Dr. Mikita Brotman

Mikita Brottman was educated at St. Hilda's College and St. Hugh's College, University of Oxford, where she obtained a PhD in English Language and Literature. Her main area of interest is the apocalyptic impulse in contemporary culture. She is the author or editor of five books, the latest of which, Car Crash Culture, was published by Palgrave in January 2002. She publishes regularly in academic journals like Film Quarterly, New Literary History and English Review, as well as alternative publications like Headpress. She also reviews movies for Indiewire and other film magazines, both in England and the U.S. Formerly Assistant Professor of Comparative literature at Indiana University in Bloomington, she is currently a professor in the Department of Language and Literature at the Maryland Institute College of Art.  Click here for her bibliography

Dr. Soheila Ghausey

Soheila Ghausey was born in Hamburg, Germany in 1963 and moved to Kabul Afghanistan in 1964.  She was simultaneously enrolled in the local Malalai girls' school in Kabul and the German International School of Kabul until her family relocated, in short succession to Hamburg, Germany in 1973 and New York State in 1974.  In 1976, Ghaussy moved back to Hamburg where she finished her high school education and graduated with a baccalaureate from Theodor Heuss Gymnasium.  She studied English and Middle Eastern Studies at the University of Hamburg and graduated with a Masters degree  while working as an ESL instructor for various private language institutes, as a translator for Grunar & Jahr, a large German publishing house, and as a journalist for one of Germany's leading newspapers, die Welt.  She was also active as an editor for a private English poetry journal, and involved in various English Theatre Projects in Hamburg, notably the University of Hamburg's Theatre Project University Players.  In 1991, Ghaussy relocated to the USA to continue her graduate studies.  She studied Comprehensive Literature at Purdue University, where she taught in the German and English department, and added an ESL qualification to her PhD in 2001.  Ghaussy confesses that her interests are "Eclectic to say the least.  As an uprooted person with no language to call my own and massive identity issues, I find that I don't want to  -- and really can't -- narrow my field of interest to just one thing."  Ghaussy has published articles in various German and American literary journals.  She has been a professor in the Language and Literature department since 2001, has taught film and film theory, colonial and postcolonial literature, and has been lecturing on Third World women and women in Afghanistan.  An article on Afghan children and war is due to appear this year in The Effects of War on Children, edited by Leonora Foerstel.  In her private time, Ghaussy likes to travel, write, sew, and take her dogs for extended walks in the park.  Click here for her bibliography.

Harry Mattison

Harry Mattison was born in New York City in 1948. For over twenty years he worked as a journalist and photographer in Central and Latin America Africa and the Middle East. His work has appeared in Time, Life, The New York Times, Der Spiegel, The London Sunday Times, Nouvelle Observateur, Figaro. Stern, Paris Match, and Double Take. In 1982 he received The Robert Capa Gold Medal from the Overseas Press Club for his work in El Salvador. In 1994 the Harbor Gallery and the William Joiner Center for the Study of War and Its Social Consequences of the University of Massachusetts-Boston, mounted a twenty-year retrospective of his photography. He is a co-founder of The Iron Range Community Documentation Project, where he designed and directed an interdisciplinary program for the University of Minnesota, involving more than 120 writers and photographers working in distressed communities on Minnesota's Iron Range. He has also worked as an editor for Granta magazine and as an advisor and site coordinator for "Writers Corps" a project of AmeriCorps. He has lectured at universities both here and abroad and continues to work in Central America, most recently in Honduras, where he is completing an archive on human rights documentation. He is a 1999 recipient of a D.C. Arts Council Grant and, in 2000-­2001, his work was exhibited at the Fuji Art Museum in Tokyo. He lives with his wife, Carolyn, and their son, Sean, in Maryland.  Click here for his bibliography.

Dr. Robert Merrill


Dr. Margaret Morrison


Dr. John Peacock

John Peacock, a graduate of Harvard and Columbia Universities, is Professor of Literature at the Maryland Institute College of Art in Baltimore.  His writing has appeared in over ten journals.  He has given over twenty-five invited readings across the U.S. and Europe in settings ranging from local libraries to universities to the Budapest Academy of Sciences.  He was a Senior Fulbright Lecturer, and his work has been supported by grants from the Mellon Foundation and the American Philosophical Society.  John Peacock lives in Takoma Park with his wife and son.  Click here for his bibliography.

