Shamoon Zamir
Professor of Literature and Art History; Global Network Professor of Literature and Art History
Affiliation: NYU Abu Dhabi
Education: BA, University of London; MA, Institute of United States and Latin American Studies, London; PhD, University of London
Research Websites: Akkasah: Center for Photography Arab Center for the Study of Art
Research Areas: literature, photography, intellectual history

Shamoon Zamir works in the areas of literature, photography and intellectual history. His study of the African American writer W.E.B. Du Bois explored literature’s dialogues with philosophy and sociology and his new book, The Gift of the Face, explores the relationship of aesthetics and ethics in the work of the early twentieth-century photographer Edward S. Curtis and examines the ways in which image and text, art and science, pictorialist photography and anthropology come together in Curtis’s portraits of Native Americans.
Prof. Zamir has in addition published on twentieth-century African American and Native American fiction and on modern poetry and has translated short stories from Urdu. He was the co-founder of Talus, a small press and journal specializing in poetry, contemporary international writing and cultural studies and is a series editor for American Studies: Culture, Society & the Arts.
His current projects include studies in twentieth-century American photography and literature. He is also the Director of Akkasah: Center for Photography at NYUAD. The center is developing a photographic archive, and also a conference and exhibition series devoted to photography, with a primary focus on the Middle East.
Prof. Zamir studied English and American literatures and American Studies at the University of London and has taught at the University of Chicago, York University and the University of London before joining NYUAD.
Courses Taught
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These courses offer detailed engagements with key works of art - masterpieces to material culture across a range of media from different times and places - to develop the critical apparatus of visual analysis. They introduce the methods and fundamental concepts of art history by taking one work of art and constructing around it a web of diverse objects and practices that allow us to grapple with the meanings of art and its histories within global and trans-historical perspectives. Among the questions we ask throughout the course are: What is art? What is art history? What are the institutions that shape the practice and dissemination of art? How is art affected by histories of cultural exchange? What is the nature of tradition? The course will be conducted through both lecture and discussion. Evaluation will be through written assignments, PowerPoint presentations, and active class participation. No previous knowledge of art history is required.
Previously taught: Fall 2016, Fall 2017, Spring 2018, Fall 2018, Fall 2019, Fall 2020, Fall 2021, Spring 2023, Fall 2023, Spring 2024, Fall 2024
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Spring 2025;
14 Weeks
Gina Junghee Choi - MW 12:45 - 14:00 Taught in Abu Dhabi
This course appears in...
- Majors > Art and Art History
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Spring 2025;
14 Weeks
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These courses offer detailed engagements with key works of art masterpieces to material culture across a range of media from different times and places to develop the critical apparatus of visual analysis. They introduce the methods and fundamental concepts of art history by taking one work of art and constructing around it a web of diverse objects and practices that allow us to grapple with the meanings of art and its histories within global and trans-historical perspectives. Among the questions we ask throughout the course are: What is art? What is art history? What are the institutions that shape the practice and dissemination of art? How is art affected by histories of cultural exchange? What is the nature of tradition? The course will be conducted through both lecture and discussion. Evaluation will be through written assignments, PowerPoint presentations, and active class participation. No previous knowledge of art history is required.
Previously taught: Spring 2017, Fall 2017, Spring 2019, Spring 2023, Spring 2024
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Fall 2025;
14 Weeks
Gina Junghee Choi - MW 11:20 - 12:35 Taught in Abu Dhabi
This course appears in...
- Majors > Art and Art History
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Fall 2025;
14 Weeks
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The capstone experience in Art History provides seniors with the opportunity to work closely with a faculty mentor and to conduct extensive research on a topic of their choice. The program consists of a capstone seminar, taken in the first semester of the senior year, and a year-long individualized thesis tutorial. During the capstone seminar, Art History students will refine a thesis topic of their choice, develop a bibliography, read broadly in background works, and undertake research and/or creative work. In the tutorial, students will work on a one-on-one basis with a faculty mentor to hone their research and produce successive drafts of a capstone project. The capstone experience will culminate in the public presentation of the work and defense before a faculty panel.
Prerequisite: Must be a declared Art History Major and Senior standing.
Previously taught: Fall 2019, Spring 2020, Fall 2020, Spring 2021, Fall 2021, Fall 2022, Fall 2023, Fall 2024
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Fall 2025;
14 Weeks
Andreas Valentin - M 08:30 - 11:10 Taught in Abu Dhabi
This course appears in...
- Majors > Art and Art History
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Fall 2025;
14 Weeks
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During the spring semester, Art History students will work on a one-on-one basis with a faculty mentor to hone their research and produce successive drafts of a capstone project. The capstone experience will culminate in the public presentation of the work and defense before a faculty panel.
