Dr. Mikita Brotman
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
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.
for her bibliography.
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
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
Click here for
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
Dr. 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.
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Sardonicus: Apocalyptic and Pathological Laughter," Humor -The
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of Women in Muslim Society," presentation and panel discussion. College
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"Palimnesis: A Trope
for Lesbian Re-memory in Julie Dash's
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Dust.” Time, Memory, Text, the 12th
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Narration in Assia Djebar's
Graduate Student Conference, Purdue University, February 2000.
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History-Telling: Sexual Identity, Writing the Body and the Narrative of
Female Historical Memory in Emine Sevgi Ozdamar's
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Caravanserai." Voices From The
Margin, 1St Ethnic Women' Writers Conference. Purdue
University, Calumet, April 1999.
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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,
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"The Politics of 'Feminine
Writing' in the Context of Tri-Cont Feminisms." Conference on Gendering
the Academy, Purdue University, March 1996.
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Alumni Conference, Hungarian Academy of Sciences. Budapest, Hungary, 16
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.
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.
Native American Oral Tradition." Leiden University, Netherlands. 29
"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
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Dissociative Effects on Viewers." Division of Media Psychology. American
Psychological Convention. Washington, D.C. 17 August 1992.
Myth of Originality, the Originality of Myth." Division on Psychology
and the Arts. American Psychological Association Convention. Boston. 12
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Association Convention. New Orleans. 15 August 1989.
Film Adaptation of The Color Purple: Extra Messages About Black
Women and Men." Popular Culture Association Conference. New Orleans. 23
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Convention. New York. 29 Dec. 1987.
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Association for Philosophy & Literature. University of Kansas. 1 May
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MLA. N. Y. 29 December 1986.
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.
Williams and Claude L6vi-Strauss on Introducing Writing to the Indians."
MLA Convention. Washington, D.C. 28 December 1984.
Post-Structural Theory of the Family." Bilingual Symposium on
Post-Structuralism University of Ottawa. 12 May 1984.
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.
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
to Dominick LaCapra's "Some Problematic Features of the 'Culture'
Concept." Center for the Humanities colloquium Wesleyan University. 11
"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
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
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.
Idea of Covenant in American Puritanism" Columbia University. 19 Nov.
"John Winthrop's'Modell of Christian Charity."' NEH
Haverford College. Haverford, PA. 20 July 1979. JOURNALISM
"Protest is Patriotic."
All" Section. 2 February 1991.
MICA's literary arts magazine, Spring
Magazine, Spring 1998, "An Interview with
Artist Mark Selander" Maryland TESOL conference 1998, presentation on
Teaching Rhetorical Discourse
Spring 1998, An Activity Lesson Plan
The Internet TESOL
Journal, May 1998, two articles on ESL Instruction
Spring 1998, two poems published
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
to Our Ears
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
Creative Alliance, "The
Big Show", September 1999, March 2001
Howard County Council for
the Arts show, January 2000
individual art show at Simon's Pub, Fells
Point, December 2000 Butchers Hill House Tour 2001, brochure design /
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