Carole Poppleton

I began teaching when I was a graduate student pursuing an MA in literature. Like most students, I was hungry for money and thought that teaching writing and discussing short stories would be a rewarding way to spend time outside of my own studies. I often think of those first classroom experiences and how little I actually knew about teaching. All I can hope is that what I lacked in formal training I made up for in enthusiasm. I did discover, however, that I enjoyed working with students and that I had a knack for explaining things in a concise and understandable manner. What I was uncertain of, though, was whether I wanted to make a career out of teaching. Therefore, when I heard about teaching opportunities in Japan, I jumped at the chance to go. I figured I could travel a bit, learn about another culture and decide if I truly wanted to become a teacher full time. I sent a dozen or so resumes to Japan and took a job in a private language school all within a matter of weeks of my initial decision.  I spent almost two years in a "small" (well, over a million people) seaside town on the main island of Honshu. My town, Niigata, faced north toward Siberia, which should give you insight as to its climate: cold and snowy in winter, sticky and humid in the summer. Despite all the adjustments I had to make, I did discover that I really loved teaching and, specifically, teaching English to non­native speakers (EFL / ESL). While working in Japan, my youngest student was five, my oldest well into his seventies. I instructed English grammar, listening and reading courses as well as those centered on conversation and American cultural. It was very gratifying and a lot more fun than I had expected. I learned so much from my students and I really felt appreciated, as if I were helping them to discover something valuable and exciting. Based on my time overseas, I decided to redirect my studies and to specialize my teaching in the field of ESL. I received a diploma in TEFL (Teaching English as a Foreign Language) in 1991 and a MA in Teaching in 1995.  From my education and my 12 years experience in the field of teaching and ESL, I have developed a pedagogy that is sound, yet flexible. As a teacher I have adopted what is commonly called a Whole-Language approach to learning. This methodology asserts that language acquisition is inclusive: the receptive skills of listening and reading are integrated fully with the productive skills of speaking and writing. Acknowledging and utilizing these elements helps me to create a scaffold for learning and gives the student maximum exposure to the target language. It is also imperative that students learn in a meaningful context; whatever we are reading about or responding to via writing must be of interest to the student. In the past I have often used art and artists as a thematic base for my composition classes. This has guaranteed me that almost all students will be able to connect with the material on some level. I have recently altered my approach, however, and now teach a more structured form of academic writing, using a text specifically designed for ESL students. The readings are sequenced in length and difficulty and the writing assignments that spring out of these readings are also sequenced, allowing the student to formulate a firm foundation in composition and to build upon that in increasingly more difficult linguistic assignments. I adhere to the belief that we rise to the level of expectations set for us; thus I attempt to teach just beyond a student's actual level to encourage growth and learning. This is not an easy feat when one's classroom is filled with students of varying levels of proficiency. It requires that 1, as a facilitator and teacher, work with students individually and respond to student work frequently.  I used to believe that teaching was something one does, but I now believe that teaching or, rather, being a teacher, is something one is. It is not a job that one "leaves" at the end of the day. It is an ongoing process of learning, sharing, and growing, for if I am not a perpetual student, how can I expect that same level of inquisitiveness from those whom I teach? I hope that I relate my enthusiasm for my subject matter to my students. I want them not only to become better speakers and writers of English but also to develop themselves as independent thinkers and life-long learners. Every experience, every encounter is an opportunity for personal growth and maturation. I stress to my students the importance of seeing the "connectedness" of things and of moving beyond themselves in order to obtain a more informed understanding of the world and their place in it.  In order for me to remain informed, I must participate in groups and organizations that support my discipline. I have been an active member of TESOL and Maryland TESOL for years. I am in my third year on the Board for Maryland TESOL and I co-edit the newsletter. Since I took over the directorship of the College's Writing Center in 1999, I have also become reacquainted with the philosophies that surround how to support writing, how to conduct successful tutorials and how to manage a Center whose primary goal is to be a safe, comfortable and helpful place for writers of all levels and disciplines to seek assistance. I have found it especially useful to attempt to integrate my knowledge of how to work effectively with non-native speakers into the training materials for tutors who staff the Center.  Finally, along side my work as a teacher and the Director of the Writing Studio, I am also a practicing visual artist. I have been making art since I was a child as creativity was highly valued in my family. I have experimented with a variety of media, from black and white photography to throwing on a potter's wheel. The form I like best at this stage in my life is mixed media because I can incorporate materials such as oils, cloth, print and pastels into my collages. I feel very fortunate to teach at MICA since I am constantly being exposed to world-class artists who are my colleagues and to innovative, creative artists who are my students.  Click here for her bibliography.

