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  • CLAS 305a: or b.Senior Project

    1.00 Credits
    Vassar College

    or b.Senior Project
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  • CLAS 310b: Seminar in Ancient Art

    1.00 Credits
    Vassar College

    (Same as Art 310) Not offered in 2008/09.
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  • CLAS 399: Senior Independent Work

    1.00 Credits
    Vassar College

    Senior Independent Work
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  • CLCS 101a: Civilization in Question

    1.00 Credits
    Vassar College

    This course undertakes to question civilization in various ways. First, by looking at texts from ancient, medieval, and renaissance cultures, as well as texts and films from our own, it introduces students to major works of the Western tradition and asks how they bring under scrutiny their own tradition. In particular we examine how identity is constructed in these texts and how political and social roles limit and strengthen people's sense of who they are. Second, because the course is team-taught by faculty from different disciplines, we explore the ways a text is interpreted and how different meanings are found in it because of the different perspectives brought to the class by its faculty. Finally, we reflect on the role questioning plays in the process of a liberal arts education and the different kinds of attitudes and intellectual outlooks we learn to bring to the study of any text, which impels us to consider the ways we allow the past to inform and question the present and the present to informand question our understanding of the past. Readings for the course include: Homer's Odyssey, Hesiod's Theogony, Plato's Symposium, Genesis, Exodus, Virgil's Aeneid, Augustine's Confessions, and Nietzsche's Genealogy of Morals. Ms. Friedman (Classics), Mr. Miller (Philosophy), Mr. Schreier (HistOpen to all classes. Two 75-minute lecture periods and one 50-minute discussion section. Not offered in 2008/09.
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  • CLCS 110b: Process,Prose,and Pedagogy

    1.00 Credits
    Vassar College

    (Same as English 110) This course introduces the theoretical and practical underpinnings of writing and teaching writing. Students interrogate writing's place in the academy, discuss writing process from inception to revision, and share their own writing and writing practices. The course offers an occasion to reflect on and strengthen the students' own analytical and imaginative writing and heighten the ability to talk with others about theirs. Students are asked to offer sustained critical attention to issues of where knowledge resides and how it is shared, to interrogate the sources of students' and teachers' authority, to explore their own education as writers, to consider the possibilities of peer-to-peer and collaborative learning, and to give and receive constructive criticism. Texts may include Roland Barthes' The Death of the Author, Paolo Freire's Pedagogy of the Oppressed, and Stephen King's On Writing, as well as handbooks on peer consulStudents who successfully complete this class are eligible to interview for employment as consultants in the Writing Center. Ms. Rumbarger (English; Director, Writing Center) By special permission. Prerequisite: Freshman Writing Seminar.
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  • CLCS 301a: History,Memory,and Legacies of the Holocaust

    1.00 Credits
    Vassar College

    After WWII the Holocaust emerged as a universal evil that holds lessons beyond the boundaries of Western civilization. While scholars have been relying on different theoretical models to understand the Holocaust, reflection on this unprecedented genocide itself has shifted theoretical discussion in many disciplines. This course looks at the legacies of the Holocaust from a variety of different disciplines by discussing texts, films, and memorials with German students at the University of Potsdam. The exchange takes place at two different levels in the course of the semester: together with their German partners, students discuss readings and work on research projects in the MOO, our online learning environment at Vassar; and in a second phase, Vassar students travel to Berlin and German students to New York to complete on-site research for their projects. Ms. H hn, Ms. von der Emde, Ms. Zeifman. By special permission. One 3-hour period. Not offered in 2008/09.
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  • CLCS 302b: Adaptations

    1.00 Credits
    Vassar College

    (Same as Media Studies 302.) If works of art continue each other, as Virginia Woolf suggested, then cultural history accumulates when generations of artists think and talk together across time. What happens when one of those artists radically changes the terms of the conversation by switching to another language, another genre, another mode or medium What constitutes a faithful adaptation In this course we briefly consider the biological model and then explore analogies across a wide range of media. We begin with Metamorphoses, Ovid's free adaptations of classical myths, and follow Medea and Orpheus through two thousand years of theater (from Euripides to Anouilh, Williams, and Durang); paintings (Greek vases and Pompeian walls to Dürer, Rubens, Poussin, Denis, and Klee); film and television (Pasolini, von Trier, Cocteau, Camus); dance (Graham, Balanchine, Noguchi, Bausch); music (Cavalli, Charpentier, Milhaud, Barber, Stravinsky, Birtwistle, Glass); narratives and graphic narratives (Woolf, Moraga, Pynchon, Gaiman); verse (Rilke, Auden, Milosz); and computer games (Mutants and Masterminds, Fate/stay night). We may also analyze narratives and graphic narratives by Clowes, Collins, Ishiguro, Groening, Joyce, Lahiri, Malcolm X, Mann, Millhauser, Nabokov, Pekar, Shakespeare, Spiegelman, Swift, Tanizaki, and Wilde; films by Bharadwaj, Berman/Pucini, Camus, Dangarembga, Ichikawa, Ivory, Kubrick, Kurosawa, Lee, Lyne, Mendes, Nair, Sembene, Visconti, and Zwigoff-, remixes by DJ Spooky and Danger Mouse; sampling; cover bands, tribute bands; Wikipedia, wikicomedy, wikiality; and of course Adaptation, Charlie and Donald Kaufman's screenplay for Spike Jonze's film, based very very loosely on Susan Orlean's Orchid Thief. Ms. Mark (English, Media StudieBy special permission. One 3-hour period.
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  • CLCS 362b: The Thousand and One Nights

    1.00 Credits
    Vassar College

    (Same as Media Studies 362 and English 362) "This story has everything a tale should have," A. S. Byatt has written. "Sex, death, treachery, vengeance, magic, humor, warmth, wit, surprise, and a happy ending. Though it appears to be a story against women, it actually marks the creation of one of the strongest and cleverest heroines in world literature." That heroine is Scheherazade, who for a thousand and one nights told death-defying tales that led to tales that are still being told. This course investigates literary, political, cultural, and historical explanations for the tales' undiminished imaginative power. In addition to Husain Haddawy's 1990 English translation, which attempts to rid The Nights of Orientalist bias and frippery, we read elaboration, analysis, and homage by Shakespeare, Beckford, Coleridge, De Quincey, Dulac, Wordsworth, Poe, Proust, Said, Mahfouz, Rushdie, El-Amir, Barth, Borges, Calvino, Malti-Douglas, Gaiman, Byatt, and Millhauser. We listen to music by Rimsky-Korsakov and Ravel and watch Fokine's ballet, films by Méliès and Pasolini, and Hollywood animations that feature stars ranging from Mr. Magoo to Catherine Zeta Jones and Brad Pitt. We also play Scheherazade's video game and poke around in cyberspace dedicated to her legendary feats. Ms. Mark (EOne 3-hour period.
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  • CLCS 380b: Plays of Logos

    1.00 Credits
    Vassar College

    (Same as Philosophy 380 and Classics 380) Close readings of texts in Greek poetry, drama, and philosophy, with a special interest in whether exploring the differences between a classicist's and a philosopher's responses can open up meaning that precedes the very differentiation of these perspectives. Readings may include, among others, Homer and Hesiod, Sappho, Heraclitus and Parmenides, Sophocles, Aristophanes, and Plato. Ms. Kitzinger, Mr. Miller.Not offered in 2008/09k.
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