Prerequisite: ARTH-UH 4000
Previously taught: Spring 2020, Fall 2020, Spring 2021, Spring 2022, Spring 2023, Spring 2024
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Spring 2025;
14 Weeks
Gregor Stemmrich - M 08:30 - 11:10 Taught in Abu Dhabi
This course appears in...
- Majors > Art and Art History
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Spring 2025;
14 Weeks
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This course explores the ways in which the portrait has been used as a vehicle for artistic expression, for the construction of social identity, for self-examination, and for the representation of cultural difference. It examines many kinds of portraits and self-portraits in painting and photography from different times and cultures and encourages engagement with a range of major issues that include the nature of personhood, of private and public identities, and of art itself. The course draws upon the rich resources of London's museums and galleries, especially the National Gallery, the National Portrait Gallery, the Victoria & Albert Museum, the British Museum, and the Queen's Collection.
Previously taught: January 2017, Spring 2021, Spring 2022, Summer 1 2022
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Majors > Art and Art History > Art History Electives
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To what extent can "Shakespeare" serve as the focal point for a cultural heritage that belongs to the entire globe? This course offers a comparative, interdisciplinary approach to Shakespeare's plays, considering them both as exemplary of Western literature and also as world literature, influential in many cultures. Three sets of questions ground the course: 1) In what ways was Shakespeare a "global" author in his own day, adopting a "worldly" approach that transcends his English context? 2) How do the publication, performance, and critical histories of his plays transform "Shakespeare" into a global commodity? 3) What cultural legacy has Shakespeare's work left for a variety of global media forms, including plays, films, novels, operas, and works of visual art? The course begins with two plays, Othello and The Tempest, that have inspired adaptations in a variety of contexts and genres. It then pays close attention to the global spread of Shakespeare’s most famous play, Hamlet, from 1603 to the present. The course concludes with a creative project inspired by Shakespeare's lost play, Cardenio.
Previously taught: Fall 2016, Fall 2017, Fall 2020, Spring 2022, Fall 2024
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Fall 2025;
14 Weeks
Shamoon Zamir - TR 12:45 - 14:00 Taught in Abu Dhabi
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Majors > Literature and Creative Writing > Introductory Literature Electives
- Majors > Literature and Creative Writing > Literature Histories
- Majors > Literature and Creative Writing > Pre-modern
- Majors > Theater
- Majors > Theater > History, Theory, Criticism
- Minors > Literature
- Minors > Theater
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Fall 2025;
14 Weeks
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Tragic dramas from different cultures and periods have framed in memorable, though often contradictory, ways some basic questions about how human beings face suffering, violence, and death. Drawing on these broad traditions, students will explore the dramatic forms, social contexts, and rhetorical and political goals of tragedies in an attempt to understand how drama can turn catastrophe into art - and why. By what means does tragedy take horrific and often degrading experiences and transform them into artistic experiences that are (sometimes) intelligible, pleasurable, or beautiful? Should witnessing the misery of others ever be pleasurable or beautiful? Can we presume to make sense of another's suffering? How, more generally, can tragic drama help us come to terms with the violence and brutality of the human condition - or does it sometimes hinder this attempt?
Previously taught: Summer 2016, Spring 2020, Fall 2020, Spring 2021, Fall 2021
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Majors > Literature and Creative Writing > Introductory Literature Electives
- Majors > Literature and Creative Writing > Literature Histories
- Majors > Literature and Creative Writing > Pre-modern
- Majors > Theater > History, Theory, Criticism
- Minors > Literature
- Minors > Theater
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This course explores photography's relationship to language and narrative by examining photography's rich interactions with literature and film. How do images complement, replace, challenge, or exceed language in narrative works? Can images create alternative forms of narrative? What kind of narratives do photographs generate in fiction? What is the relationship of photography and memory in works of autobiography or of photography and witnessing in social documentary? In what form are such dialogues present in films? Students will examine a variety of works from around the world which are entirely or almost entirely visual; works in which images and text are combined in creative partnership; and works which are about photographs but in which no images are actually reproduced.
Previously taught: Fall 2016
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Majors > Art and Art History > Art History Electives
- Majors > Literature and Creative Writing > Literature Topics
- Minors > Literature
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3 credits
Slow Looking: What happens when we decide not to move on to the next thing, but to stay with a work of art for long periods of time, longer than we ever thought possible? In this course we approach visual art as an invitation to slow looking, an adventure of observation and thought based in receptivity rather than preformulated ideas. Besides learning a protocol for sustained observation, students will receive intensive training in analytical methods. How do we gather observations without immediately harnessing them into schemas? How do we pass from observations to a set of questions, and then explore those questions? We will, however, explore not only what slow looking can let us see but also what it cannot let us see. In repeated visits to major museums in London we will do slow looking in person. Students will engage in discussion of works of art and write frequent short writing assignments. We will also read and analyze essays that exemplify the art of slow looking.