Dr. Christopher Shipley

Christopher Shipley earned his Ph.D. in English language and literature from the University of Chicago and has held faculty appointments at the Pennsylvania State University, the University of Maryland, and Goucher College. He is currently Professor of English at the Maryland Institute, College of Art in Baltimore, Maryland, where he has also served as Dean of the Liberal Arts and Associate Dean for Academic Affairs. His interests and expertise include Contemporary Drama, Fiction Writing, Literary Theory, and the Narrative. He has published both scholarly essays and fiction. Christopher's Irish Week 1999 class focused on contemporary Irish drama, featuring the work of such playwrights as Brian Friel and Martin McDonagh.


Staff Bibliographies

Mikita Brotman

Select Bibliography I. BOOKS

Car Crash Culture (ed.), NY: Palgrave St. Martin's, 2002. Jack Nicholson, (ed.), London: Creation, 2000.

Hollywood Hex: An Illustrated History of Cursed Movies, London: Creation, 1999.

Meat is Murder! An Illustrated Guide to Cannibal Culture, London: Creation, 1998, 2001. Offensive Films: Toward an Anthropology of "Cinema Vomitif," Westport: Greenwood, 1998


"Risus Sardonicus: Apocalyptic and Pathological Laughter," Humor -The International Journal of Humor Research, forthcoming 2002.

"The Evil Clown: Autopsy of an Archetype," Projections: The Journal of Psychoanalysis and Cinema, forthcoming 2002.

"The Fading of the Self: J.G. Ballard/David Cronenberg's Crash, " (with Christopher Sharrett), Literature Film Quarterly, forthcoming 2002.

"`Everybody Loves Somebody': The A&E `Rat Pack Documentaries," Biography: The Interdisciplinary journal o f Biographical Studies 23.1, February 2000.

"The Last Stop of Desire: London's "Covent Garden Market and the Spatial Text of Consumerism," Consumption, Markets and Culture, vol, 1:1, August 1997.

"Ritual, Tension and Relief: The Terror of The Tingler," Film Quarterly, Summer 1997.

"Return of the Freakshow: Carnival (De)Formations in Contemporary Culture," Studies in Popular Culture 2, April 1996 (winner of the George Whatley Award for the best article of 1996).

"'There Never Was a Party Like This': Blood Feast and the Primal Act of Cannibalism," Continuum, 5:1, February 1996.

"Recarnivalizing the Taboo: The Mondo Film and the Opened Body," CineAction special issue: "Murder in America," 3: Fall 1995.

"Classical Trivia: The Rhetoric of Page Three," PostScript, April 1995.

"Joyful Mayhem: Bakhtin, Football Songs and the Carnivalesque," Text and Performance Quarterly, October 1994.

"Bakhtin and Postmodernism," Warwick Work in Progress, January 1993. "Bakhtin and Popular Culture," New Literary History, Summer 1992. III. BOOK CHAPTERS

"'Kinda Funny Lookin": Steve Buscemi and Fargo," in William Luhr, ed., Fargo, New York: Cambridge University Press, forthcoming 2002.

"Why I Hate Gwyneth Paltrow: A Look Back at Anger," in Kerri Sharp, ed., Inappropriate Behavior, London: Virgin, forthcoming May 2002.

