography.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2010/10/22/a-queer-sort-of-bibliography.html"/><author><name>Frank Episale</name></author><published>2010-10-23T02:59:18Z</published><updated>2010-10-23T02:59:18Z</updated><summary type="html" xml:lang="en-US"><![CDATA[<p><em>In my second semester of doctoral studies, in Jean Graham-Jones's seminar on critical theory, we were tasked with creating a twelve-text annotated bibliography (and an introductory note) around an area of our choosing. My resulting "queer theory" bibliography was idiosyncratic, and personal, and full of the kinds of stylistic mistakes made by young scholars learning to play in a theoretical sandbox. It was a valuable exercise, though, and is one of the things I want to revisit/rethink as I prepare my dissertation proposal. I'm posting it here (warts and all; I've made very few changes) with the caveat that it was written a few years ago and that the texts I selected and the ways I described them would like be different were I to write it today.</em></p>

<p><em>The introduction is below, with my comments on the individual texts after the jump.</em></p>

<p><em>As always, comments welcome.</em></p>

<p>Compiling a &ldquo;definitive&rdquo; list of queer studies texts is impossible for a number of reasons: Not only is there simply too much relevant material, even given the relatively recent emergence (and, some would argue, decline) of queer theory and politics, but the modus operandi of queerness is that it resists and rejects definitions and definitive frameworks. Queerness is not a statement of identity but a disarticulation and fragmentation of identity processes. I am particularly intrigued at the strategies of queer politics, which gathered a movement not by asserting the sameness of those gathered but by attempting to draw attention to their difference: difference from the mainstream, difference between the individual identities that made up the group, and even difference from moment to moment, because queerness is also a rupturing of narrative.</p>

<p>Of course queer theory and politics has often been entangled and confused with lesbian and gay liberation, a movement with a related but much different agenda. While lesbians and gays seek access to heteronormative structures, queers seek to explode those structures rather than expanding them. Lesbian and gay politics has indignation, while queer politics has rage. Lesbian and gay culture has disco, while queer culture has punk, and queercore. Even as I write these things, however, I&rsquo;m aware that I am constructing and reinscribing binaries that don&rsquo;t hold up; this is often one of the difficulties of discussing queerness.</p>

<p>As a theatre scholar and practitioner, I&rsquo;m particularly interested in the idea that the theatre is an inherently queer space, a space that draws attention to the mutability and multiplicity of identity and desire. I am also curious about the possibility of other queer spaces, and the degree to which those spaces have similarly conflicted relationships with mainstream culture.</p>

<p>I selected the twelve texts below as an attempt to sketch out one version of the shifting boundaries of queer discourse. In order to do so, I have included texts that predate queer theory, most notably Michel Foucault&rsquo;s seminal <em>The History of Sexuality, Volume One</em>. If there is one predictable, identifying common element of queer texts it is their reliance on Foucault. Many of the texts engage directly with his formulation of the discursive processes of knowledge production while others invoke him as a kind of proto-queer figure. Queerness is postmodern not only because it is based largely on Foucault&rsquo;s post-structuralist analysis, but because it is a rejection of modernism&rsquo;s narrative of progress and wholeness.</p>

<p>Several texts are from the very early 1990s, when queerness was first being articulated as a concept. The texts from 1990 did not consider themselves queer texts at the time of their writing because &ldquo;queer theory&rdquo; as a term would not be coined until 1991, in an essay by Teresa DeLauretis. Still: Judith Butler&rsquo;s <em>Gender Trouble</em>, while a work of feminism, has often been noted as a foundational text for queer theory, an assessment with which I agree.</p>

<p>I wanted to mix culminating overviews, more theoretical texts, more political texts, and examples of queer discourse as applied to theatre studies, and I have tried to do so. I do fear that theatre receives too little attention here, but twelve slots proved inadequate in some ways, to what was perhaps too broadly-conceived a project. Arguably, though, a part of the queer project(s) is that they always present identity as theatre. Some would argue that I should write &ldquo;identity as performance,&rdquo; because queer identity is defined not by categorization but by action and process. All identity is performance, however; queer identity is aware of itself as performance and is thus rendered theatrical. All of the texts that follow, then, are about the process of constructing and performing identity rather than the reification of identity categories.</p>

<p>Certainly there are other books that could have been listed here, including some that are directly concerned with theatre. Among those authors whose work I regret not including are bell hooks, Dana Takagi, Jeffrey Weeks, and Laurence Senelick. In many cases I wanted to include a given author but wasn&rsquo;t sure which text to use. Judith Butler, Judith Halberstam, Eve Kosofsky Sedgwick, and Teresa De Lauretis could all certainly have been represented by different texts. Halberstam might in fact have been better served by inclusion of her <em>Female Masculinity</em>, but I wanted to use something with an overtly activist energy, which her short essay &ldquo;Imagined Violence/Queer Violence&rdquo; captures well. It also captures the very specific historical context within which queer discourse emerged, and may provide clues as to why it is a discourse that has arguably begun already to disappear or, perhaps more accurately, to be absorbed into other conversations.</p>

