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Course Criteria
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4.00 Credits
This course is designed to introduce students to the art museum as a source of lifelong learning. The museum will be presented as a resource for studying art, first by discussing the purpose, organization and function of art museums and, second, by offering insight into their collections, based on a focus on famous paintings from their collections that have established themselves in western culture. Students will use both paper-based and internet resources to determine the process of selection of art works for their historical, iconographic and symbolic meanings and be able to place them in their historical and chronological context. Competences: A1A, A1B, A1C, as. Faculty: Phyllis Kozlowski
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4.00 Credits
This course is designed to acquaint students with works of folk art and to provide an approach to understanding and appreciation through knowledge of kinds of folk art, of its purposes, techniques, form, and content. The course is designed to sensitize the student to the variety of folk art and their importance in the time and culture in which they were created and their importance in contemporary civilization. The theory, history, and mechanics of folk art plus a survey of the major developments in the visual folk arts, and their respective aesthetic criteria are explored through reading and discussion. Visuals in museums, local collections, community-practicing artists, book visuals and visuals on line are used as resources. This course is NOT offered for A2A (requires the production of artwork). Competences: A1B, A1H. A1E, aid, A1X. Faculty: Linda Hightower
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4.00 Credits
In Banks as Patrons of the Arts, students will consider the larger role of banks and other corporation with respect to community, especially as provider, preserver, and procurator of the visual arts. Throughout history, banks have led the way in the commissioning, procurement, and dissemination of works of art. Money, power, spirituality and aesthetics have been important elements in the preservation of art in various cultures. The focus of this course is this dilemma. Who creates visual images Who preserves them How does the public come to know of them and appreciate them Where does the corporation fit in this puzzle How has this question been handled in history Must commerce and aesthetics be opposed Do powerful organizations such as banks have a responsibility to develop and protect our visual heritage Is there a middle ground where beauty and profit can coexist Competences: A1A, A1X, A2B. Faculty: Susan McGury
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4.00 Credits
This course provides a framework from which to identify and analyze 'leadership.' Leadership occurs in all aspects of life, including: business, politics, sports, society, religion, family, education, and culture. But what is leadership The Merriam-Webster on-line dictionary defines leadership as "the act or an instance of leading," which provides us with little insight. On further investigation, however, the dictionary defines "lead" as [guide] on a way especially by going in advance. Where there is a leader, then, someone or something must follow. This course first explores the interrelationship between a leader and his or her followers and looks at the effect they have on each other. "Good" leadership traits (i.e., effective) and "bad" leadership traits (i.e., ineffective) are then studied from the perspectives of the leaders, the followers, and outsiders. Finally, this course takes a look at leadership from an international perspective. Competences: H-1-C, H-5, A-3-X, F-X. Faculty: Elizabeth Bleakley
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4.00 Credits
Since the beginning of cinema, movies have made audiences laugh, and comedy is still the most prevalent film genre around the world. What were the earliest movie comedies like, and has film comedy gotten more "sophisticated" Is comedy universal (does everyone laugh at the same things) What lies beneath laughter What does it mean for something to be funny What forms of comedy lend themselves particularly well to movies Do great movIe clowns (e.g. Charlie Chaplin, Mae West, and Jim Carrey) or great comedy directors have anything in common This course investigates film comedy from these various perspectives, based on American films ranging historically over the 20th century, and on readings from film critics, psychologists, and philosophers. Students who complete this course will have a good working knowledge of American film comedy-its history, its status as a genre, its social and psychological functions, and some of its landmark films and creators. Through readings, writing assignments, and lecture-discussions, students will also become conversant in a few key theories of comedy, and begin to consider them in the context of films. Competencies: A-1-C, A-1-D, H-1-X, H-2-G. Faculty: Gary Fox
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4.00 Credits
Cathedrals of England: A Pilgrimage (Travel Course)The inspiration and faith that combined to produce the magnificent cathedrals in Great Britain are worthy subjects for students of art, history, architecture and religion. Our journey of discovery will begin in London and move southward to St. Albans and Canterbury, then on to Gloucester, Lincoln, Durham, with an overnight stay at Holy Island (Lindesfarne) the site of an 8th century Abbey accessible via footpath by day and only by boat after the tide comes in. We will focus on exploring a sense of space as a place for spiritual awakening and renewal, and make connections to our readings and discussions. Competencies: LEX (L10,11), E1,E2, A1A, A1C, as, H1E, H2B. Faculty: Susan McGury.
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4.00 Credits
Can any photograph from the past be described as a document The word "document," like the photograph itself, implies "truth." But information, written or visual, requires context and interpretation. What we take from photographs depends upon the things we bring to them. . . foremost being our personal and group perceptions of the world. Did photographer Mathew Brady shape his Civil War coverage for his Northern audience How were these images seen differently through the eyes of the defeated And what stories are they telling us and future audiences Photographs can inform words. Words contextualize photographs. In this class we will examine this relationship and how interpretations of camera images have shaped our lives. Competences: ale, A2D, H1A, S3A. Faculty: Michael Boruch
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4.00 Credits
"Cinema is a communication mode that warrants our attention. Through examination of great international artists and their films, much can be learned about cultures with which we are not familiar. Since our experience of film is mediated by our own experience and by our own curiosity about its creator, during this course our attention will focus not only on film as an artistic expression, but on the experiences of the director, and the circumstances that caused her/his films to be created. Most class time will be spent on viewing and discussing a film; preparation for each class will necessitate background knowledge and film analysis by the learner. Throughout this course the learner will become familiar with internationally known film directors, their works, and the historical background that inspired them to produce their art. Competences: ale, A3C, H1F, H5, A5. Faculty: Rebecca Schwan."
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4.00 Credits
For many, music is an integral part of everyday life. It is also deeply ingrained in most cultures. Music is used by individuals, businesses and societies to entertain, soothe, excite, and arouse. Music is basically a series or combination of pleasing sounds but how is music made How do we know what is pleasing and what is not The answers to these questions and others demonstrate that music is also a field where science and art meet. In this class, we will explore how sound is physically created and how specific sounds have been turned into music over the centuries. Through experimentation, we will examine the physical and mathematical properties of sound and musical instruments. We will also create simple musical instruments and share the experience of creating musical pieces. No musical experience is needed to take this class. This class is a hybrid course that will meet every two weeks for a total of 5 times. Students will be expected to attend every class meeting as well as regularly participate in the class using the Blackboard website. Competences: A-5, A-2-X, S-2-X, S-1-X, F-X Faculty: John Hemmerling
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4.00 Credits
This course examines how male sexuality has been defined, constructed, and explained historically in American film culture, with specific attention to the promotion and audience reception of individual male stars. We will read film history, reviews, and studies of gender and sexuality, examining the sometimes quite ambiguous cultural borders that distinguish identities and behaviors labeled as gay, straight, masculine, and feminine. Each class includes the screening of a feature-length film, and we will focus upon such actors as Paul Robeson, John Wayne, James Dean, Marlon Brando, Montgomery Clift, Mel Gibson, John Travolta, and Keanu Reeves. Students will have opportunities to work on projects tailored to their own interest in the subject matter. Class will meet from 6:00 - 9:30 p.m. because of in-class film screenings. BA-1999 Competencies: ale, H1B, H1F, H2G, H3B, H4. Pre-1999 Competencies: ALH, HC2, HCC, HCD, HCG. Faculty: Michael DeAngelis.
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