"Burnt Offerings: The Movement for the Restoration of the Ten Commandments of God" and "Family Ties: The Lorber Society," both in Jack Sargeant, ed. Death Cults, London: Virgin, forthcoming Summer 2002.

"The Imbecile Chic of Jerry Lewis," in Murray Pomerance, ed., Enfant Terrible. The Cinema of Jerry Lewis, New York: NYU Press, forthcoming Fall 2002.

"Myth and Magic: The Films of Kenneth Anger," in Jack Hunter, ed., Moonchild: The Films of Kenneth Anger, London: Creation, December 2001.

"Gershon Legman: Lord of the Lewd," in John Bancroft, Betsy Stirratt and Catherine Johnson, eds., Sex and Humor: Selections from the Kinsey Institute, Bloomington: Indiana University Press, December 2001.

"Introduction: Bruce Lee," in Jack Hunter, ed., Intercepting Fist: A History of Hong Kong Martial Arts Movies, London: Creation, May 2000.

"Star Cults / Cult Stars: Cinema, Psychosis, Celebrity, Death," in Graeme Harper and Xavier Mendik, eds., Unruly Pleasures: The Cult Film and its Critics, London: FAB Press, June 2001.

"The End of the Road: David Cronenberg's Crash and the Decline of the West" (with Christopher Sharrett), in Jack Sargeant & Stephanie Watson, eds., Lost Highways: An Illustrated History o f Road Movies, London: Creation, May 2001.

"Urban Neurosis and Dementia Suburbia: Martin Scorsese's Taxi Driver," "Return to

Cape Fear," both in Jack Hunter, ed., Robert de Niro London: Creation, December 1999.

"A Teenage Wet Dream: Johnny Depp in Nightmare on Elm. Street," "Cosa Nostra Imposter: Johnny Depp / Donnie Brasco," both in Jack Hunter, ed., Johnny Depp, London: Creation, December 1999.

"'A Kingdom by the Sea': Curtis Harrington's Night Tide and the Story of the Siren," "Tombstones in their Eyes': Easy Rider and the Death of the American Dream," "`Unspeakable Rites': Dennis Hopper and The Last Movie," all in Jack Hunter, ed. Dennis Hopper, London: Creation July 1999.

"'Cruel Men of Rome': Honour and Tragedy in Mean Streets," "Old Dog, New Tricks: Harvey Keitel and Reservoir Dogs," "`The Wages of Sin': The Tale of the Bad Lieutenant," all in Jack Hunter, ed., Harvey Keitel, London: Creation, July 1999.

"`Strange Images of Death': Manson, Polanski, Macbeth'" "Improper Burials, Unburied Memories: George E. Romero's Night of the Living Dead," both in Necronomicon 2, ed. Andy Black, London: Creation, August 1998.

"Once Upon a Time in Texas: The Texas Chainsaw Massacre as an Inverted Fairy Tale,"

"Psycho and The Birds: Hitchcock Revisited," "Compulsive Tales & Cannibal Feasts:

The Films of Herschell Gordon Lewis," Necronomicon 1, ed. Andy Black, London:

Creation, Jan.1997.

"Blue Prints and Bodies: Paradigms of Desire in Pornography," Ethics and the Subject: Critical Studies, ed. Karl Simms, Rodopi Press, November 1997.

Faecal Phantoms: Oral and Anal Tensions in The Tingler," in Cartmell, Kaye,

Hunter & Whelehan, eds., Trash Aesthetics: Film/Fiction 2, London: Pluto, March 1997.

Return to Top

Soheila Ghausey

Conferences and Presentations:

"Conflicting Interests, Middle East, United States, Central Asia," lecture and

discussion. With Bob Merrill. Johns Hopkins University. October 2001.

"Crisis in Context: Voices of Women in Muslim Society," presentation and panel discussion. College of Notre Dame of Maryland. November 2001.


"Women of the New Afghanistan," presentation and panel discussion. Anne Arundel Community College. Fee. 2002

"Palimnesis: A Trope for Lesbian Re-memory in Julie Dash's Daughters of the Dust.” Time, Memory, Text, the 12th Annual conference on Image and Text. Department of Romance Languages and Literatures, Binghampton University, March 2001.