<p>Queer theory has often been criticized as being largely apolitical, and yet there is (was?) certainly a political consciousness to queerness. Even so, I do think the dissipation and decline of queerness in the early 21<sup>st</sup> century is related to its politics. The rage that drove queer politics was built largely on the terror of the AIDS crisis, disillusionment with the aftermath of Reaganism, frustration with the pseudo-conservatism, assimilationism, and exclusionism that too often defined feminism and gay politics, etc. Some have suggested that queer discourse and the identity politics of the 1990s have lost their central place in the wider cultural and scholarly conversation because the geopolitical turmoil exemplified by September 11, 2001 makes relentless focus on individual identity seem trivial. I would suggest, however, that oppression, war, famine, colonial imperialism, economic injustice, etc. are always about individuals. These are not compelling issues because they are about masses and entire demographics; they are compelling because they are about masses <em>of individual identities</em>. Oppression is enabled in part by the notion of individual identity processes as embodying stable and representable categories. Queer discourse is relevant to geopolitics.</p>

<p>Certainly some of what has happened to queer discourse is that, having established its grammar, it has been incorporated into other disciplines. David Savran has written quite openly that, while he finds queer methodologies to be useful, he also finds them to be inadequate on their own in pursuing his cultural materialist project. I think that kind of dispersal is a positive development, and not the cause of the dissipation of queer discourse. What I am afraid of is the possibility that queer dissipation is the result of a kind of complacency. Queer identity politics began as largely a US-American phenomenon (though that was soon complicated). The rage and terror inspired in part by the AIDS crisis may well have subsided in a time when AIDS is treatable and life with AIDS is sustainable&mdash;at least from the privileged perspective of the first world.</p>

<p>But why aren&rsquo;t queer activists outraged about AIDS continuing to ravage third-world countries? Why aren&rsquo;t queer activists outraged by torture, and economic injustice, and famine around the world? My queasy suspicion is that queer activists have failed to find motivation in injustice not at their doorstep. Queerness has been re-identified with gayness (i.e. <em>Queer as Folk</em>, <em>Queer Eye for the Straight Guy</em>) not just by the general public but by queers ourselves. Much of queer culture was always a little too white and a little too male, but AIDS and other crises served to shatter the comfortable privilege of that outmoded brand of gayness. Now that fewer white men are dying invisibly from sex, however, identification with, and rage on behalf of, the oppressed no longer seems as urgent. Gayness has been reinscribed as a stable and productive identity category. Why celebrate David Wojnarowicz when we can celebrate Nathan Lane and David Geffen? Queerness has lost out to gayness, perhaps, because too many queers were just gays in queer drag to begin with.&nbsp; Queerness may have served as another kind of closet for gays who wanted desperately to be complacent but who could only escape from fear of the plague by responding with rage.</p>

<p>Clearly, I&rsquo;m writing in part from a place of frustration. But it should be said that the queerness is inevitably marginal, and that those margins have not disappeared altogether. There are still signs of queer life in theorists like Lee Edelman and in performers like John Cameron Mitchell. While it&rsquo;s not at all difficult to argue that everybody is queer, Edelman has a point when he writes that the queer is always that which exists outside the boundaries of categorized identity. That which can&rsquo;t, or won&rsquo;t, be defined is queer.&nbsp;</p>

