Ignite - Fall 2011 by The University of Scranton

Introduction to FALL 2011 • Vol. 2, Issue 1

New Yorker by birth, lawyer by training, and most recently, center director at Santa Clara University, I’m delighted to be the new President of The University of Scranton. This new job excites me because our University takes its Jesuit mission and identity seriously. While many question the continuing vitality of the “Ignatian tradition” on contemporary Jesuit campuses, Ignite|Faculty work in the Ignatian tradition unapologetically celebrates that vitality. And a closer look at this issue on Scranton’s commitment to culture and the arts just might allay the fears of many naysayers. Why highlight this commitment to culture as characteristically “Jesuit” or “Ignatian”? An institution in the Jesuit tradition —The University of Scranton, for one — ought to be the place that reverences culture. So says Jesuit historian Kevin P. Quinn, S.J.

Stephen Schloesser from Boston College. For him, the Jesuit way of proceeding “is marked by a strong, perhaps even extreme, belief in the compatibility of Christ and culture. This Jesuit accommodation departs from other Catholic voices

that hold for a strong division, distinction, or even opposition between Christ and culture, between the Church and world. If Catholicism is a big tent, Jesuits stand somewhere close to the door with at least one foot jutting out into the world. This isn’t an accident or an aberration. It’s essential to the church’s institutional location of the Society of Jesus.” 1 How does The University of Scranton reverence culture? This issue of Ignite provides an answer: culture expressing itself in art, theatre and music prospers on this campus. And the cultural focus here extends into our local community and even beyond to other countries. St. Ignatius of Loyola, founder of the Jesuit order, long ago challenged his companions to go and set the world on fire. Scranton faculty and staff take this challenge seriously, and provide a learning experience in the arts that ignites the minds and hearts of our students. As the University’s new President, I’m quite proud to acknowledge and to celebrate the work of colleagues, both faculty and staff, in the Ignatian tradition of reverencing culture, especially through the arts. I can frankly attest that the spirit of St. Ignatius is alive and well at Scranton. While this is most welcomed, it is only our starting point.

Kevin P. Quinn, S.J. President

Anyone who has been to Rome has seen the remarkable work of Gian Lorenzo Bernini. He spent most of his life in Rome, defining the Baroque style of architecture, and creating many stunning works, from the Colonnade in front of St. Peter’s to the Fountain of Four Rivers. What most people do not know is the influence of the Jesuits on this great artist, and for that matter the influence of the Jesuits and Jesuit education on a wide range of the arts. Bernini was powerfully influenced by his experience with the Spiritual Exercises, demonstrating the powerful confluence of genius and devotion. Now of course Scranton is not Rome, and the following pages do not chronicle the work of Bernini. But they do Harold W. Baillie, Ph.D.

chronicle the success of many artists in a variety of disciplines that extend the inspiration of the Spiritual Exercises and reflect the vitality of the Jesuit experience on the campus of The University of Scranton. Faculty, students and

staff are all represented here, complemented by the University’s patronage of other local artists and its efforts at historical preservation of the artistic blessings of the Scranton area. While we are known for the quality and success of our science and professional programs, students and other members of the University community spend their days surrounded by the arts and a commitment to culture, indulging the body and engaging the eye, the ear, and the mind. We seek to create an environment that not only offers a superior curricular experience, but offers an experience that attracts and attends to the whole person. These efforts to celebrate beauty and human society are intended to help form the character and souls of each of us, with the ultimate goal of forming men and women who find and celebrate God in all things. The following pages present a partial record of that environment and its success. Certainly, instruction and education are critical elements of the experience — and you will see some of that — , but the arts and culture are embraced for their own sake and for their impact on individuals as part of a vital community. Many of the following programs are not for credit: they depend upon and encourage the voluntary commitment of the students and community members. I think we have been wonderfully successful and invite you to discover the fruits of our communal efforts in the spirit of Bernini and the Spiritual Exercises.

Stephen Schloesser, S.J., “Jesuit Hybrids, Catholic Modernities, Future Pasts,” Inaugural Lecture, LoSchiavo Chair in Catholic Social Thought, University of San Francisco, September 1, 2005: 7, http://www.usfca.edu/uploadedFiles/ Destinations/Institutes_and_Centers/Lane/Events/documents/Schloesser_JesuitHybrids_InauguralLecture.pdf. 1

Harold W. Baillie, Ph.D. Provost & Vice President for Academic Affairs

Associate Provost for Civic Engagement and Academic Mission

collaboration cooperation community

EDITOR Steven G. Jones, Ph.D.,

DESIGNER Jason Thorne

CONTRIBUTING EDITORS Valarie Clark Tommy Kopetskie Lori Nidoh Anne Marie Stamford

CONTRIBUTING AUTHORS Josephine M. Dunn, Ph.D. Michael Knies Darlene Miller-Lanning, Ph.D. Richard A. Larsen Ann Pang-White, Ph.D.

2 A Tour of Asia

without Leaving Campus No Apology Necessary: The Theatre Program at The University of Scranton

Lee Penyak, Ph.D.

Terry Connors Kathy Fallon Carol McDonald

PRESIDENT Rev. Kevin P. Quinn, S.J.

PROVOST & VICE PRESIDENT FOR ACADEMIC AFFAIRS Harold W. Baillie, Ph.D. Ignite is published by The University of Scranton for its faculty, staff, students, alumni and friends. Office of Academic Affairs The University of Scranton, Scranton, PA 18510 (570) 941-7520 Website: www.scranton.edu/academics/ provost/index.shtml Public Relations Office The University of Scranton, Scranton, PA 18510-4615 (570) 941-7669 Website: www.scranton.edu/pr

What’s In There? A Guide to the Special Collections of the Weinberg Memorial Library

For the Love of Music: The University of Scranton’s Musical Identity

We Speak As One

Learning about Latin America In & Out of the Classroom

Faculty Enhancement Awards WEB EXTRAS: Read more online at scranton.edu/ignite

table of contents

PHOTOGRAPHY

A Tour

Asia

without Leaving Campus

Why Tour Asia?

In response to Asia’s emergence as a prominent

actor on the world stage, the University created the Asian Studies Concentration. Ann Pang-White, Ph.D., program director of the University’s Asian

he University of Scranton took its student

body and the local community on a tour of Asia during the 2010-11 academic year. Marketing its newest program, the Asian Studies Concentration, the University’s faculty organized a

Studies, expresses that the development of the concentration is both a natural and critical function of a vital liberal arts program seeking to prepare its students to interact in the global village. She passionately believes that the new concentration is necessary to the role of the University “to carry out the ideal of cura personalis and the magis by providing an educational environment that mirrors the real world so that it can prepare our students to be better world citizens and leaders of tomorrow.”

yearlong “Tour of Asia” — a series of activities focusing on educating the community about the political, economic, historical and cultural issues of Asian nations. Without ever leaving the campus, students and community members of Northeast Pennsylvania were given a taste of Taiwan, Japan, Korea, Thailand, China, India, Nepal, Bhutan and the Philippines. The tour raised student and faculty awareness of the new concentration and benefited the community by providing cultural activities for local residents while including various cultural groups in the planning and performances. This year’s events have been all-inclusive: it has been University, community and world created, driven and attended. Ann Pang-White, Ph.D., is a native of Taiwan and received her doctorate from Marquette University. She is chair of The University of Scranton’s Philosophy Department and director of the Asian Studies Concentration. In 2011, she received the Provost’s Award for Excellence in Advancing Global Learning.

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Food &

Understanding

Food plays an important role in any culture as

a converging point of the multifaceted cultural elements. During the Indian tour directed by Dr. Roy, A Taiwan BangZi Opera Company performer demonstrates the interaction of costuming and dance that is an essential component of Chinese opera.

fellow “travelers” had the opportunity to sample Indian cuisine such as jamun, mint chutney, samosa, rosogolla, gulab paneer pakora and vegetable pakora — foods consistent with vegetarian life style, which

Sightseeing, Culture

&History

Films, a photo exhibit, lectures, ethnic dance performances, calligraphy classes, martial arts classes and a Chinese New Year Party were a few of the activities that drew hundreds of participants. A Taiwanese Film Festival was made possible through the collaborative efforts of the University and the Taipei Economic and Cultural Office. University faculty members presented many of the lectures during the yearlong tour. Susan Trussler, Ph.D., and David Black, Ph.D., lectured on China, while William Parente, Ph.D., Kouji Kimura, Kihoon Kwon, Mary

is based on the spiritual expression fulfilling Vedic law of non-injury.

April’s “Tour of Asia: The Philippines” was ar-

ranged with the cooperation of ARA, the University’s food service, to present a history of the Philippines through food. George Gomez, Ph.D., provided students with diverse Filipino food while explaining the historical influences on the cuisine. Dr. Gomez also teaches a travel course in the Philippines, Biology 295: Philippines Organisms and Eco-systems. He finds that “the island‘s varied geographical and cultural qualities provide students experiences with the eco-diversity, as well as the cultural diversity of the island.” Filipinos are of Malay, Chinese, Japanese, Spanish and Arab descent. His contribution to the tour was a natural extension of his teaching and research in the Philippines.