"Re-gendering War Narration in Assia Djebar's L'amour, la fantasia." Multiplicities, Graduate Student Conference, Purdue University, February 2000.

"Sex, Lies and History-Telling: Sexual Identity, Writing the Body and the Narrative of Female Historical Memory in Emine Sevgi Ozdamar's Life is a Caravanserai." Voices From The Margin, 1St Ethnic Women' Writers Conference. Purdue University, Calumet, April 1999.

"Consuming Anorexia Nervosa: Power, Thinness and the Paradoxes of Self Starvation." "Oral Fixations", Conference on the Thematics of Incorporation, The George Washington University, April 1999.

"Narratives of History and Memory in the Turkish/German Novel." Graduate Student Symposium, Purdue University, November 1998.

"Of Wombs, Hybrids, and Other Strays, Some Feminist Thoughts on Masculinist Constructions of 'Hysteria' and 'Diaspora'." The International Conference on Narrative, Northwestern University, April 1998.

"The Politics of 'Feminine Writing' in the Context of Tri-Cont Feminisms." Conference on Gendering the Academy, Purdue University, March 1996.

"The Male Gaze and Malek Alloula's The Colonial Harem." The Cultural Studies Collective. Graduate Student Forum for Interdisciplinary Studies, Purdue University, October 1994.

"Ecriture Feminine in Assia Djebar's L'amour, la fantasia." Colloquium Series in Comparative Literature, Purdue University, March 1994.

"'Arg gefahrdete Mannlichkeit': Auflosung and Feminisierung in Hugo von Hofmannsthals Reitergeschichte." Colloquium Series in German Literature, Purdue University, May 1993.


Academic Publications:

"Contextualizing Plight: Afghanistan's History and Representations of Children." The Effects of War on Children. Lenora Foerstel, ed. Forthcoming.

"Das Vaterland verlassen: Nomadic Language and Feminine Writing in Emine Sevgi Ozdamar's Das Leben ist eine Karawanserei." The German Quarterly 72.1 (Winter 1999): 1-16.

"Narrating Female Sexual Identity, Memory and History in Emine Sevgi Ozdamar's Life Is A Caravanserai." Negotiating Space, Crossing Borders: Working Papers on Cultural Studies. Palmer, James M. and Laura Wilson, eds. West Lafayette: Purdue, 1999. 15-24.

"The Politics of 'Feminine Writing' in the Context of Tri-Cont Feminisms." Frauen in

der Literaturwissenschaft 49 (Dec. 1996): 42-44.

"A Stepmother Tongue: 'Feminine Writing' in Assia Djebar's Fantasia." World

Literature Today 3 (Summer 1994): 457-462.

"Unveiling Male Desire in Malek Alloula's The Colonial Harem." Frauen in der Literaturwissenschaft 40 (Dec. 1993): 44-50.

"'Heterosexual': Am I That Name?" Frauen in der Literaturwissenschaft 38/39 (Sept. 1993): 64-67.

"The Question of Essentialism, Helene Cixous and Luce Irigaray." Frauen in der Literaturwissenschaft 38/39 (Sept. 1993): 53-56.

Return to Top

Harry Mattison

The Indelible Image. Photographs of War, 1846 to the Present. (New York: Abrams, 1985); El Salvador: Work of Thirty Photographers. Edited with Susan Meiselas. Text by Carolyn Forche' (New York,: Readers and Writers, 1983); War Torn. Edited by Susan Vermazen. (New York: Pantheon, 1984); El Salvador: The Face of Revolution. Edited by Janet Shenck and Robert Armstrong.

Inhumanity and Humanity, (Tokyo: Tokyo Fuji Art Museum), 2000.

Writing Between The Lines: An Anthology of War and Its Social Consequences, (essays) edited by Kevin Bowen and Bruce Weigl (Boston: University of Massachusetts Press, 1997).

Return to Top

John Peacock

Poem "Dancing Blue Crane to His Mate." Takoma Voice. July 2002, p. 39.

