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Time & Day Offered
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Platform: Projects in Drama — DRA4311.03

Instructor: Carly Rudzinski
Credits: 1
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages

Platform: Projects in Drama — DRA4311.02

Instructor: Dina Janis
Credits: 2
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Platform: Projects in Drama — DRA4311.01

Instructor: Dina Janis
Credits: 4
The purpose of this course is to create a platform for students to express themselves through theatrical performance. We are interested in projects that are inclusive and allow for, and celebrate diversity. All applicants must be interested in developing their project while investigating what it means to create a supportive, inclusive community that regularly engages in group

Plato: Middle and Late Dialogues — PHI4257.01

Instructor: Catherine McKeen
Days & Time: TH 1:40pm-5:20pm
Credits: 4

Aristocles (known to us as "Plato") lived and wrote in Athens in the 5th c. BCE. More than 2400 years later, Alfred North Whitehead’s famous remark still resonates: “The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato…the wealth of general ideas scattered through them…have

Plato: Symposium — PHI2163.02

Instructor: Catherine McKeen
Days & Time: TU,FR 10:30am-12:20pm
Credits: 2

It is 416 BCE. A group of Athenian men are gathered together for a party, a celebration, a symposium. Among the company are the tragic playwright Agathon, Agathon’s lover Pausanias, the beautiful but doomed Phaedrus, the comic playwright Aristophanes, the doctor Eryximachus, and the (also perhaps doomed) philosopher Socrates. Diotima, a priestess from Mantinea, puts in a

PLAY! — APA2100.01

Instructor: Carly Rudzinski
Credits: 2
Students will research their favorite games and use its framework to create reimagined experiences inspired by the nature of the games. For example, a classic game of hide-and-seek could be upcycled into an academic treasure hunt or a clue-based quest. Can you imagine what school would be like if the campus turned into a giant version of your favorite video game or board game?

PLAY! — APA2100.02

Instructor: Carly Rudzinski
Credits: 2
Students will research their favorite games and use its framework to create reimagined experiences inspired by the nature of the games. For example, a classic game of hide-and-seek could be upcycled into an academic treasure hunt or a clue-based quest. Can you imagine what school would be like if the campus turned into a giant version of your favorite video game or board game?

Playing and reality: The work of D.W. Winnicott — PSY4117.01

Instructor: David Anderegg
Credits: 4
This seminar will delve deeply into the life and work of D. W. Winnicott, the British psychoanalyst famous for his work on playing, internal creative life, and the interplay between creative and psychotic elements in fantasy. We will read about the British psychoanalytic world in which Winnicott developed; his biography; some of his popular work, including transcripts of his

Plays From Plays From Plays — DRA2155.01; first seven weeks

Instructor: Kathleen Dimmick
Days & Time: TBA
Credits: 2
Where do plays come from? In this course we’ll look at the bloodline of plays: origination myths, tales, folklore, and, of course, other plays. We’ll read and discuss plays by Aeschylus, Euripides, Shakespeare, Buchner, Zola and their followers – Racine, Alfred Jarry, Sarah Kane, Neal Bell, Elizabeth Egloff, and others.

Playwriting — DRA2260.01

Instructor: Sarah Hammond
Credits: 4
"A human being is the best plot there is. " --John Galsworthy A beginning workshop in the fundamentals of playwriting, with exercises in such craft elements as structure, plot, dialogue, setting, gesture, and a special focus on inventing characters the audience can't forget. Assignments will include both written responses to readings and creative writing exercises that explore

Playwriting - Storytelling Across Media — DRA2184.01

Instructor: Michael Giannitti
Credits: 4
What makes Phoebe Waller-Bridge’s Fleabag a singularly perfect work of art that we can’t stop watching? How exactly does Beyonce’s cinematic album Lemonade capture and sustain our emotional attention, outside of her inherent god-like energy? How can I write a play that “feels” like that? In this introductory course, we will take a “study what you love” approach to playwriting.

Playwriting as Civic Inquiry - The Supreme Court and the Corporate Person — DRA4408.01

Instructor: Carly Rudzinski
Credits: 4
Over the past two centuries U.S. business corporations have gained civil rights originally intended for flesh-and-blood people. In this course we will work as a team of artist-investigators to (1) understand how this happened; (2) what some of the downstream consequences have been; (3) review ways artists and activists have tried to intervene with this development through

PLAYWRITING AS CIVIC INQUIRY: Chevron vs. Steven Donziger — DRA4026.01) (cancelled 12/1/2022

Instructor: Dina Janis
Credits: 4
... the [Living Newspaper] seeks to dramatize a new struggle – the search of the average American today for knowledge about his country and his world; to dramatize his struggle to turn the great natural and economic forces of our time toward a better life for more people.” — Hallie Flanagan, National Director of the Federal Theatre Project. This spring we will resurrect the