Anne Foley, Ph.D., Dr. Pang-White and Shushua Fan, Ph.D., gave presentations on post-World War II Japan and Korea. Abhijit Roy, Ph.D., gave a presentation on the Indian Festival of Color, Holi, a spring religious festival celebrated by Hindus. Culminating the India, Nepal and Bhutan month, the Asian Studies Concentration helped promote the University’s Education for Justice lecture “Building Bridges to Peace,” presented by Rajmohan Gandhi, grandson of Mahatma Gandhi, which drew an audience of more than 600 students and community members. Fall 2011 The University of Scranton

Performers from the Taiwan BangZi Opera Company take a bow following their performance of “Bond,” an adaptation of Shakespeare’s “Merchant of Venice,” in Scranton in April 2011.

Arts &Entertainment:

Taiwan BangZ i Opera

Local Community:

Nepalese/Bhutanese

Another phase of the “Tour of Asia” was a co-

operative effort between the University, community sponsors and the Taiwanese government. In April, the internationally renowned Taiwan BangZi Opera presented a hands-on demonstration and workshop entitled “Carnival of Chinese Opera” on campus. During three Chinese arias, the performers demon-

Few people in Scranton are aware of the

strated the Chinese art of waving 2.7-meter sleeves

area’s growing Nepalese/Bhutanese commu-

while dancing, performing martial arts, walking and

nity. More than 80 families have moved here

acting on stilts, and the use of a traditional 18- meter

from Bhutan, which could no longer sustain

silk band to simulate flight. The carnival also pro-

the Nepalese refugees, many of whom lived in

vided the audience with traditional opera dance and

Bhutan for more than 20 years. Members of the

martial art lessons and Chinese opera face painting.

faculty and staff reached out to this new com-

The workshop generated an enthusiastic response

munity to participate in the March tour. This

from the community. On the day of the carnival, the

Scranton group of Nepalese/Bhutanese brought

DeNaples Center was packed with hundreds of com-

an artifact display and gave a presentation about

munity members, children and students from the

their countries and their cultures. Later that eve-

University, as well as several local, middle and high

ning they performed a traditional dance. Their

schools. The next day the opera company performed

contribution provided those in attendance with

“Bond,” an adaptation of Shakespeare’s “Merchant

a better understanding of Northeastern Penn-

of Venice” from a Chinese perspective. The perfor-

sylvania’s newest community members. Their

mance was presented free of charge at the Scranton

participation has opened a dialogue between the

Cultural Center and featured 40 performers, led by

immigrant community and the University about

famed Hai-ling Wang, diva of Taiwan BangZi Op-

how each can continue to reach out to the other.

era, and a live Chinese orchestra.

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Gifts: Something to Bring Home

In addition to presenting educational and cul-

tural programs, the Asian Studies Concentration has generated several community outreach programs. Among them is a Chinese language school under the direction of Dr. Fan of the University’s History Department. The Chinese school currently has 51 students from age 3 to 60 years old in five classes. There are two classes for children from Chinesespeaking families and three classes for children and adults from non-Chinese-speaking families. According to Dr. Fan, “this Chinese school is quite different from many of the weekend Chinese language schools across the United States because most other Chinese language schools are for children from Chinesespeaking families.”

Through funding by China’s Ministry of Educa-

tion, Henan College sent two Chinese teachers to the University. One is taught Mandarin in the World Languages and Cultures Department and the other was assigned to the Abington Heights School District, a local school district in Clarks Summit. This collaboration allowed the University to share its resources with the greater community.

Local residents from Bhutan and Nepal demonstrate traditional clothing and dance as part of the “Tour of Asia” at The University of Scranton.

The Map

for

Touring Asia

University curricula evolve in order to reflect the changes in the world and to prepare students to deal with that world which technology has brought directly into our daily lives. We live in a global village where communication may be face-to-face, or perhaps it will be screen-to-screen. Whatever the means through which we interact, we must be able to understand and respect cultural differences in order to work together as agents of change. Globalization and interdependence are as ubiquitous to education as they are to economies and politics. The goal of learning is to empower individuals and prepare students “to deal with complexity, diversity, and change. It provides students with broad knowledge of the wider world (e.g. science, culture, and society) as well as in-depth study in a specific area of interest. A liberal education helps students develop a sense of social responsibility, as well as strong and transferable intellectual and practical skills such as communication, analytical and problem-solving skills, and a demonstrated ability to apply knowledge and skills in real-world settings.”1

The Asian Studies Concentration benefits “any stu-

dent with an interest in fields such as government service, law, business, education, journalism, medicine, human resources and counseling.”2 It also benefits everyone who wants to make the journey. “What is Liberal Education?” Association of American Colleges and Universities. www.aacu.org/leap/what_is_liberal_education.cfm>. 2 University of Scranton Undergrad catalog 2010-11 1

Harold Baillie, Ph.D. (left), provost and vice president for academic affairs at The University of Scranton, and Bernard C.C. Li, president of Fu Jen Catholic University, commemorate the signing of the academic exchange agreement between the two universities.

For more information about the Asian Studies concentration, visit www.scranton.edu/ignite/asianstudies

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No Apology Necessary: The Theatre Program at The University of Scranton

In 2009, the University Play ers presented “columbinus ,” a play based on the 1999 shooting at Colu mbine High School in Littleton , Colo.

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t the recent United States Institute for Theatre Technology (USITT) National Conference, the keynote address speaker, Robert R. Scales, Ph.D., theatre consultant, professor emeritus and former dean of the University of Southern California Department of Theatre, delivered a speech entitled “Will My Theatre Training Pay Off?” to an audience of theatre industry professionals, educators and students. While discussing the merits of a theatre education, Dr. Scales stated he felt “we should never be apologetic about having theatre training at all levels of our formal education.” His speech extolled the virtues of a path that provides the student with “history, theory” and interdisciplinary cross-pollination across the academic spectrum even including “some practical stuff so you can do a little electrical and carpentry work and hook up your entertainment center with some confidence.” Theatre, if we are to believe Dr. Scales, truly encompasses the shared experiences of what it means to be human; to explore what we in the theatre call “the human condition.” No other discipline encompasses the exploration of what it means to be human more thoroughly than theatre. Producing theatre, reading plays, watching live performance and teaching theatre production, performance and literature are ultimately ways to truly explore ideas surrounding the human condition. Incorporating literature, the written text from which the play is derived; fine art, design and craft in scenery, costuming and lighting; music and dance, sound design, composition and musical theatre; philosophy and ethics — most plays pose pertinent and challenging questions and, sometimes, answers. The

e from “Lucky Stiff,” a Cast members perform a scen on Michael Butterworth’s d base tery mys er musical murd Bank at Monte Carlo.” the e Brok novel “The Man Who photo: Bob E. Ga

sper

The University Pla yers presented “S peech & Debate” Stephen Karam, by directed by Bob E. Gasper, in early This hilarious, tho 2011. ughtful and enter taining play focus three teenagers ed on coming of age du ring uncertain tim es.

inter-disciplinary list is endless: many contemporary plays are derived from historical sources, as well as current productions of theatre that is centuries and millennia old. Science and math are used as well with computer technology now infused into every facet of theatre imaginable and lighting, for example, employing extensive geometry. Theatre truly embraces the idea of cura personalis — care for the whole person — in an exponential way. In fact, the building that houses the formal theatre spaces at The University of Scranton features an inscription that reads “The Arts Provide a Pathway to the Human Heart.” And yet when meeting prospective students and their parents, theatre patrons, and even University colleagues, the perception is sometimes that theatre is a frivolous and reckless endeavor. And possibly, from the uninformed perspective that the only viable career in theatre is the “Name-Above-Title” star of a major commercial (i.e. Broadway) hit, it may seem so. However, I would argue that skills learned by students in theatre courses, whether they be performance, production, dramatic literature or history courses, have a deep and meaningful relationship to the whole person and how that individual finds success in their future, whether they remain in theatre or not. Those skills, not obvious to the unacquainted, involve time management (strict production calendars where “The show must go on!”), collaboration (theatre is a communal activity; playwrights, directors, actors, designers, technicians, and audiences), personal responsibility (the theatre company is only as strong as its weakest member) and achievement (tackling complex themes and new production problems on a six- to eight-week cycle).

