Author: Liam Otten

Alceste is allergic to flattery, fakery and sycophants. But how much honesty is too much? In “The Misanthrope,” the great French playwright Molière examines the line between diplomacy and deception, between truth-telling and cruelty.

Grammy-winning soprano Estelí Gomez (pictured) and renowned clarinetist Eric Hoeprich will join professor of music Seth Carlin Nov. 15 for Washington University’s 2015 Liederabend.

In 1972, Washington University launched one of the nation’s first academic programs in women’s studies. This fall, Arts & Sciences celebrates a new milestone as Women, Gender, and Sexuality Studies becomes a full department.

In 1972, Arts & Sciences at Washington University in St. Louis launched one of the nation’s first academic programs in women’s studies. Over the years, the program has continued to grow and expand, establishing itself as an important resource for students and faculty working on gender-related topics. On Nov. 5, the university will celebrate a […]

In this Q&A, Mellon Mays Fellow Kisha Bwenge discusses the dangers of commodifying identity and the impact of cultural tourism on Maasai and Hadzabe communities in northern Tanzania.

James Bond forever sips martinis, forever unaffected by his own life of violence. Yet the unflappable film Bond stands in marked contrast to Ian Fleming’s original novels, writes film scholar Colin Burnett.

Allison Unruh, a specialist in modern and contemporary art, has been appointed associate curator of the Mildred Lane Kemper Art Museum.

Gerhild Scholz Williams explores the vast legal, scientific and theological literature known as demonology, which helped established “the image of the witch as a night-flying, sexually voracious creature.”

In this video, curator Jonathan Ferrara and Sam Fox School dean Carmon Colangelo discuss “Guns in the Hands of Artists.” The exhibition seeks to build a new framework for examining the role of guns in American culture.

Artist Ann Hamilton discusses “O N E E V E R Y O N E · St. Louis,” a public art installation created for the Brown School’s Hillman Hall and the latest installment in Art on Campus, WashU’s percent-for-art program.