Playwriting Workshop: Politics and Poetry — DRA4113.01

Instructor: Jackie Sibblies Drury
Credits: 4
For our workshop, I’d like us to think about plays as being a combination of things. Of poetry and plot, in form (or structure). Of the personal and the political, in content. I’d so appreciate us thinking about this together because I’ve been thinking about this alone for quite some time. As I’ve thought about it, I haven’t been considering “poetry” and “prose” and “personal”

Playwriting Workshop: Sense Memory — DRA2140.01

Instructor: Jackie Sibblies Drury
Credits: 4
In this course, we will explore methods for using our senses both to inspire our writing and to create plays that engage an audience's faculties and imagination. Through writing exercises tailored to creating text that is meant to be spoken and lived in, participants will create writing that is inspired by images, objects, music, and food that they share with the class. In this

Podcasts and Ethnography — ANT2214.01

Instructor: Marios Falaris
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

How can anthropology help us listen more critically and carefully? Each class session will consider one ethnographic approach, which students will apply to their listening. Following in the anthropological tradition, where concepts both reveal social processes and are themselves modified by the material at hand, students will consider how podcast episodes they listen to can

Poesis: Calling Psychology Into Existence: Study of Expressive Arts’ influences on Psychology — PSY4413.01

Instructor: Carly Rudzinski
Credits: 4
Poesis is used as a way of forming meaning and knowledge that incorporates elements of creativity, self-reflection, and subjective experiences. This can lead to the development of new ways of understanding psychological constructs and ways of examining those constructs. Poesis has the potential to promote greater social justice and equity. Women's ways of knowing and other

Poetry Performance — LIT2533.01

Instructor: Franny Choi
Credits: 4
Though poetry was an oral art form before it was anything else, its contemporary relationship to performance is varied and complex. What does it mean to write a poem that comes alive in the air? What happens to poems when they become embodied? And how have questions of race, class, gender, and sexuality historically shaped (and been shaped by) the work at the intersection of

Poetry and Technology — LIT4393.01

Instructor: Franny Choi
Credits: 2
Since Open AI’s release of ChatGPT, many have wondered—even panicked—about how this new technology would impact literature, including the field of poetry. But literature has always been shaped by the technology of its time. In this 2-credit class, we will look beyond the common assumption of poems as ideally “timeless” to examine how poetry has developed alongside (not against)

Poetry of Perpetual War — LIT2258.01

Instructor: Stefania Heim
Credits: 4
We will begin our study of War Poetry not on the beach before Troy or in the trenches of the first World War, but in our present moment, when, as legal scholar Mary Dudziak argues, wartime is no longer “an exception to normal peacetime,” but “the only kind of time we have.” What are War Poems when war is everywhere and always? Who does and does not get to write them? What kind

Poets' Love: The Song Cycle — MVO4127.01

Instructor:
Credits: 2
This class is directed toward the somewhat advanced vocal performer. They will learn about German Lieder, the wonderful confluence of text and music, which is a highpoint of the Romantic period in music. They will study and perform Schumann’s Dichterliebe, one of the greatest song cycles ever written. Students will together and separately learn all of the sixteen songs and

Point of Criticality: Problems of Complexity — APA4203.01

Instructor: Susan Sgorbati
Credits: 4
This is a course on the relationship of complex systems to conflict analysis. Concepts such as self-organization and improvisation, emergence, pattern recognition and complexity, feedback loops, nesting and topologies will all be examined as aspects of how complex problems are constructed. By looking at the 10 Step Complexity CR Model, we will analyze two case studies of

Point of Criticality: Problems of Complexity — APA4203.01

Instructor: Susan Sgorbati
Credits: 4
This is a course on the relationship of complex systems to conflict analysis. Concepts such as self-organization and improvisation, emergence, pattern recognition and complexity, feedback loops, nesting and topologies will all be examined as aspects of how complex problems are constructed. "Thinking in Systems" by Donella Meadows is the primary text. By looking at the 10 Step

Point of Criticality: Problems of Complexity — APA2140.01

Instructor: Susan Sgorbati
Credits: 2
This course looks at the application of complex systems analysis to problem-solving. Concepts such as self-organization, emergence and complexity will be examined in the context of case studies of specific conflicts and how they are or are not resolved. The central text is "Thinking in Systems" by environmental scientist, Donella Meadows as well as readings from scientists,

Point, Curve, Surface, Solid - 3D Modeling and Fabrication — VA2117.01

Instructor: Farhad Mirza
Credits: 2
This course explores methods of translating imagined shapes into three-dimensional objects. Students will study how sub-division, approximation, and discretization can be used to separate forms into component parts. Course work will focus on how systematic breaking-down of form reveals qualities that can be intentionally altered, thus changing their properties (visible or