To learn more about the University Players & The University of Scranton Theatre Program, visit www.thescrantonplayers.com

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Current statistics suggest that most people in this country will have more than one career path during the course of their professional lives. An undergraduate theatre education, particularly one within a liberal arts milieu, can provide a student with a multitude of skills and knowledge to prepare them for just about any career path. In fact, when a parent of a prospective student asks, “What can my son or daughter do with a theatre education?,” a typical response is “What can’t they do?”! To go further out on a limb, the liberal arts-based undergraduate theatre degree prepares a student for the rest of their life, whether that takes them to graduate training in theatre or law school, sales, public relations, computer science, education or a host of other career paths. Recent productions by the University Players, The University of Scranton theatre group, in conjunction with the Academic Theatre Program, reflect that sentiment from all facets. Aside from the obvious skills involved in producing a play (acting, building, painting, sewing, etc.), students, as participants and audience members, have learned about difficult and challenging issues such as school violence and its causes (“columbinus”), the death penalty (“Dead Man Walking”), human cloning (“A Number”), and complex interactions within faith, relationships and sexuality (“Tiny Alice,” “Speech & Debate”). The issues that are raised in any number of plays help inform our students about what it means to be human beyond

“Theatre truly embraces the idea of cura personalis — care for the whole person — in an exponential way.” traditional learning; the human condition. That is not to say theatre only exists to be a source of edification. With the “willing suspension of disbelief ” of audiences, the Players have musically romped across the globe in “Lucky Stiff” and harkened back to simpler times in “The Adventures of Tom Sawyer.” Theatre can be enlightening and entertaining! In terms of successful outcomes, the Academic Theatre Program and the University Players have an impressive roster. Students participating in theatre prior to the 1997 inception of the Theatre major include industry professionals such as Walter Bobbie (Tony Award-winning director, “Chicago”), Dennis Size (Emmy Award-winning lighting designer) and Anitra Mecadon (host of “MegaDens;” HGTV/DIY networks), and theatre educators such as Gene Terruso (former Theatre Department chairman, University of the Arts), Stan Wojewodski, Jr. (former dean, Yale School of Drama, currently Theatre Department chairman, Southern Methodist University) and Paul Favini (acting director, University of Florida School of Theatre and Dance). Former students graduating with a Bachelor of The inscription on the facade of the McDade Center for Literary and Performing Art testifies to the Jesuit commitment to the arts.

Arts in Theatre are finding great success in substantial graduate programs such as University of Arizona (Jacki Kubiak, MFA, technical direction), Villanova University (Heather Lucas, MA candidate and Matt Silva, MA, theatre), Brooklyn College (Caitlin Burke, MFA candidate, costume design) and Chicago College of Performing Arts’, Roosevelt University

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In 2010, the Players presented “The Adventures of Tom Sawyer” by Mark Twain, adapted by Laura Eason.

(Jeff Trainor, MFA, acting). Additionally, current and former students are engaged in theatre employment at such venues as the Scranton Cultural Center, the Millbrook Playhouse, Theatreworks, USA, and the Utah Shakespearean Festival, to name a few. However, with all that grand success, one of the stories told most to prospective students and their (sometimes) doubting parents is about a graduate who just loved the theatre. Her name is Aileen Roginski and she was a Physical Therapy major — a very challenging discipline and one not obviously connected to theatre. Aileen graduated in 2003 with a Master of Physical Therapy, adding the Doctor of Physical Therapy in 2007. In addition to her rigorous studies in kinesiology, physiology and related PT areas, Aileen worked tirelessly backstage on most Players productions during her time at the University, so much so that I alternately suggested she add a theatre minor or expressed concern about her attention to her major. Aileen, always pleasant and generous, replied that she only wanted to do theatre for the fun of it and it wasn’t anything more than a respite from her PT studies. Much to my delight, Aileen, upon graduating, secured a position with a physical therapy firm specializing in treating performers on Broadway productions! Aileen shared stories of working as a physical therapist on very physically challenging shows such as “42nd Street” and “The Lion King,” and a particularly fascinating story about a percussion-driven production called “Drumstruck!” Apparently, the production, with the repetitive motion surrounding drumming, resulted in the most carpel tunnel syndrome Aileen had ever encountered at that stage of her career! Aileen and the others exemplify what is possible and exciting about including theatre in and around your life. They embrace that concept that we as educators in the Jesuit tradition espouse; cura personalis. They have cared for others, and for themselves, within the context of theatre and its very substantial precept; examining the human condition. And for that, there will be no apology necessary.

The Players presented “Tiny Alice,” a seldomperformed work by the preeminent playwright of the United States, three-time Pulitzer Prize-winner Edward Albee, in 2010.

Professor Richard A. Larsen received his Master of Fine Arts from San Diego State University. He is the director of the Academic Theatre Program. He received the 2007 Provost’s Award for Excellence in Integrating Sustainability in the Curriculum.

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What’s in There? A Guide to the Special Collections of the Weinberg Memorial Library

The Special Collections

department of the Weinberg Memorial Library provides exhibits, programming and instruction that reach out to both the University community and the general public. Special Collections contains historical collections and a small rare book collection that ranges from medieval manuscripts and early printed books through 20th century first editions and fine press work. Much of the collection was donated or acquired over the decades. There is also a component focusing on rare books produced by Jesuits. The collection was started through a donation by Rev. Richard W. Rousseau, S.J. A series of small donations from the Jesuit community enabled Special Collections to purchase a number of classic Jesuit works providing a glimpse of the incredible Jesuit literary, theological, scientific and historical scholarship from the 16th century into the 20th century.

But beyond collecting for long-term preservation and research, the rare book collection is also used regularly for teaching purposes. The highlights of the collection are four medieval manuscripts and a handful of incunabula, or books printed between 1454 and 1501. Over the years, I have attended a number of courses on various aspects of medieval books at the Rare Book School at the University of Virginia. I have utilized knowledge I’ve gained in these courses to lecture on the development of the medieval book from the creation of the codex (the technical term for a book with covers) in the late Roman Empire through Johannes Gutenberg and the first century of printing. I lecture to a wide variety of classes with an interest in the medieval period including philosophy, art, literature, theology and history. In a rather brief period of time, we cover approximately 1,500 years of book history discussing how the books were physically made and how they were used in both church and secular societies. The classes

Francesco Antonio Zaccari, S.J. Excursus Litterarii Per Italiam … Venice, 1754. Gilt red morocco binding featuring elaborate gilt decorations. Zaccari, Ducal librarian in Modena, visited libraries, archives, museum and churches collecting information on the historical collections.

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Gradual, Italy, Emilia-Romagna, ca. 1325, Nativity painting attributed to Neri da Rimini. One of a small collection of medieval manuscripts in the Weinberg Memorial Library’s Special Collections.

finish with the birth of printing and the impact that easily available mass-produced books had on society. The lectures are tailored to the subject matter of the respective classes. The various professors with whom I’ve worked and I believe that exposing students to actual books from the medieval period and explaining how they were made and used in society provides an additional dimension to the subject matter they study in class. Students have been quite pleased to see and touch the medieval books. Lectures such as these have also been presented regularly for outside groups. Recently, we expanded the material on the medieval book into a threenight Schemel Forum series. In spring 2011, I taught a fivenight course titled “The Bible as Book,” discussing how the physical format of the Bible, and to some extent its contents, evolved between the ancient world of papyrus scrolls through the 19th century industrial production of the family Bibles. Special Collections also presents a series of exhibits in the Weinberg Library’s Heritage Room throughout the year. Sometimes these exhibits use material from the University’s collection and frequently the library rents traveling exhibits in collaboration with other University departments or outside organizations such as the University’s Office of Equity and Diversity, the Schemel Forum, The Center for Anti-Slavery Studies, or the Holocaust Education Resource Center of the Jewish Community Center. These collaborations have been successful both in bringing national traveling exhibits to the University community and bringing the local community to campus. I also work with Sondra Myers, director of the Schemel Forum, to create public programming, usually in the form of lectures, to support the exhibits. Other times, I have curated exhibits using borrowed materials. The most impressive of these exhibits have been stunning rare books borrowed from the private collection

of University alumnus and former chairman of the Board of Trustees, Edward R. Leahy, who has graciously allowed me to do four exhibits from his collection. In 2009, I curated an exhibit titled “Scarce Books & Elegant Editions: Samuel Johnson & James Boswell Selections from the Edward R. Leahy Collection.”

VitaBeati P. Ignatii Loiolae Societatis Iesu Fundatoris. Rome, 1622. A later edition of the first book to present the life of Ignatius Loyola in images, some created by Peter Paul Rubens. The engravings were made by the Galle workshop in Antwerp.

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The Life of Samuel Johnson … by James Boswell, London 1790. This first edition of Boswell’s biography of Johnson was rebound circa 1910 by Bayntun-Riviere of Bath. This “Cosway” binding has embedded watercolor and gouache portraits on ivory of Johnson and Boswell. It is from the Edward R. Leahy Collection.

The exhibit, in celebration of Samuel Johnson’s 300th birthday, featured an extraordinary collection of first editions by Johnson, as well as books by his biographer James Boswell. The collection featured many books in amazing bindings and featured a unique assemblage of seven different copies of Boswell’s “Life of Johnson.” Although copies of the same edition, each volume was special due to either an autograph, a splendid binding, or “in boards” — meaning how the book appeared before it was taken to a bindery. But the rarest part of this set of Boswell’s is a copy previously owned and discovered by early 20th century book collector A.E. Newton, which features a controversial passage that was removed from the official published version. Only a handful of copies with the original text survived.

“Scarce Books & Elegant Editions” Samuel Boswell & James Boswell is the catalog created by Michael Knies, special collections and University archives librarian, and Jason Thorne of the University’s Public Relations Office in 2009 to support an exhibit of extraordinary first and fine editions of the works of Johnson and Boswell from the private collection of University alumnus Edward R. Leahy.