Poem "Roaches." Takoma Voice. April 1999, p. 36.

Poem "Poetry of Things." forays. Ed. Ed Sylvia Fischbach-Braden. Baltimore: Maryland Institute College of Art, 1996. n.p.

Poems "Hybrid," "Me and the Village," "Skipjack." forays. Ed. Sylvia Fischbach-Braden. Baltimore: Maryland Institute College of Art, 1994. 38-39.

Poems "Last Mountain Keeper," "Hands of Henry Moore," "The Great Wallenda," "Mount Royal Station," "How the Dying Monarch Saw the Fall." forays. Ed. Sylvia Fischbach-Braden. Baltimore: Maryland Institute College of Art, 1993. rip.

Short story "Antigua." Gulf Stream Magazine 6 (June 1992): 9-12.

Poem "The Attention You Deserve." Fourteen By Four. Ed. Ann Fester. Baltimore: Dolphin St, Press, 1989. 19-22.


Return to Top

 Poetry & Prose Readings

Poetry Reading. District of Columbia Public Library, Takoma Park Branch. 4 December 2001 Creative Essay Reading. Maryland Institute College of Art. Baltimore. 9 September 2000.

Poetry Reading. Sponsored by Trim Tab University Press. Takoma Park, Maryland. 1 December 1992. Poetry Reading. Maryland Institute College of Art. 19 November 1991. Short Story Reading. Maryland Institute College of Art. 10 April 1989. Short Story Reading. Maryland Institute College of Art. 17 April 1988,




"Unwriting Empire by Writing Oral Tradition." In (Un)Writing Empire. Ed Theo D'haen. Cross/Cultures: Readings in the Post/Colonial Literatures in English 30. Amsterdam: Rodop, 1998. 295-308.

"Not All Black and White: Adapting Schindler's List. " Creative Screenwriting. 4.4 (Winter 1997): 54-64.

"Therapeutic Efficacy vs. Scientific Proof in Freud's Seduction and Oedipal Theories." The European Legacy 2:3 (1997): 25-36. Review of Changing the Rules: Psychology in the Netherlands, 1900-1985 by Trudy Dehue. The European Legacy 2:7 (1997): 1236. Review of Perversion and Utopia by Joel Whitebook. The European Legacy 2:6 (1997): 1054-1055.

Review of From Freud's Consulting Room: The Unconscious in a Scientific Age, by Judith M. Hughes. The European Legacy 1: 6 (1997): 2142.


"The Problem With Psychological Readings of ceremony. " Literature & Psychoanalysis. Proc. of 12th International Conference on Literature & Psychoanalysis. Ed. F. Pereira. Lisbon: Instituto Superior de Psicologia Aplicada, 1995. 51-57.

"Leslie Silko." Post-war Literatures in English 32 (June 1996): 1-8.

"Regions of the Soul: Ethnography as Narrative." In Writing Nation and Writing Region in America. Ed Theo D'Haen and Hans Bertens. Amsterdam: VU University Press, 1996. 189-196.

"Connecting Freud's Scientism, Ethnology, and Self-Analysis." Literature and Psychology. Proc. of I 1 the International Conference on Literature and Psychoanalysis. Ed. Frederico Pereira. Lisbon: Instituto Superior de Psicologia Aplicada, 1995.27-37.

"Breach or Covenant?: Melville's Question About Science, Philanthropy, and Law." In Covenant in the Nineteenth Century: The Decline of An American Politcal Tradition. Ed. Daniel Blazer. London: Bowman & Littlefield, 1994. 197-207.

"Adapting The Color Purple: When Folk Goes Pop." In Take Two: Adapting the Contemporary American Novel to Film. Ed. Barbara Tepa Lupack. Bowling Green: Popular Press, 1994. 161-189.

"Mysteries and Jeremiads: Narrative Elements in The Closing of the American Mind." In Beyond Chee and Bashing: New Perspectives on The Closing of the American Mind. Ed. James Seaton and William K Buckley. Bowling Green: Popular Press, 1992. 111-116.