This course will be offered in January-Term 2025 in London, United Kingdom.
Previously taught: January 2023, January 2024, January 2025
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Core Curriculum > Field Colloquia
- Majors > Art and Art History > Art History Electives
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This course interrogates the nature of the photographic image. It does so by exploring the relationship of the still and moving image in cinema. Through detailed engagements with a variety of films in which photography plays a central role, the course develops critical assessments of the social and cultural uses of the photographic image: What is the relationship between image and truth and image and memory? How has the photographic image shaped our understanding of family and self? How have communities been represented and represented themselves? What are the ethics of documentary photography? How do class and gender inflect the histories of the image? These and other questions will be approached through a rigorous engagement with aesthetic experience, so that the nature of film and the photograph will also remain at the forefront of our discussions. In addition to producing scholarly written work, students will be required to produce a film of 2 to 4 minutes in length using only still images.
Previously taught: No
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Fall 2025;
14 Weeks
Shamoon Zamir - R 17:00 - 19:00; TR 15:35 - 16:50 Taught in Abu Dhabi
This course appears in...
- Core Curriculum > Cultural Exploration and Analysis
- Majors > Art and Art History > Art History Electives
- Majors > Film and New Media > Film and New Media Studies Track
- Majors > Film and New Media > Media Studies Courses
- Minors > Art History
- Minors > Film and New Media
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Fall 2025;
14 Weeks
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This course introduces students to the demands and pleasures of university-level investigation of literature. Students develop the tools necessary for advanced criticism, including close-reading skills, knowledge of generic conventions, mastery of critical terminology, and introduction to a variety of modes of analysis, from the formal to the historical. The course emphasizes the writing and revision strategies necessary to produce sophisticated literary analysis.
Previously taught: Fall 2016, Spring 2017, Fall 2017, Spring 2018, Fall 2018, Spring 2019, Fall 2019, Spring 2020, Fall 2020, Spring 2021, Fall 2021, Spring 2022, Fall 2022, Spring 2023, Fall 2023, Spring 2024, Fall 2024
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Spring 2025;
14 Weeks
Paulo Lemos Horta, Alvaro Luna - MW 11:20 - 12:35 Taught in Abu Dhabi -
Fall 2025;
14 Weeks
Paulo Lemos Horta - MW 14:10 - 15:25 Taught in Abu Dhabi
This course appears in...
- Majors > Literature and Creative Writing
- Minors > Literature
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Spring 2025;
14 Weeks
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Is there such a thing as global cultural heritage? This course resituates Herman Melville's Moby-Dick often described as "The Great American Novel" as a global text that is "worldly" in its outlook and its legacy. The course examines the novel's relation to Christian, Muslim, and Zoroastrian religious traditions; to Greco-Roman tragedy and epic; to Shakespeare; to Western and Eastern philosophical traditions; and to a variety of European, British, and American Romantic traditions. It also examines the novel's engagement with the visual arts. The course poses three sets of questions: 1) In what ways was Moby-Dick a "global" text in its own day, adopting a "worldly" approach that transcends its particular local milieu? 2) How has the history of the publication, criticism, and teaching of the novel transformed it into a global cultural work? 3) What is the cultural legacy of the book today throughout a variety of global media forms, including plays, films, novels, operas, and works of visual art?
Prerequisite: LITCW-UH 1000 and LITCW-UH 1001 or Permission of the instructor
Previously taught: Fall 2017
This course appears in...
- Majors > Literature and Creative Writing > Advanced Literature Electives
- Minors > Literature
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What exactly is a photograph? The photographic image, since its invention in 1839, has become ubiquitous in almost every aspect of human life in almost every corner of the globe. According to some estimates, over 1.7 trillion photographs are taken daily around the world. This Writing Seminar explores the premise that the photograph, in all its diverse forms, has become for us what water is to fish: because it is an environment in which we are now completely immersed, we are no longer aware of its existence. This premise is intended as a provocation toward critical reflection. The course aims to defamiliarize what we accept too often as an object so familiar that it is essentially obvious in its meanings: the photograph. What relation to the real world does it have? How has photography changed who we are and what the world is? And how does photography mediate our relationship with others, be they family or members of a social or cultural group different from us? These large questions are approached through slow, close readings of particular photographs in a variety of formal and cultural contexts.
Prerequisite: Must be a first-year Abu Dhabi student.
Previously taught: Spring 2023
This course appears in...
- Core Curriculum > First Year Writing Seminars