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Recently, Special Collections acquired a unique and important collection of material concerning the history of American penmanship, a sampling of which was exhibited in spring 2011. The Zaner-Bloser Penmanship Collection came to the University as a result of a 2009 Hope Horn Gallery exhibit about Scranton-based engrosser P.W. Costello, curated by Thomas Costello and Darlene Miller-Lanning, Ph.D. P.W. Costello was an acclaimed penman whose work was published in Zaner-Bloser publications, which were borrowed for the exhibit. Zaner-Bloser Inc, a subsidiary of Highlights for Children since 1972, was looking for a home for its historical collections and expressed interest in the University. The collection has numerous components from professional journals published for the practitioners of handwriting instruction and engrossing to rare hand writing manuals to instructional material for children. The collection contains more than 20 scrapbooks containing examples of ornamental penmanship done by renowned master penmen. The period between 1875 and 1925 has been called the Golden Age of American Ornamental Penmanship and this collection has examples by most of the great penmen of the era. There are also engraved printing blocks that were made from the original engrossings and pen flourishings. Although many of the published handwriting manuals from the 19th century exist in other libraries, and there are some small collections of master penman examples, there does not appear to be another collection of this scale documenting the Golden Age of American Ornamental Penmanship. While I have spent nearly 25 years working with rare and historical materials both here and in a museum research library, I remain fascinated with historical materials and hope to convey my enthusiasm to students and the public in exhibits and teachings.

This pen-flourishing of horses is one of the largest (27” x 21”) and most elaborate works of pen art in the Zaner-Bloser Collection. It was reproduced in the June 1882 issue of Daniel Ames’ Penman’s Art Journal. (Zaner-Bloser Company Penmanship Collection)

Daniel Ames was one of the leading penman of the later 19th century. This advertisement shows the full range of his extraordinary skills. (Zaner-Bloser Company Penmanship Collection)

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Special Collections Librarian Michael Knies answers the question,

“Why are special collections important in the digital age?”

riginal historical material still matters because they can’t feasibly digitize everything unless they have an immense amount of time and money. High-quality digitization takes time and skill and resources. Digitization is not as quick or easy as dropping an item onto the photocopier. A preservation quality image takes much longer to scan. Then the item needs to be described well enough (back in the library book world it was called subject headings, now it’s called metadata) so that people can find it when searching on the Web. Consequently, there will likely always be material that is preserved, but not digitized. However, that is simply an economic reason. Just as in art, history, book, scale and color matter. While a computer screen can represent color accurately, scale will always be a problem; an object that is 2 by 2 or 20 by 20 still looks the same size on screen or on page. Until you see the real thing, you really do not appreciate the skill involved in creating a small-scale work of pen art or feel the impact of a large-scale item. Furthermore, we still cannot digitize every aspect of an artifact. Even though high-resolution digitization can extract an amazing amount of detail from an item, there are others sensory aspects that cannot be captured digitally. For instance, you cannot feel the texture of paper or parchment in a digital version and you can easily tell the difference between highand low-quality paper by touch. Medieval parchment (made from animal skin) has a distinctive scent and texture, neither is reproducible digitally until someone invents the Smell-o-Net.

Winter’s Evening Thomas Wise Oil on board, 18” x 24” Location: Scranton Hall “After the snow stops and the winter winds begin to blow from the west, my dog and I explore the hills near my studio, where we discover the warm light from my neighbor’s kitchen—a refuge from the approaching cold winter night.”

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Finally, paper, parchment, ink and bindings were all created with different materials at different times. The animal used to make parchment can only be determined with certainty by DNA analysis and for that the original is needed. Paper was originally made from linen rags and is now made from trees, but various plants were used at times. Ink can be made from anything from minerals to bugs. Paper and ink composition can be determined by chemical analysis requiring the original. The virtual world is a tremendous access tool. Digitization provides immediate high-quality, but partial, access to historical material and if anything, digitization makes the original artifact more important rather than less. In that sense it is not much different than an image in a printed book. Few people interested in art see an 8-by-10 picture of Michelangelo’s wallsize “Last Judgment” and think, “Now I don’t care about seeing the Sistine Chapel anymore, the photo is just fine.” Digitization provides access to people who cannot see the original, but can also lead people to the original. To learn more about the permanent and visiting exhibits in the Harry and Jeanette Weinberg Memorial Library’s Special Collection, visit www.scranton.edu/specialcollections. Professor Michael Knies received his Master of Arts from The Pennsylvania State University and his Master of Library and Information Science from Rutgers University. He is the special collections and University archives librarian.

Art on Campus

Jacob and the Angel Location: Top of Commons Artist: Arlene Love Gift of Sondra Myers Inscription: Genesis 32:26-29 26 And he said, Let me go, for the day breaketh. And he said, I will not let thee go, except thou bless me. 27

And he said unto him, What is thy name? And he said, Jacob.

And he said, Thy name shall be called no more Jacob, but Israel: for as a prince hast thou power with God and with men, and hast prevailed. 28

And Jacob asked him, and said, Tell me, I pray thee, thy name. And he said, Wherefore is it that thou dost ask after my name? And he blessed him there.

Christ the Teacher Location: End of Commons Artist: Trevor Southey 1998 Commisioned by: the Jesuit Community of Scranton Tom and Salsey Sullivan Family in Gratitude to J. A. Panuska, SJ Inscription: For Christ plays in ten thousand places Lovely in Limbs, and lovely on eyes not his To the Father through the features of men’s faces.

– Gerard Manley Hopkins, S.J.

Fall 2011 The University of Scranton

ForLove the of

Music:

The University of Scranton’s Musical Identity

Overture

Performance Music at The University of Scranton is an exemplar for the collegiate musical community. This is a program in which more than 350 students, staff, faculty and alumni participate each year, at a school that has no music major; a program that brings composers and professional musicians together with students to collaborate in a unique partnership; and a program that brings world-class jazz and classical performers to Scranton to work with students and perform for the greater community. In addition to all this, it is home to The Nelhybel Collection of musical compositions.

The Concert Hall

The Houlihan-McLean Center is a University architectural treasure. A former church converted into the concert hall in 1987, the brownstone building sits at the entrance to the University. The 700-seat former sanctuary has superlative acoustics praised by audience and performers alike. The center houses a rebuilt Steinway-B grand piano and a 101-year-old Austin Opus 301 Symphonic Organ. The organ was re-dedicated in a 2006 performance by world-renowned organist Thomas Murray and is used to accompany student performance ensembles, as well as to showcase guest soloists. The lower floor has been converted into practice rooms, the main rehearsal hall and storage areas for woodwind, brass, percussion and string instruments. The soul of the building, all that happens in the concert hall begins here. This is where students of every major spend hours practicing, rehearsing and communing. It is a home away from home, where alumnus Mike Manzano ’90 says he “quickly became a part of a vibrant social circle of band and singers.” Although not in the physical center of the University, Houlihan-McLean is central to the cultural, social and educational life of the University community. Audience members and performers alike praise the Houlihan-McLean Center, the heart of the University’s Performance Music program, for its superlative acoustics. 18

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Etude

Wynton Marsalis H’96*, Pulitzer Prize-winning jazz musician, composer and educator, says, “It is important for Americans to have their own identity. Music gives us an identity, especially jazz which is America’s music. When you look at a Stuart Davis painting or listen to Charlie Parker play saxophone, or watch an Arthur Miller play, you’re living an important part of the American experience. We need a generation of leaders who understand why we must defend our country, a generation who will take pride in a culture and want to share it with others. Music is a means to do this.” The leitmotif of Performance Music at The University of Scranton is to provide students with performance experiences in vocal and instrumental ensembles, to encourage students to acquire higher levels of skill and knowledge in music, to provide opportunities to observe, listen to, interact and perform with outstanding and exMark Gould, conductor and founder of the Manhattan School of Music Brass Orchestra, often conducts performances at The University of Scranton. Retired from his post as co-principal trumpet at the Metropolitan Opera in 2003, Gould is chair of the brass department at the Manhattan School of Music, and is also on faculty at The Juilliard School.

