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Course Criteria
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3.00 Credits
A study and performance of scenes from French dramatic works from a variety of literary styles, movements, and eras. Students read, discuss, and perform dramatic works (or portions thereof) throughout the course and then conceive and create a coherent production of portions of these plays to be presented in public to area high schools and colleges. Readings may include the works of Molière, Racine, Beaumarchais, De Musset, Ionesco, and Duras, which, though drawn from a wide range of time periods and approaches, are assimilated and reconciled under a common theme to be determined by the class. Prerequisite(s): French 201. Recommended background: adequate oral fluency in French, good reading comprehension. Open to first-year students. Enrollment limited to 25. K. Read.
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3.00 Credits
A study of the development of theme, structure, and technique in French film through the works of directors such as Vigo, Clair, Renoir, Resnais, Godard, Truffaut, Kurys, Beneix, and Jeunet. Prerequisite(s): French 201. Open to first-year students. Enrollment limited to 25. Instructor permission is required. M. Rice-DeFosse.
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3.00 Credits
From a perspective of civic engagement, students undertake an oral history project to understand the lives of orphans of the genocide of the Tutsis fifteen years after the catastrophic event. By evaluating the life stories, needs, challenges, sufferings, and hopes of these vulnerable survivors, students learn from them as they identify forms of social resilience and long-term negotiation of trauma. They consider the history of Rwanda, the origin of the genocide of 1994, and its aftermath. In Rwanda, they meet several important social actors and government officials involved in the process of memorialization, mourning, national reconciliation, and testimony. Prerequisite(s): French 235. Enrollment limited to 12. A. Dauge-Roth.
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3.00 Credits
The intrepid boy reporter Tintin is a cultural icon of vast international acclaim. His adventures, drawn and written by Georges Rémi (Hergé), have been translated into over fifty languages and sold hundreds of millions of copies. In this course, students explore the Tintin phenomenon as artistic production, as colonialist discourse, as commodified object, and as part of a distinctly European tradition of graphic storytelling. Readings include a selection of the twenty-three adventures, a biography of Hergé, and related critical works on the reception and controversy of Tintin's enduring popularity. All readings and discussions are in French. Prerequisite(s): French 201. Recommended background: another upper-level course in French. Enrollment limited to 30. K. Read.
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3.00 Credits
Students, in consultation with a faculty advisor, individually design and plan a course of study or research not offered in the curriculum. Course work includes a reflective component, evaluation, and completion of an agreed-upon product. Sponsorship by a faculty member in the program/department, a course prospectus, and permission of the chair are required. Students may register for no more than one independent study during a Short Term. Normally offered every year. Staff.
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3.00 Credits
One can treat the products of technology as "black boxes"-plain in purpose but mysterious in function. A more flexible and exciting life is available to those who look on all such devices as mere extensions of their hands and minds-who believe they could design, build, modify, and repair anything they put their hands on. This course helps students do this primarily through practice. Only common sense is required, but participants must be willing to attack any aspect of science and technology. Field trips are required. Enrollment limited to 15. [W1] G. Clough.
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3.00 Credits
Whether in classical, jazz, popular, or category-defying music styles, experimentalists challenge inherited definitions and social conventions of music by favoring expanded sound sources, unconventional formal structures, and radical performance practices. This seminar examines the roots, history, and musical documents of American experimental music from Benjamin Franklin to Frank Zappa. Enrollment limited to 15. [W1] W. Matthews.
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3.00 Credits
This course undertakes an intensive study of Shakespeare's play, with particular emphasis on the various ways it has been interpreted through performance. Students read the play closely, view several filmed versions, and investigate historical productions in order to arrive at a sense of Hamlet's changing identity and enduring importance. Enrollment limited to 15. [W1] M. Andrucki.
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3.00 Credits
Most Americans have "seen" Africa only through non-African eyes, coming to "know" about African society through such characters as Tarzan and such genres as the "jungle melodrama" or the "nature show." In this seminar, films from the North Atlantic are juxtaposed with ethnographic and art films made by Africans in order to examine how to "read" these cinematic texts. Related novels and ethnographic texts help to answer central questions about the politics of representation: What are the differences in how African societies are depicted and why are different issues and points of view privileged Not open to students who have received credit for Anthropology 155. Enrollment limited to 15. [W1] E. Eames.
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3.00 Credits
This course studies the representation of sex and sexualities, both "queer" and "straight," in a variety of cultural products ranging from advertising and novels to music videos and movies. Topics may include connections between sex and gender queerness suggested by the increasingly common acronym LGBTQ (lesbian, gay, bisexual, transgender, queer); the advantages and inadequacies of using such labels; definitions and debates concerning pornography, sex education, public sex, and stigmatized sexual practices such as sadomasochism; the interrelations between constructions of sexuality and those of race, ethnicity, gender, nationality, and class; and the necessities and complexities of ensuring consent. Enrollment limited to 15. [W1] E. Rand.
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