"The Myth of Originality and Its Effect on the Liberal Education of Artists." Proc. of 4th Annual National Conference on Liberal Arts and the Education of Artists. N.Y.: School of Visual Arts, 1990. 40-48.

"Documentary's Complicity in the Problems It Addresses." Art and Academe 2.2 (Spring 1990): 53 - 68.

"Teaching Writing as a Studio Art." Proceedings of the First Annual National Conference on Liberal Arts and the Education of Artists. New York: School of Visual Arts, 1987. 41-47.

"Writing and Speech After Derrida: Application and Criticism" Europe and Its Others. Proc. 1984 Essex Sociology of Literature Conference. Vol. II. Ed. Francis Barker, Peter Hulme, et al. Colchester: U. of Essex, 1985. 78-90.

"From Child to Artist: A Developmental Perspective on Perceptual Patterning and Symbolism " Journal Of Mental Imagery 8 (1984): 33-42.

"Covenant, Body Politic, and the Great Migration: John Winthrop's 'A Modell of Christian Charity."' In The Covenant Connection Federal Theology And The Origins Of Modern Politics. Ed. D. Elazar. Durham: Carolina Academic Press, 1985.

"Principles and Effects of Puritan Appropriation of Indian Land and Labor." Ethnohistory 31 (1984): 39-44. "Liberty and Discipline in Covenant Theology." The Canadian Review of Anwrican Studies 15 (Spring 1984): 1-16.

"Self-Reliance and Corporate Identity: Emerson's Dialectic of Culture." Emerson Society Quarterly: A Journal of the American Renaissance 29 (1983): 59-72.


Unpublished Lectures & Conference Papers

"A Constructive Dialogue between Europeans and Native Americans." Fulbright Alumni Conference, Hungarian Academy of Sciences. Budapest, Hungary, 16 August 1996.

"The Ethics of Teaching Sacred Oral Traditions Upon Which a Pueblo Indian Novel is Based." 2nd International Conference, National Council of Teachers of English. Heidelberg University, Germany. 13 August, 1996.

"What Readings of Native American Literature Does Indian Law NOT Make Available." MLA Convention. Chicago. 29 December 1995.

"Filming an African-American Novel." Fulbright Lecture. Catholic University, Leuven, Belgium, 30 March 1994; European Institute for International Communication, Maastricht, Netherlands, 14 April 1994; Centre Universitaire, Luxembourg, 26 April 1994; Center for American Studies, Royal Library, Brussels, 27 April 1994; Catholic Translator's School, Antwerp, Belgium, 4 May 1994.

"Writing Native American Oral Tradition." Leiden University, Netherlands. 29 April 1994

"Photographing Tenant Farmers." Fulbright Lecture. University of Alicante, Spain, 18 May 1994; Univ. Nottingham, UK, 31 May 1994. "Freud's Talking Cure." Karl-Franzens University, Graz, Austria. 31 May 1994.

"Plato, Aristotle, Baudrillard: Three Theories for Understanding Television's Dissociative Effects on Viewers." Division of Media Psychology. American Psychological Convention. Washington, D.C. 17 August 1992.

"The Myth of Originality, the Originality of Myth." Division on Psychology and the Arts. American Psychological Association Convention. Boston. 12 August 1990.

"Psychoanalysis -- Science or Hermeneutic?" American Psychological Association Convention. New Orleans. 15 August 1989.

"The Film Adaptation of The Color Purple: Extra Messages About Black Women and Men." Popular Culture Association Conference. New Orleans. 23 March 1988.

"Commerce, Charity, and John Winthrop," Modem Language Association Convention. New York. 29 Dec. 1987.

"Reversing the Charges: the Postmodern Conference Call." International Association for Philosophy & Literature. University of Kansas. 1 May 1987.

"The Transcendental Man of the House: Masculine Role Conflict in Hawthorne." MLA. N. Y. 29 December 1986.

"The Interpreter's Dilemma in Early American Studies." University of Mississippi. Oxford. 16 May 1985. "Teaching Composition." Bloomsburg University. Bloomsburg, PA. 5 March 1985.