Virtuoso

Since 1984, the Performance Music program has provided its students and the community a truly unique event: the World Premiere Composition Series. Director Cheryl Y. Boga commissions original compositions for concert choir and concert band by world-celebrated composers, and the composers come to Scranton to conduct the final rehearsals and first public performances of their works. Since its inception, the series has brought together composers (Vaclav Nelhybel, Robert Kapilow, Joshua Rosenblum, Robert Starer, Lawrence Wolfe, Wycliffe Gordon, Josh Freilich and Ted Nash, just to name a few) and student musicians to work on pieces heard for the first time in the Houlihan-McLean Center. The magic of this collaboration rests in the students’ experience, as they learn directly from and with a composer how a composition is to be performed. For example, during rehearsals for the most recent World Premiere Series concert, Grammy-nominated composer Ted Nash explained that the origin of the lyrics of his choral piece, “Windows,” was a love story between a New York City couple whose apartment buildings overlooked each oth* Refers to honorary degree and year of receipt.

emplary guest artists, and to enrich the spiritual, cultural and intellectual life of the University and the local community. Programming is diverse in nature: the repertoire is representative of a variety of musical styles, genres, periods and cultures. Concert choir, concert band, string orchestra, jazz ensemble, flute ensemble, string quartets, brass ensemble and chamber choir all offer students multiple opportunities to continue their musical pursuits and in some cases learn new instruments. Mark Gould, former principal trumpet of the Metropolitan Opera Orchestra, faculty of The Juilliard School and The Manhattan School of Music, and guest conductor and collaborator with Performance Music, recognizes the importance of music education for non-majors: “The University’s series represents the best of a non-major program. The students perform professionally with an amateur’s delight for the love of music.”

er and each could see the other’s window on a rainy day. Most performers never have the opportunity to dialogue with a composer that University of Scranton students have each year. The series is unique for the guest artist as well. Some of the composers are not experienced conductors and must learn how to direct the concert band and choir. Those who are conductors learn that non-music majors look to them more intently for direction than do professional musicians. The pieces Nash composed were his “first for either concert band or vocal choir.” His blog sums up the surprise many of these professionals experience when working with University musicians: “There’s something about people who come to play because they love to, not because they have to.” There is a third component to this experience and that is the audience. The World Premiere draws anywhere from 400 to 600 people who have the opportunity to meet acclaimed composers and hear original works debuted by student musicians. The series may be the only one of its kind in the nation. Fall 2011 The University of Scranton

Maestra

At the center of Performance Music is its conductor/director, Cheryl Y. Boga. “Boga,” as she is called by her musicians, is a 30-year University veteran, and has built Performance Music into the quality program that serves so many. She plans and executes close to 40 performances in an academic year, directs all of the musical ensembles, contacts guest artists, serves on University committees, volunteers outside of the University, guest conducts high school music festivals, sets up and offers masterclasses for college and high school student musicians, and travels to New York regularly to participate in masterclasses and observe rehearsals to continue her musical education. Her tireless dedication permeates her programming and her students’ attitudes. Composer, conductor, commentator and author Robert Kapilow comments, “I have been involved with music at Scranton for over 25 years and have continuously been amazed by the excitement and energetic participation Cheryl Boga has been able to generate year after year. Though the

University has no music major, Cheryl has still been able to enroll large numbers of students in an intense, high-level music program. Cheryl’s incredible support of new music and her ongoing relationships with living composers gives her students rare opportunities to be involved directly with musical creators, and her wonderful commissioning program allows students to participate in world premieres every year in a way that no other program I am aware of begins to approach. The music programs benefit not only the participating students, but the entire campus and community, and the wonderful concerts and guest artists she brings to the University further enrich the campus’s musical life.” Cheryl’s personal relationships with fellow artists and their subsequent involvements here have forged relationships with the University and helped generate four honorary doctorates: Vaclav Nelhybel H’85, Wynton Marsalis H’96, Wycliffe Gordon H’06 and Robert Kapilow H’09, all devoted supporters of music education.

CENTER: The New York Trumpet

Ensemble will serve as artistsin-residence at Scranton for the 2011-12 concert season. RIGHT: Cheryl Y. Boga, director of the University’s Performance Music program, plans and executes nearly 40 performances a year at the University.

Allegro

Another aspect to the program is the Performing Arts Series. Musicians of national and international renown come to and perform on the campus, allowing students and audiences the opportunity to experience acclaimed masters of a variety of musical styles and genres performing in a live concert setting. The New York Trumpet Ensemble, The National Jazz Museum in Harlem All-Stars, The Juilliard Jazz Orchestra, The Manhattan School of Music Brass Orchestra, The Wycliffe Gordon Quintet and scores of other nationally and internationally renowned artists have all performed here. Many of them, including The Wynton Marsalis Septet, have offered masterclasses for student musicians. The concert hall is always active, the pace is never slow, students, faculty and staff are always included, and the public is always invited free of charge.

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Opus

Performance Music at The University of Scranton is home to The Nelhybel Collection. Internationally renowned composer Vaclav Nelhybel was a popularly and critically acclaimed composer, conductor, teacher and lecturer throughout the world. He was also the inaugural composer/conductor for the World Premiere Concert Series in 1984, remaining musically involved at Scranton in a variety of ways throughout the rest of his life. The University is now home to The Nelhybel Collection of more than 600 of his works, providing students, performers, researchers and teachers with access to the manuscripts and published compositions of this highly respected 20th century composer. The presence of the collection is unique to a university that has no music majors and Nelhybel’s influence is ubiquitous. For more information, visit www.scranton.edu/nelhybel

Coda

In 1996, jazz composer and musician Wycliffe Gordon presented what was perhaps the most unique commencement speech in the University’s history in that he performed rather than spoke: “My commencement speech was spoken in the language I speak the best. Cheryl’s program makes it possible for students to continue to speak a language that they love.” In the Houlihan-McLean Center, the University and general communities have the opportunity to be immersed in the language of music. An award-winning trombonist and frequent performer at The University of Scranton, Wycliffe Gordon received an honorary doctorate from the University in 2006.

Cheryl Y. Boga, director of Performance Music at The University of Scranton, studied conducting with Robert Kapilow H’09, clarinet with Leon Russianoff, and rehearsal techniques with Vaclav Nelhybel H’85. She is a member of the University’s Order of Pro Deo and the recipient of the 2005 Sursum Corda Award.

To find out more about Performance Music and to see a schedule of past and future performances, visit www.scranton.edu/music

Fall 2011 The University of Scranton

Art on Campus

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This 2600-pound Tiffany stained glass window, located in the Smurfit Arts Center, was constructed on site.

This statue of St. Ignatius’ conversion at the intersection of the Royal Way and the Commons is representative of the transformative power of Jesuit education. It was designed and cast by Gerhard F. Baut.

This Eastern Orthodox icon and stained glass is located in Ciszak Hall.

Fall 2011 The University of Scranton

We Speak As One Integrative Education between the Art and Music Program and the Hope Horn Gallery at The University of Scranton

ince 1988, the Art and Music Program and the Hope Horn Gallery have together provided high-quality education in the visual arts to campus and community audiences throughout Northeastern Pennsylvania. Scholarly and accessible, an annual sequence of balanced and creative course offerings, exhibitions, conferences, lectures, workshops, and publications attracts widespread audiences, earning the recognition of a public ranging from locally schooled kindergarten students to internationally recognized museum professionals. Art history, an academic discipline with a critical public interface at the University, studies the production of visual culture and supports core objectives of the Jesuit mission: the Ignatian concept of magis; seeking God in all things; liberal education; service of faith and promotion of justice; and contemplation in action. Intentional collaboration between the program and the gallery fundamentally informs and strengthens the artistic products they generate. The effectiveness of this consciously partnered activity is apparent in recent events cohosted by the gallery and the program, the concurrent historical development of both, and forthcoming curricular initiatives. Events during spring 2011 showcased collaboration that produced well-grounded and far-reaching art historical programming. On Feb. 4, visitors attended the opening of “An Ideal Subject: The Art of Jennie Brownscombe.” On view through March 18, the exhibition introduced the career of

I g nit e F a c u l t y w o r k in th e Ign atian tr ad ition

Brownscombe, a 19th-century artist born in Honesdale, who worked in New York City and abroad. Guest-curated by Sally Talaga, executive director of the Wayne County Historical Society, the exhibition featured paintings loaned by the National Museum of Women in the Arts, Washington, D.C., Pilgrim Hall Museum, Plymouth, Mass., and private collectors from New Jersey to Texas. Addressing Brownscombe’s role as a genre, history and portrait painter, “An Ideal Subject” resulted from research on local women’s history conducted since 2005 by Josephine Dunn, Ph.D, professor of art history and program director. In 2007, paintings by Brownscombe were displayed on campus in “Alive to the Call: Women of Northeastern Pennsylvania.” Curated by Dr. Dunn, this exhibition was featured at the First Biennial Regional Conference on Women and History in Northeastern Pennsylvania. Four years later, Darlene Miller-Lanning, Ph.D, gallery director and adjunct faculty in the program, collaborated with Dr. Dunn and Talaga to develop the one-person show contextualizing Brownscombe regionally and nationally. As the culmination of two years’ planning and preparation, “An Ideal Subject” resulted in exciting educational outcomes. An essay based on the Brownscombe exhibition catalog authored by Dr. Dunn, Talaga and Dr. Miller-Lanning was featured as the cover piece of the nationally distributed art history journal “American Art Review” in February 2011.

Opening events drew more than 150 guests. University students toured and analyzed the show through various writing assignments. More than 100 elementary and high school students from the St. Stanislaus School, The University of Scranton’s University of Success program and Wallenpaupack Area School District’s gifted program attended daylong exhibition workshops funded by the Lackawanna County Office of Arts, Education, and Culture, and the Pennsylvania Council on the Arts. Events came full circle when participants in the Third Biennial Regional Conference on Women and History in Northeastern Pennsylvania enjoyed a concluding champagne reception at the exhibition. The third biennial conference in March 2011 reprised topics introduced at the conferences of 2007 and 2009. Keynote addresses delivered at both conferences, respectively, by Bonnie Stepenoff, Ph.D., professor, Southeast Missouri State University, Girardeau, Mo., and Kathryn Kish Sklar, Ph.D., distinguished professor, Binghamton University, Binghamton, N.Y., provided historical context for current research on women’s history in this little-studied region. Before an audience from five Pennsylvania counties, Linda Shopes, associate fellow in history at Dickinson College, Carlisle, and faculty member at the Oral History Institute, Columbia University, New York City, delivered the keynote address: “Women’s History in NEPA: So What?” Individual presentations by local researchers were followed by a 1920s buffet luncheon that symbolically honored the 19th Amendment. The conference was supported by the Hope Cumming Horn Endowment, named for a local artist and activist who willed her estate to the program in 2001. Pennsylvania Cable Network filmed and broadcast the conferences of 2007 and 2011, disseminating statewide the research initiatives launched by conference presenters.

