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Course Criteria
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4.00 Credits
This four-credit hour interdisciplinary seminar looks at the ways in which humans think about the animal and how they imagine their relationship to it. It examines representations of animal existence in literature, film, and critical essays and analyzes the attitudes and projections that underlie these constructs. The discussion will center on paradigm-shifting constructions of the animal such as post-modern anthropomorphism and the concept of becoming animal. Emphasis is placed on honing expressive and analytic skills, both written and oral. Various perspectives will be brought to bear on the theme. Questions we will explore include: What is "animal"? What is the connection between animals and ourselves? How do we know animals and what do we know? Is there "good" and "bad" anthropomorphism? How does language construct the "beast"? Does a documentary really document animal existence? Do animated films prevent a deeper understanding of animal existence or do they contribute to the discourse?
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4.00 Credits
This seminar explores, through the medium of sport literature, significant periods of life: maturing, playing, living, loving, aging, and dying. Through the genre of sport literature, the course explores sport as metaphor, fantasy, and myth in context (1) time and death, (2) religion and philosophy, and (3) the human condition. Literal, symbolic, euphonic, mythical and figurative interpretations of poetic sport in literature and the plot, point of view, characterization, symbolism, and emotion consideration when reading sport fiction serve as the framework for discussion concerning self, the meaning of sport and life, and the interaction of sport, culture, and self.
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4.00 Credits
The Greek Hero and Heroic Culture since Antiquity: the Classical Tradition in Literature and the Arts is the specific topic of this seminar. The influence of ancient Greece on subsequent Western civilization has been profound. This course focuses on the impact of Greek mythology on the literature and arts of five later periods: the Middle Ages, the Renaissance, the Baroque, the Revolutionary Age (1750-1848), and the Modern period. While there are many aspects of Greek mythology that we might investigate, the story of the Trojan War will serve as a central, unifying myth for exploration. The concept of the hero evolved considerably between the time of Homer and the time of Euripides; yet, the Homeric heroes continued to appear in literature and the arts from ancient times onward. How has the concept of the hero inherited from Homer changed in literature and art since antiquity? Does the word "hero" still have value? Are there relevant and meaningful applications of this very specific Greek word outside literature and art in our time? These are just some of the questions we shall consider in our study of the Greek Hero and Heroic Culture since Antiquity in literature and the arts.
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4.00 Credits
What is the enduring appeal of the works of William Shakespeare? Not only are the plays themselves popular today; there are also many film versions and adaptations, some recent and some dating back to the early days of cinema. In this First Seminar, students will read approximately six Shakespeare plays, including at least one history, comedy, and tragedy. In addition, they will view at least one film version or adaptation of each play. With the help of Kelvin Smith Library, the films will be made available on streaming video with password-protected access, enabling students to view them when convenient and as often as necessary. Since this class (like all First Seminars) is writing-intensive, students will complete four formal essays as well as frequent in-class writing activities. There will also be in-class readings from the plays, discussions of the various film adaptations, and one or two short oral presentations or activities.
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4.00 Credits
This course explores methods for interpreting films. To interpret a film is a more aggressive and creative activity than is simply viewing one. How do critics and researchers of cinema "make meaning"? What strategies do they use? How does one mount a film interpretation that is both novel and persuasive? The course will emphasize close reading of films as, each week, we screen a film and together discuss what meanings we can infer from it. Also each week, we'll read an essay that offers an interpretation of the film. We'll analyze the reading in light of our sense of the film under consideration. Students will write short essays, approximately one every two weeks, in which they analyze the rhetorical and interpretive strategies of a given film analysis. Students will share their essays with the class, and these readings will serve as bases for class discussions. Final writing projects will consist of student interpretations of a film. At least twice during the semester, the class will, in substitution for the weekly required evening screening, attend a film off campus--either at the Cleveland Cinematheque or at the Cleveland Museum of Art. The course emphasizes writing instruction and discussion in a seminar format. There will be required evening screenings each week.
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4.00 Credits
This four credit-hour course provides an introduction to art, music, and the museum, particularly the intersections between and among these three subject areas. Formal training in these disciplines is not required. The course will be characterized by intense yet open-ended intellectual inquiry and guided by readings and the experience of artworks from a wide range of styles and cultures. A strong emphasis will be placed on academic writing. The goals are to enhance basic intellectual skills including critical reading, thoughtful analysis, and written and oral communication (including PowerPoint presentation); to introduce basic information literacy skills; to encourage a global and multidisciplinary perspective on the learning process; to facilitate faculty-student interactions; and, in the most general sense, to provide a supportive intellectual experience for first-year students at Case.
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4.00 Credits
The seminar will explore the sport of fly-fishing--and an individual's relationship to the natural world surrounding them--as presented in both fiction and non-fiction. Selected texts will provide the impetus for posing such questions as: What is the fundamental nature of sport, how does it vary from other forms of recreation, and can a sport be considered an art? What prompts the various authors to often imbue the fly-fishing with metaphysical, spiritual, or aesthetic dimensions? How does the intent and style of this genre of writing differ from those of traditional academic research? How might these elements of craft be applied and integrated into an effective academic writing style? In addition to considering the stylistic and philosophical approaches to the topic, seminar participants will also engage in several experiential learning sessions involving certain skill aspects of fly casting and tying, and consider those experiences both in discussion and written assignments.
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4.00 Credits
This course focuses on the musical landscape of New Orleans from the late 18th century to the present. We will look at the diverse musics of the city, including opera and orchestral music, slave song, Gospel, solo piano, ragtime, jazz, rhythm and blues, rock and roll, and Cajun and zydeco. Through the course, students will develop a better understanding of music and music history and a deeper knowledge about the history of New Orleans. The course spends considerable time on communication: public speaking, discussion, and writing. Fourth Hour trips will include visits to the Rock and Roll Hall of Fame and the Western Reserve Historical Society.
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4.00 Credits
Narrative forms, such as myths, folktales, novels, films, and the media make significant contributions to the varied ways that people understand and imagine the spatial structures of the world. Specifically, this course will help you a) to develop an understanding of how narratives and the media have an impact on the ways we come to terms with geopolitical regions and how geopolitical regions are invented and imagined; b) to point out and address geopolitical assumptions, over-generalizations and to engage concepts such as the 'East' and 'West,' etc. critically; c) to analyze travel narratives, films, and current media representations of certain areas of the world and situate your observations into a wider set of theoretical problems; and d) to develop a set of reading skills that will help you to decipher texts(both primary and secondary) so that you can formulate productive questions and articulate your intellectual discoveries in a compelling way.
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4.00 Credits
The term "Renaissance man" is often used to refer to a polymath, someone whose expertise spans numerous and diverse subject areas. Leonardo da Vinci (1452-1519), perhaps the most famous polymath of all, was an artist, scientist, engineer, musician, and indeed a man who lived during the Renaissance. Yet already in late antiquity and the Middle Ages many of the great thinkers were polymaths, and they were not all men. This course examines the intellectual contributions of Leonardo da Vinci and two earlier polymaths: Saint Augustine (390-430CE), a north African bishop, philosopher, and theologian who became a Doctor of the Church; and Hildegard of Bingen (1098-1179), a German nun who was a composer, philosopher, herbalist, and mystic visionary. Through discussion of writings by these three figures and of secondary literature about them, the course explores their intellectual diversity and the cultural forces that shaped them. It also examines what it meant to be a polymath at various points in history, why polymaths have become associated with the Renaissance and with men specifically, and why there are relatively few polymaths today.
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