"Intergenerational Responsibility in Four Faulkner Novels." Conference on 20th Century Literature, University of Louisville. 22 February 1985.


"Roger Williams and Claude L6vi-Strauss on Introducing Writing to the Indians." MLA Convention. Washington, D.C. 28 December 1984.

"A Post-Structural Theory of the Family." Bilingual Symposium on Post-Structuralism University of Ottawa. 12 May 1984.


"The Family in Literature: Theories and Narratives of Family Change." Center for the Humanities lecture and colloquium Wesleyan University. Middletown, CT. 30 April and 1 May 1984.

Return to Top 

Response to William H. McNeill's "Myth and History." Center for the Humanities colloquium Weteyan University. 24 April 1984. "Freud and Criticism" Center for the Humanities lecture and colloquium Wesleyan University. 14 and 15 November 1983.


Response to Dominick LaCapra's "Some Problematic Features of the 'Culture' Concept." Center for the Humanities colloquium Wesleyan University. 11 October 1983.


"Introducing the Films of Tennessee Williams." Smithsonian Institution Special Events Program Washington, D.C. 4 August 1983. "The Working of Minds." Faculty colloquium of College of Arts and Sciences. American University. Washington, D.C. 6 May 1983. "Southern Literary Rebirth." College English Association. Notre Dame College of Baltimore. 12 March 1983.


"A Comparison of the Use of Symbols by the Child and the Artist." Chairperson's presentation at the Symposium on the Artist and Art Therapy, 6th American Imagery Conference. San Francisco. 6 November 1982.


"The Theory and Practice of Covenant in 17th-Century New England." Colonial and Federal American Literature Section. Northeast Modem Language Association Convention. Quebec. 1 I April 1981.


"The Idea of Covenant in American Puritanism" Columbia University. 19 Nov. 1980.


"John Winthrop's'Modell of Christian Charity."' NEH

 Summer Seminar, Haverford College. Haverford,  PA. 20 July 1979. JOURNALISM "Protest is Patriotic." Washington Post, "Free for All" Section. 2 February 1991.

Return to Top

Carole Poppleton


 Co-Editor of Forays, MICA's literary arts magazine, Spring 1998

Japanophile Magazine, Spring 1998, "An Interview with Artist Mark Selander" Maryland TESOL conference 1998, presentation on Teaching Rhetorical Discourse

Maryland TESOL, Spring 1998, An Activity Lesson Plan

The Internet TESOL Journal, May 1998, two articles on ESL Instruction Forays, Spring 1998, two poems published

Finalist in Maryland Poetry Review, 1998

The Internet TESOL Journal, October 1999, S. Cisneros' The House on Mango Street Co-editor of MaTESOL quarterly newsletter, 1999-present Professional Development Scholarship recipient, TESOL 2000 American Language Review, February 2001, feature article entitled Music to Our Ears

Maryland Institute Lucas Grant Recipient, March 2001 and February 2002 TESOL Higher Education newsletter, August 2001, feature article Writing Centers & ESL Students

MATESOL newsletter, October 2001, feature article The Art of Interviewing TESOL Conference 2002, presenter, "Literature, Creativity, and Bloom's Taxonomy"


Mixed Media Series l, individual art show at Funk's Democratic, September 1998 Mixed Media Series ll, individual art show at Simon's Pub, November 1998 Maryland Institute, College of Art Faculty Show, Fall 1998 -2002 Paper, Rock, Scissors, works shown at this Baltimore Gallery (February - May 1999)

The Artists of Butchers Hill, featured in Baltimore web site (www.butchershill.org) 1998-2002

Creative Alliance, "The Big Show", September 1999, March 2001

Howard County Council for the Arts show, January 2000

Organic Matters, individual art show at Simon's Pub, Fells Point, December 2000 Butchers Hill House Tour 2001, brochure design / cover art


Butchers Hill Association, 1995 - 2002; Marketing Committee - 1997 - 2002

Mt. Washington Pediatric Hospital, volunteer, October 2000 - present

Artistic Director / Coordinator, Simon's Restaurant & Pub, January 2000 - present

Return to Top