A developing artist studies and sketches a painting from the Jennie Brownscombe exhibit at the Hope Horn Gallery at The University of Scranton.

Collaboration between the program and the gallery is an integral part of their historical development. The art history curriculum at the University was founded in fall 1988 by art historian Dr. Dunn, whose initial faculty appointment comprised duties as gallery director and slide curator. The curriculum originally covered western art history, prehistoric through contemporary times. Now, course offerings also include African American art; Native American art; women in the visual arts; medieval and renaissance women; heaven, hell, and apocalypse; history of photography; and Bible in image and text. Field trips to museums and galleries are offered each semester. Pennsylvania sites include the Philadelphia Museum of Art, Barnes Foundation and University Art Museum at the University of Pennsylvania. In New York City, students tour the Metropolitan Museum of Art, Museum of Modern Art and Cloisters. Trips to Washington, D.C., visit the National Gallery of Art, Holocaust Memorial Museum, National Museum of Women in the Arts and the Museum of the American Indian. Biennially in June, art history faculty lead a one-month seminar to Italy. Art history faculty is engaged in research, community outreach and grantsmanship. The National Endowment for the Humanities thrice accepted Dr. Dunn into its summer fellowship programs at Cornell University, Cornell, N.Y., and Oxford University, England. Her local history research was supported by the Pennsylvania Humanities Council’s Commonwealth Speaker Program and “Humanities on the Road,” broadcast by the Pennsylvania Cable Network, and by the Pennsylvania Commission on Women through publication of her “Legendary Ladies Making History in the Northeast Mountains Region.” Twice students collaborated with Dr. Dunn in courses on women and local history and research at the Pennsylvania State Archives, Harrisburg. As a scholarin-residence for the Pennsylvania Historical and Museum Commission at the Anthracite Heritage Museum, Scranton, Dr. Miller-Lanning published a paper on the Lackawanna Iron Furnaces in “Pennsylvania History.” She served as project fellow for the Arts Commentary: Perspectives on the Arts program, administered by the Pennsylvania Council on the Arts and Pennsylvania Humanities Council. Her research on contemporary art and local history culminated in the exhibition and workshop series “Anthracite Incorporated.” In 1988, the University’s art gallery emerged as the public face of the Art History Program under the directorship of Dr. Dunn, who initiated integrated exhibitions and gallery talks coordinated with course offerings. The gallery grew between 1991 and 2001 under the full-time direction of art historian Dr. Miller-Lanning. Relocation of the gallery to Hyland Hall and rededication in honor of Hope Cumming Horn (1920-2001) inaugurated a new mission: present exhibitions

Fall 2011 The University of Scranton

Jennie Augusta Brownscombe (American, 1850-1936). The Parsonâ&#x20AC;&#x2122;s Daughter. Oil on canvas, n.d. Wayne County Historical Society, Honesdale, Pennsylvania.

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Special exhibits at the Hope Horn Gallery frequently highlight local and regional art, as reflected in the covers of program guides pictured here.

and programming designed to complement the University’s curricula; encourage campus and community collaborations; support regional artists; provide arts in education opportunities; and showcase students’ work. Since 2001, the gallery has hosted exhibitions and programs featuring artwork and presentations by notable arts and humanities professionals. “Working Through the Past: Paintings by Samuel Bak,” organized through the Pucker Gallery, Boston, Mass., and co-sponsored by the Judaic Studies Program at the University, showcased paintings by Bak, a Holocaust survivor. “Rayuela/Hopscotch: Fifteen Contemporary Latin American Artists,” guest-curated by Robert Schweitzer, Maslow Collection, Scranton, highlighted the work of contemporary Latin American artists represented by galleries in New York City. “Made In America,” organized by the Harwood Museum, University of New Mexico, Albuquerque, N.M., featured work by Native American artist Jaune Quick-To-See-Smith. “Successions: African American Prints from the Steele Collection,” organized by the Art Gallery, University of Maryland, College Park, Md., and cosponsored by the University’s Office of Equity and Diversity, included a lecture by David Driskell. As in the program, the role of art in local culture and history is also an important topic of consideration at the gallery. Since 2000, the gallery has presented a series of biennial exhibitions featuring “NEPA Regional Art” in collaboration with Marywood University, Keystone College and the Afa Gallery. Over the past five years, the program and gallery have also expanded their efforts to document local art and history through a series of exhibitions and catalogs, including “Building Scranton: The Architecture of George M.D. Lewis;” “P.W. Costello: Designer, Engrosser, Illustrator;” and “Ashcan Humanists: John Sloan and Jerome Myers.” Works on loan to these exhibitions have come from the Athenaeum, Philadelphia; Whitney Museum of American Art, New York City; Montclair Art Museum, Montclair, N.J.; and Delaware Art Museum, Wilmington, Del. All have been funded in part by the Pennsylvania Council on the Arts.

Forthcoming initiatives planned by the program and gallery will further the legacy of the past 25 years. Through the Hope Horn Endowment and a bequest from Governor and Mrs. William W. Scranton, the program is poised to become a leading voice in visual arts education in Northeastern Pennsylvania. An interdisciplinary major in Art History is being designed for delivery through the College of Arts and Sciences. The curriculum requires students pursuing careers in art to specialize in art history and related areas of study. A multi-disciplinary curriculum provides a firm foundation for graduate school, since art history is best studied in relationship to other humanities disciplines such as literature, history, theology, philosophy and languages. Students are the heart’s blood of the program and gallery. Since 1988, more than 150 have graduated with a minor in Art History. Many have subsequently embraced careers in the visual arts such as art librarianship, art therapy, art education, art gallery administration, museum education, historic preservation and architecture. During the last 10 years, students have enrolled in graduate programs at the University of Colorado, Seton Hall, New York University, Rhode Island School of Design, the University of Iowa, the University of

During Women’s History Month in March 2008, Josephine M. Dunn, Ph.D., (from left) art history professor at The University of Scranton; former Governor William W. Scranton; and Leslie Stiles, deputy director of the Pennsylvania Commission for Women (PCW), attended the launch of the “Legendary Ladies of The Northeast Mountains Region: A Guide to Where Women Made History in Pennsylvania.” Featured on the cover of the brochure (top row, far right) was Governor Scranton’s mother, Margery Warren Scranton.

Fall 2011 The University of Scranton

Josephine Dunn, Ph.D., (back row, second from the right), director of the Art

History Program, visited Italy with students as part of a one-month seminar. Scranton faculty lead the seminar every other year.

Vermont and the Bard School, to name a few. University students have competed successfully for internships at the Museum of Modern Art, New York City, and the Corcoran Gallery, Washington, D.C. The most rewarding sign of increasing interest in art history on campus is the growing number of students applying for admission to the University’s individualized major. This new curriculum allows students to design a specialized program of study in areas not yet offered as majors by the University. Under the aegis of Dr. Dunn and fellow faculty mentors, students have created IMs by integrating two disciplines, such as art history/theology, art history/languages, and art history/sociology. Two years short of the program’s 25th anniversary, Edward Besse graduated in May 2011 as the University’s first Art History major. His degree united Art History and Theology, and concluded with a thesis on Jesuit novitiate art in the Old and

New Worlds. In fall 2011, Dana Marmo, who will begin her major in Archaeology and Art History, focusing on the classical world, will succeed Besse. Not to be outdone by their peers with Art History majors, two Art History minors will enter graduate school this fall: Nicole Smith will attend the Graduate Art History Program at Christies, New York City, while Eva Piatek will attend Temple University, Philadelphia. Hence, 2011 will go down in history as a banner year for University of Scranton Art History minors and majors, and faculty in the program and gallery will continue to produce stellar men and women … in the arts ... for others.

Josephine Dunn, Ph.D., received her doctorate from the University of Pennsylvania. She is the co-director of the Italian Studies Concentration and teaches in the History Department. She is the University’s 2010 CASE Award winner.

Darlene Miller-Lanning, Ph.D., received her doctorate from Binghamton University. She is an adjunct faculty in the History Department and is the director of the Hope Horn Gallery.