<ul>
<li><strong>Bristow, Joseph.&nbsp;<em>Sexuality</em>. London: Routledge, 1997.</strong>&nbsp;</li>
<li><strong>Butler, Judith. <em>Gender Trouble: Feminism and the Subversion of Identity</em> (1990). New York:&nbsp;</strong><strong>Routledge, 1999.</strong></li>
<li><strong>De Lauretis, Teresa. &ldquo;Queer Theory: Lesbian and Gay Sexualities, An Introduction&rdquo; in&nbsp;</strong><strong><em>Differences: A Journal of Feminist Cultural Studies</em>&nbsp;3, no. 2 (1991): iii&ndash;xviii.</strong></li>
<li><strong><strong>Dyer, Richard and Derek Cohen. &ldquo;The Politics of Gay Culture&rdquo; in&nbsp;<em>The Culture of Queer&nbsp;</em></strong><strong>by Richard Dyer. London: Routledge, 2002.</strong></strong></li>
<li><strong><strong><strong>Edelman, Lee.&nbsp;<em>No Future: Queer Theory and the Death Drive</em>. Durham, NC: Duke University&nbsp;</strong><strong>Press, 2004.</strong></strong></strong></li>
<li><strong>Foucault, Michel.&nbsp;<em>The History of Sexuality, Volume 1: An Introduction</em>&nbsp;(1976). Translated by Robert&nbsp;</strong><strong>Hurley. New York: Pantheon, 1978.</strong></li>
<li><strong>Halberstam, Judith. &ldquo;Imagined Violence/Queer Violence: Representation, Rage, and&nbsp;</strong><strong>Resistance&rdquo; in&nbsp;<em>Social Text</em>&nbsp;37 (1993): 187&ndash;201.</strong></li>
<li><strong><strong>Halperin, David M.&nbsp;<em>Saint Foucault: Towards a Gay Hagiography</em>. New York: Oxford&nbsp;</strong><strong>University Press, 1995.</strong></strong></li>
<li><strong><strong><strong>Savran, David.&nbsp;<em>A Queer Sort of Materialism: Recontextualizing American Theater</em>. Ann&nbsp;</strong><strong>Arbor: University of Michigan Press, 2003.</strong></strong></strong></li>
<li><strong><strong><strong><strong>Sedgwick, Eve Kosofsky.&nbsp;<em>Epistemology of the Closet</em>. Berkeley: University of California&nbsp;</strong><strong>Press, 1990.</strong></strong></strong></strong></li>
<li><strong><strong><strong><strong><strong>Solomon, Alisa. &ldquo;Great Sparkles of Lust: Homophobia and the Antitheatrical Tradition&rdquo; in&nbsp;</strong><strong><em>The Queerest Art: Essays on Lesbian and Gay Theater.&nbsp;</em></strong><strong>Edited by Alisa Solomon and Framji Minwalla. New York: New York University Press, 2002.</strong></strong></strong></strong></strong></li>
<li><strong><strong><strong><strong><strong>Sontag, Susan. &ldquo;Notes on Camp&rdquo; (1964, revised 1966), in&nbsp;<em>Camp: Queer Aesthetics and the&nbsp;</em></strong><strong><em>Performing Subject</em></strong><strong>. Edited by Fabio Cleto. Ann Arbor: University of Michigan Press, 1999.</strong></strong></strong></strong></strong></li>
</ul>
]]></summary></entry><entry><title>A note on my teaching philosophy.</title><category term="academia"/><category term="self-promotion"/><category term="teaching"/><category term="theatre"/><id>http://www.toofrank.com/journal/2010/8/29/a-note-on-my-teaching-philosophy.html</id><link rel="alternate" type="text/html" href="http://www.toofrank.com/journal/2010/8/29/a-note-on-my-teaching-philosophy.html"/><author><name>Frank Episale</name></author><published>2010-08-30T02:33:12Z</published><updated>2010-08-30T02:33:12Z</updated><content type="html" xml:lang="en-US"><![CDATA[<p>Tomorrow is my first day of teaching for the new semester. I added the following "note" to my Theatre History syllabus today, and thought a few of you might find it worth reading. Or mocking, depending on your mood and your inclination...</p>
<p>*</p>
<p>For me, the course description above raises as many questions as it answers. As we move through the semester, I hope to challenge preconceptions and dominant notions about theatrical practice, theatre history, and the theatrical present, as well as the meanings of terms like &ldquo;the West&rdquo; and the role of theatre and performance in the larger culture. Questions I hope to explore include:</p>
<ul>
<li>What is theatre? Why do we make theatre? Is theatre important? </li>
<li>Who is the &ldquo;author&rdquo; of a theatrical production?</li>
<li>What constitutes &ldquo;good&rdquo; or &ldquo;important&rdquo; theatre?</li>
<li>What does theatre tell us about the culture and politics of a given historical moment? </li>
<li>How can studying past events help us to understand the present and shape the future of both our art and our society? </li>
<li>What is &ldquo;the West&rdquo;? </li>
<li>What is the canon? &nbsp;How do we choose which texts make it into a course on theatre history?</li>
<li>Whose stories do we erase by focusing on a handful of figures in a handful of countries?</li>
<li>Why should theatre practitioners (actor, directors, designers, etc.) care about theatre history and theatre theory?</li>
</ul>
<p>I am much more interested in your ability to engage with such questions than I am in your ability to memorize series of facts. Unless specifically noted, you should feel free to consult your notes and texts for all assignments, including exams. Information is widely available. What is less common than <em>access</em> to information is the skill required to navigate, evaluate, curate, and interrogate that information. I am not here to dispense knowledge, but to facilitate learning</p>]]></content></entry></feed>