Arts & Sciences

The event will bring together scholars from a variety of disciplines, ranging from literature to music, theater, history and anthropology.

The award funds the “Modeling Interdisciplinary Inquiry” program and is an extension of a five-year grant made in 1999.

A lost gem in the world of opera, Lee Hoiby’s adaptation of the Ivan Turgenev play will be presented at 8 p.m. March 18-19.

The author of 11 books, she is a cancer survivor, a prominent lesbian activist, an influential literary editor and a gifted translator.

Photo by David KilperErik Herzog and graduate student Sara Aton examine brain activity data on the computer in Herzog’s Monsanto Hall lab.Erik Herzog has discovered that “VIP” is needed by the brain’s biological clock to coordinate daily rhythms in behavior and physiology.

Eric WoolseyInto the WoodsWhat happens after “happily ever after”? Find out when the Performing Arts Department in Arts & Sciences presents the Into The Woods — Stephen Sondheim and James Lapine’s musical amalgam of fairy tale favorites — as its spring Mainstage production April 1-3 and 8-10.

Jill KrementzJames LapineVeteran Broadway writer, librettist and director James Lapine will introduce Washington University’s production of Into the Woods, his 1987 collaboration with Stephen Sondheim, with a talk at 7 p.m. Friday, April 1.

Jerry BauerBidartAward-winning poet Frank Bidart, the visiting Fannie Hurst Professor of Creative Literature in Washington University’s Department of English in Arts & Sciences, will read from his work at 8 p.m. Thursday, March 24. In addition, Bidart will give a talk on the craft of poetry at 8 p.m. Thursday, March 31.

To recognize its new mission and name and to show appreciation, the center will host a ceremony and celebration Sept. 2.

The Washington University Opera will present Lee Hoiby’s A Month in the Country — based on the play by Ivan Turgenev — at 8 p.m. Friday and Saturday, March 18 and 19. The piece is something of a lost gem in the world of opera: first adapted in 1964 for the New York City Opera, under the title Natalia Petrovna, it was revised in 1980 but had gone years without a performance until last December, when the Manhattan School of Music launched a well-received production.