To find out more about the Hope Horn Gallery, visit www.scranton.edu/gallery To learn more about the Art History Program, visit www.scranton.edu/artandmusicprogram

Art on Campus

The Heritage Room is dedicated to the hertiage of Scranton and the Lackawanna Valley. There are 36 painted panels, each four feet and square, and were commissioned by the University from artist Trevor Southey especially for the Heritage Room. They represent a three-part theme: Art, Religion, and Science. Eighteen panels on the east clerestory, to your left as you face the fireplace and University crest, treat the theme in a univerisal scope. Those on the west echo it with special refrences to the University, the City and the Lackawanna Valley. The Heritage Room theme suggests the broad range of achievement through time by diverse peoples and cultures. It’s purpose is to prompt generations of students to reflect on the greatness lodged in the human spirit and to consider the vast numbers of past contributors, named and unamed, to our intellectual and spiritual heritage.

Art on Campus

The iconostasis or icon screen in Ciszek Hall shows the integrality of Christ, the Madonna and the saints.

This icon depicts Mary and the baby Jesus. Icons are symbolic and affirm God’s presence in the world and the mystery of faith and integral to the Eastern Orthodox tradition.

This religious candleholder is in Ciszek Hall.

Fall 2011 The University of Scranton

2 9

Learning about Latin America In & Out of the Classroom Cultural Programming Sponsored by the Latin American Studies Program To learn more about the Latin American Studies major, visit scranton.edu/latinamericanstudies

aunched in 2000 after years of preparatory work by members from various departments at The University of Scranton, Latin American Studies (LAS) has grown from a concentration comprised of six faculty members, two students and six courses into a major and a concentration with 12 faculty members, 35 current students and 26 courses. Seventy-eight students have graduated from the program as of May 2011. LAS majors and concentrators must study either Portuguese or Spanish and take an array of structured courses in history and political science, philosophy and theology/religious studies, biology, anthropology, geography, and literature. They typically combine the LAS major and concentration with majors and minors in international language/business, international business, secondary education, Spanish, biology, English, international studies, political science, psychology and philosophy, among others. LAS alumni have launched successful careers in teaching, business, law, medicine, journalism and the priesthood. In keeping with the mission of the University, LAS prepares students to confront the responsibilities and challenges of our increasingly interdependent world. As such, the program seeks to provide both broad, general knowledge of the Latin American region as a whole and to advance students’ understanding of specific countries, regions and cultures. This need is reinforced by the significant movement of peoples and ideas globally and especially among the American nations. Demographic trends in the United States, moreover, point to a strengthening of the U.S. Latino population, which is approximately 80 percent Catholic and destined to play an important role in shaping parishes, student bodies in parochial schools and Catholic universities, Catholic life and values in the United States, and the regional and national influence of the church. LAS’s spectacular growth and multidisciplinary nature led, in 2009, to its partnership with the University’s Women’s Studies Program and the subsequent creation of the Department of Latin American Studies and Women’s Studies (LA/ W/S). The operating agreement of these separate programs

delineates how each complements the other: students acquire “knowledge about society, culture, identity, politics, power, and social justice ... [and] share a commitment to the interdisciplinary and multi-disciplinary study of political, social, and cultural issues …” 1 LAS consistently schedules cultural programming for members of the University and greater community, including guest speakers, musical concerts and instructional film series. Nearly 80 movies (four per semester) have been shown during the past decade around themes such as the martyrdom of the Jesuits and their housekeepers in El Salvador, the 125year anniversaries of Mexican independence and revolution, and indigenous rights. Specific examples of LAS programming follow: In fall 2009, LAS commemorated the 20th anniversary of the vicious murders of six Jesuits at El Salvador’s University of Central America (UCA). Since 1999, The University of Scranton has forged strong ties to the UCA via its “Bridges to El Salvador” program. In fact, more than 100 Scranton professors and administrators, including nine LAS faculty, have traveled to the UCA. Classroom lectures in LAS classes focused on El Salvador’s brutal civil war and the deaths of Monsignor Oscar Romero, the Jesuits and churchwomen.

In 2009, the University remembered in a special way the Jesuit Martyrs of El Salvador and the life of Archbishop Oscar Romero. 1

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University of Scranton Undergrad catalog 2010-11

Photo used with

permission of AM

Lee Penyak, Ph.D., received his doctorate from the University of Connecticut. He is the director of Latin American Studies Program and received the 2009 Provost’s Award for Excellence in Advancing Global Learning.

LEFT: As part of the Latin American Studies program’s cultural

activities, musicians from the Philadelphia-based Association of Latin American Musicians perform Latin dance music. RIGHT: Let’s dance! University of Scranton students, staff and faculty learn a Latin dance.

LAS’s four instructional films that semester provided students with different perspectives on these same events: “Enemies of War,” a 2001 documentary on U.S. military assistance to the Salvadoran government during the civil war and the deaths of the Jesuits by that country’s military establishment; “Romero,” a 1989 film that examines the archbishop’s calls for peace and justice and his subsequent murder by right-wing forces; “Roses in December,” a 1992 documentary that focuses on U.S. foreign policy during the Reagan administration and the rape and murder of four Maryknoll missionaries; and “Salvador,” a 1986 movie on Romero and the preferential option for the poor as espoused by some church members at that time. LAS also co-sponsored a talk by Christine Wade, Ph.D., from Washington College, who addressed the topic of democracy in post-civil war El Salvador. LAS programming in 2010 focused on Mexico. Members invited Alejandro Quintana, Ph.D., of St. John’s University to speak to students in an advanced class on Latin American politics and to address the greater community on “Pancho Villa and the Legacy of the Mexican Revolution.” Instructors offered four instructional films that integrated various aspects of recent Mexican history and culture into their classes: “The Violin,” “Rudo y Cursi,” “7 Soles” and “Alamar.” María Dolores Aguilar Vaca of Guadalajara, Mexico, performed traditional Mexican music, most notably ranchera and bolero. She described these different musical genres, provided in depth explanations of native and imported musical instruments in Mexico, and then sang 10 songs while dressed in a traditional traje de charra. Programming during spring 2010 allowed students to better comprehend indigenous peoples and their struggles for human rights in Latin America. This theme was selected, in part, because of the success of a LA/W/S travel course to Puebla, Mexico, which allowed students to visit women’s economic cooperatives and understand the challenges of development in Latin America in general and the burdens on women in undeveloped nations in particular. Farid Samir Benavides Vanegas, a renowned expert on indigenous peoples in South America,

gave a public lecture on “Indigenous Mobilization in Colombia: Between Litigation and Active Resistance,” and a presentation in a course on Latin American culture and civilization. Benavides’ observations about his native Colombia were complemented by the perspectives offered in LAS’s four instructional films that semester: “Indigenous Peoples of Amazonia” (Brazil and Ecuador), “The Ache Indians of Paraguay,” “Tree of Knowledge” (Mexico) and “Scars of Memory” (El Salvador). The Peruvian group Inkas Wasi performed at the University later that same semester. The three members of this gifted musical ensemble performed a wonderful blend of traditional Andean and popular Spanish music. Their performance began with a 15-minute educational program that described Andean instruments such as the bombo (wooden drum), sampoño or siku (panpipes), toyos (bass panpipes) and charango (a small stringed instrument similar to the mandolin). The artists also set up a colorful display of Andean alpaca weavings, musical instruments, indigenous children’s toys and masks, which they encouraged audience members to examine. Members in attendance included children from a local inner-city youth group, University students and professors and members of Scranton’s increasingly diverse Hispanic community. LAS has on three occasions (2008, 2009 and 2011) invited musicians from the Philadelphia-based “Asociación de Músicos Latino Americanos” (Association of Latin American Musicians or AMLA) to provide our students, faculty and members of the local community with the opportunity to learn about the history of salsa and meringue, to sample the music, and to dance. This group began their performances by describing and demonstrating the different indigenous, African and European elements in the musical traditions of the Caribbean. Reticent at first to try the dance moves demonstrated by the AMLA members, most members of the audience quickly let their hair down and danced these nights away. Funding for these and other events was provided by the Provost’s Office, the Dean’s Office of the College of Arts and Sciences, and by grants received from Scranton’s Office of Equity and Diversity and its Education for Justice program.

Fall 2011 The University of Scranton

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FACULTY ENHANCEMENT AWARDS 2010-2011 WINNERS RICHARD KLONOSKI, PH.D. Excellence in Adapting Classic Principles of Jesuit Pedagogy into the Curriculum: The Magis Award Since joining the University in 1981, Dr. Richard Klonoski has centered his philosophy on the core values of Jesuit education: academic rigor, learning integration, cura personalis, curricular blending past and present, and social justice. He believes strongly that the most important outcome of Jesuit education is the preparation of our students (particularly those in professional and pre-professional programs) to become men and women for others, to reflect on life in a greater context of community, and to cultivate meaningful relation between the self and others. His course offerings, which include Philosophical Reflections on Commercial Life, Wealth and the Human Good, Philosophy of the Person, and Philosophy of Education, reveal that his teaching focus is to develop young men and women with the ability to address the issues of the world, issues that serve as obstacles and pathways to a better human condition.

Excellence in Scholarly Publication

YIPENG LIU, PH.D.

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Only in his second year out of his doctoral program, Dr. Yipeng Liu has taken his discipline by storm, publishing groundbreaking research in his field’s most prestigious journals. His first peer-reviewed journal acceptance, published early in his second semester here, was included in the May 2010 issue of Decision Support Systems. He was published again in December 2010 in the European Journal of Operational Research in an article that introduced modifications to an existing quantum computing algorithm. These were followed quickly with three more acceptances now in print. It seems clear that Dr. Liu is fast becoming a leader in his discipline.

Excellence in Advancing Global Learning

HABIB ZANZANA, PH.D.

Dr. Habib Zanzana brings to the University a multicultural perspective that few can match. Although his academic specialization is French, he also teaches all levels of Spanish and, when the department noted a developing interest in an Arabic course, he participated in an intensive Arabic language program for teachers of Arabic. A person who was seemingly born to be an educator, Dr. Zanzana discovered ways of developing student commitment with some exciting approaches to teaching language. For example, he wrote and produced a puppet show in Arabic that played to an audience composed of members of the University and visitors from the community. The show has been performed off campus as well. He constructed a Moroccan sitting room in Brennan Hall and also co-organized a Moroccan photo exhibit with a local photographer.

Excellence in Advancing Global Learning

SUSAN TRUSSLER, PH.D.

Dr. Susan Trussler, as much as anyone on our campus, has defined what global competency represents at The University of Scranton. She has shaped and directed the Kania School of Management’s International Business program and her skilled work as the advisor of the Fulbright Program has propelled the University to national prominence for the number of Fulbright awards awarded to our students. Through her engagement in the classroom, and as faculty moderator of the International Business Club, she has imbued her students with a deep appreciation and a passion for cross-cultural understanding and business opportunity. Her research, much of which happens in collaboration with other Kania scholars, contributes to excellence in international business education on campus and beyond, and highlights such issues as internationalizing business statistics, economic literacy of economics educators in transition countries, and women entrepreneurs in the global economy.

Ignite Faculty work in the Ignatian tradition

Excellence in Advancing Interdisciplinary Study

DANIEL MAHONEY, PH.D. & HARRY DAMMER, PH.D.

Dr. Daniel Mahoney and Dr. Harry Dammer have developed and launched an innovative cross-disciplinary program that greatly enhances the preparation of students for roles in the detection and prevention of accounting fraud. In an initiative that is unique among universities in Northeastern Pennsylvania and rarely seen elsewhere in the country, they have combined their expertise to offer a track in forensic accounting that provides students with critical knowledge and skills in such areas as fraud examination, auditing, criminology and white-collar crime. Because of their work, University students now have access to a curriculum that is ideally suited for developing careers in the growing field of forensic accounting. Daniel Mahoney, Ph.D.

DANIEL WEST, PH.D.

Dr. Daniel West’s efforts to foster service and leadership opportunities for his colleagues at the University and globally are well known. One of his more recent accomplishments was his role in securing the Health Profession Education and Training Grant, a two-year, congressionally directed project awarded to our Department of Health Administration and Human Resources. The grant supports a series of grant-writing workshops, as well as the inaugural Panuska Summit. The summit offers 100 participants the opportunity to engage is conversations about critical health care issues such as defining the health profile for Northeast Pennsylvania (NEPA) residents for 2020; identifying resources to support the health profile; addressing patient outmigration issues from NEPA; and recruiting talented health care professional to the region.

Excellence for University Service & Leadership

GLORIA WENZE, PH.D.

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Excellence for University Service & Leadership

Harry Dammer, Ph.D.

Dr. Gloria Wenze has demonstrated a leadership role and service commitment that has had an incredible impact of the quality of opportunities available to our students. She brought to the University her rich background of military experience — she retired as a Navy captain. With her fellow faculty in our Department of Education, she has developed a much richer culture of collaboration and a stronger focus on proactive development of their academic programs. Her work with the regional community is also reflective of her leadership skills. She is central to an ongoing project with the United Neighborhood Centers, where educators provide opportunities to students who are at risk and to an often ignored segment of our population whose cognitive skills are challenged.

Excellence in Integrating Mission & Justice into the Curriculum

MARY ANN FOLEY, PH.D.

Sister Mary Ann Foley is recognized throughout our campus and beyond for her commitment to issues related to justice and to the Jesuit and Catholic mission of our University. She is, indeed, a person who is committed to this work in her personal, professional and spiritual life. Sister Foley served as Education for Justice coordinator for many years having been a founding member of the group that develops structures and programs to support this most important aspect of University mission. Her activities are directed at different audiences. She served as a speaker and leader for University Ministries’ Student Silent Retreat Program. With colleagues from other departments, she coauthored a Clavius Grant Program proposal for interdisciplinary study. The proposal, “Issues of Peace and War in the Twenty-First Century,” was funded and served as an important event for faculty conversations about peace and justice issues.

Fall 2011 The University of Scranton

Excellence in Integrating Diversity in Learning

SUSAN MENDEZ, PH.D.

Dr. Susan Mendez teaches a wide range of courses that address the description of this award — that is, “she incorporates a broad mix of perspectives reflecting the richness of our pluralistic society, including substantial readings about ethnic, racial, class, religious and feminist issues.” Some of her course titles include: Multi-Ethnic Literature, Borderlands Writings, Women of Color: Literature & Theory, African Diaspora Studies, and Women in Film. Her honors tutorials have included: Latino/a Literature and Health, Human Rights in Latin American Literature & Film, Woolf & Latina Literature, Feminism & Corporate America, African-American Women Novelists, Latina Writers on Nation, and Short Genre & Ethnic Struggle. Dr. Mendez incorporates diversity in her basic courses as well. Her first-year literature and writing courses include issues of race, gender, class and ethnicity. Likewise, her pedagogy is one that encourages participation and emphasizes listening to all discussants as they present “diverse” perspectives. Her courses are usually linked to many extra- and co-curricular diversity programming activities that integrate her students’ classroom experience to an applied personal immersion.

Excellence in the Scholarship of Teaching & Learning

SATYA P. CHATTOPADHYAY, PH.D.

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From management-education reform and e-learning in multicultural environments to the case method of learning and teaching, the transformative business pedagogical expertise of Dr. S.P. Chattopadhyay has helped to shape not only the education received by students at The University of Scranton, but the thinking and practices of management educators around the world. His research on pedagogical innovations has reached a worldwide audience through publication in Journal of Global Business Issues, The Journal of American Academic of Business, Cambridge and India’s SMART Journal of Business Management.

Excellence in Integrating Sustainability into the Curriculum

CRINA GSCHWANDTNER, PH.D.

Art on Campus

Dr. Crina Gschwandtner is committed to behaviors that address sustainability in her daily living and work habits. She is careful not to waste material resources and she asks others to consider behaviors that would promote stronger stewardship. But beyond this admirable personal dedication, she has also moved forward to incorporate issues of sustainability into her courses and into her professional research agenda. She regularly teaches her Environmental Ethics course and integrates sustainability topics in the required ethics courses. Recently, she started writing on topics in ecological theology and was published in Orthodoxy and the Natural Environment and in a soon-to-bereleased monograph “Gift and Economy.” She is currently writing a dissertation on ecological theology for her second doctorate.

Wooden Sculpture Location: Smurfit Arts Center Given by the Prime Minister of Suriname to William Middendorf on April 16, 1986; subsequently donated to the University.

Ignite Faculty work in the Ignatian tradition

Spotlight on Scranton An Accomplished Faculty From 2005 – 2010, the University has committed upward of $22 million to faculty development and scholarly support initiatives. The production of our scholars from 2005 – 2010 has been prodigious: 94 books, 668 articles, 231 book articles and chapters, 1,435 presentations at national and international conferences, and 1,057 other creative and scholarly activities. • Our full-time faculty positions have grown from 259 in 2005 to 281 in 2010. • Eighty-three percent of our full-time faculty hold doctorates or terminal degrees, and 65% are tenured. • Our student-to-faculty ratio is 13:1.

For more information, visit scranton.edu

About The University of Scranton Founded in 1888, Scranton is a Catholic and Jesuit university in Pennsylvania’s Pocono Mountains region. The University offers 61 undergraduate programs, 25 graduate programs and a doctor of physical therapy degree to approximately 6,000 students. Since 2003, the University has invested nearly $237 million in campus improvements, either completed or under way.

Scranton is nationally recognized for the quality of its education. • For 18 consecutive years, U.S. News & World Report’s “America’s Best Colleges” edition has ranked the University among the 10 top master’s universities in the North, the survey’s largest and most competitive region. In the 2011 edition, Scranton ranked 8th in the North, and was named among 45 colleges in the nation recognized by U.S. News as “up and comers.” For eight consecutive years, Scranton has ranked among 15 schools in the North recognized as “Great Schools at a Great Price.” • Scranton is among just 100 universities in the nation listed in Kiplinger’s “Best Values in Private Colleges,” a ranking measuring “academic quality and affordability.” • For the past decade, The Princeton Review has included Scranton among its “376 Best Colleges.” • The University is listed among the 198 colleges in the nation included in the 11th edition of Barron’s “Best Buys in College Education.” • Scranton was named to the President’s Higher Education Community Service Honor Roll for 2010, the highest federal recognition universities can receive for its commitment to volunteering, service learning and civic engagement.

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Jacob and the Angel sculpture located at the top of The Commons.

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