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Showing 25 Results of 7796

Mad Props: Theatrical Property Design and Production — DRA2312.01

Fall 2024
Instructor: Seancolin Hankins
Days & Time:
Credits: 2
An exercise in planning, communication, creativity and resourcefulness, property design applies to film, television, and theatrical production. This course will look at theatrical props and set dressing from a property designer’s perspective. Starting with a script, we will uncover the questions you didn’t know needed answering in order to comprehensively produce or curate
Drama

Mad Props: Theatrical Property Design and Production — DRA2312.01

Spring 2021
Instructor: Michael Giannitti
Days & Time:
Credits: 2
An exercise in planning, communication, creativity and resourcefulness, property design applies to film, television, and theatrical production. This course will look at theatrical props and set dressing from a property designer’s perspective. Starting with a script, we will uncover the questions you didn’t know needed answering in order to comprehensively produce or curate
Drama

Madame Bovary — LIT4270.02

Spring 2016
Instructor: Benjamin Anastas
Days & Time:
Credits: 2
Madame Bovary, by Gustave Flaubert, is universally regarded as one of the two or three greatest French novels. It was the object of an obscenity trial in 1859, though the prosecution failed to establish anything indecent in its content. The book is also regarded, by novelists and critics alike, as almost perfect in construction - musical in the unfolding of the story, vivid,
Literature

Madame Bovary Middlemarch: Small Worlds, Big Novels — LIT4128.01

Fall 2019
Instructor: Manuel Gonzales
Days & Time:
Credits: 4
Virginia Woolf once famously said of Middlemarch that it was "one of the few English novels written for grown-up people" and George Eliot's novel is widely considered one of the best novels, written in English, of the 19th Century. Gustav Flaubert's Madame Bovary is considered by many as one of the best novels ever written and is perhaps the first 'modern' novel ever published.
Literature

Magical Realism and Black Speculative Fiction: On Radical Cosmogony — LIT4603.01) (course description title updated as of 11/11/2024

Spring 2025
Instructor: An Duplan
Days & Time:
Credits: 4
Writers like Nnedi Okorafor, N.K. Jemisin, and Samuel Delany have helped define the field of Black speculative fiction. Fantasy, sci-fi, and horror seem to all meld together in this field, allowing writers to combine the supernatural with the technological. Likewise, writers of Central and South America like Isabel Allende, Gabriel García Márquez, and Elena Garro have largely
Black Studies Literature

Mail Art — VA2229.01

Fall 2020
Instructor: Anne Thompson
Days & Time:
Credits: 4
This course examines the history, politics and ephemeral nature of mail art, a format seeing a renaissance with COVID-19 social distancing. Activities consider how artists and art movements have used the mail to subvert institutional structures, restrictive conditions and oppressive regimes, often leading to new forms of art making and distribution. Parallel to looking at mail
Visual Arts

Main Meanings — ARC4383.01

Fall 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
“…fictions focused on buildings often seem to use them as a code by which to bury their main meanings.” – Robert Harbison, Eccentric Spaces In her lecture How We Narrate Our Yesterday Determines How We Imagine The Future, Mariam Kamara describes the loss of our capacity to read architecture when we subscribe, uncritically, to totalizing histories that are disproportionately
Visual Arts

Makam and Usul — MTH4150.01

Fall 2021
Instructor: Joseph Alpar
Days & Time:
Credits: 2
This music theory course will introduce students to the art of makam, the melodic system of Ottoman Turkish music, and usul, its rhythmic counterpart. The course is designed to assist students in understanding makam (a melodic mode) and usul (a rhythmic cycle) in multiple ways. We will primarily learn through the meshk system, an Ottoman music educational
Music

Make Kitchen Communal Again: Culinary Participation and Storytelling — APA4245.02

Fall 2020
Instructor: Yoko Inoue
Days & Time:
Credits: 2
Building strong community support infrastructure is essential in the age of global pandemics as it has been during past emergencies and disasters. At this pivotal moment, communal kitchens can be reframed as vital, alternative social spaces to foster democratic learning. In this space we can regain the importance of cross-generational skillsharing and reclaiming community
CAPA

Make Kitchen Communal Practicum — APA4302.01

Spring 2021
Instructor: Yoko Inoue
Days & Time:
Credits: 4
Building strong community support infrastructure is essential in the age of global pandemics, as it has been during past emergencies and natural disasters. Civic engaged actions and intentional social practices which are embedded in the locale have become more crucial when government agencies’ responses to the emergencies are slow or delayed. Can we revitalize or create new
CAPA

Makers Making/ Performance in the 21st Century — DAN2131.01

Spring 2017
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
"Isn't every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn't the meaning of a work always discovered, to some extent, by its creator during the process of making it?" (Roslyn Sulcas). These are just some of the questions about the making, style, process, logistics, methods, and systems makers
Dance

Makers Making/Performance in the 21st Century — DAN4129.01

Fall 2018
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
“Isn’t every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn’t the meaning of a work always discovered, to some extent, by its creator during the process of making it?” (Roslyn Sulcas). These are just some of the questions about the making, style, process, logistics, methods, and systems makers employ
Dance

Makers and Making/ Performance in the 21st Century — DAN2131.01

Spring 2015
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
***Time Change*** “Isn’t every artist essentially starting from nothing, no matter what they might have presented to theater directors or financiers? Isn’t the meaning of a work always discovered, to some extent, by its creator during the process of making it?” - Roslyn Sulcas These are just some of the questions about the making, style, process, logistics, methods, and
Dance

Making and Breaking International Law — HIS4218.01

Fall 2019
Instructor: Eileen Scully
Days & Time:
Credits: 4
International law is no longer merely "out there" somewhere, relevant only to travelers, merchants and diplomats. International law is being globalized, and glocalized, so that it now covers complex contested areas such as civil unions, health insurance, sexual orientation, migration. We will focus on the fundamentals of twenty-first century international law, delving into
CAPA Society Culture and Thought

Making and Breaking International Law — HIS2130.01

Spring 2016
Instructor: Eileen Scully
Days & Time:
Credits: 4
International law is no longer merely "out there" somewhere, relevant only to travelers, merchants and diplomats. Quite the contrary. International law is being globalized, and 'glocalized,' so that it now covers complex contested areas such as civil unions, health insurance, sexual orientation, migration. This is an introduction to the fundamentals of twenty
CAPA Society Culture and Thought

Making Arrangements — MCO4112.01

Fall 2019
Instructor: Jennifer Allen
Days & Time:
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will be encouraged to creatively question existing forms and traditions in
Music

Making Arrangements — MCO4112.01

Spring 2021
Instructor: Bruce Williamson
Days & Time:
Credits: 4
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will submit work using music notation and/or digital recording platforms
Music

Making from Scratch/ Sourcing the Body — DAN2256.02

Fall 2016
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Dance

Making From Scratch/ Sourcing the Body — DAN4119.01

Fall 2014
Instructor: elena demyanenko
Days & Time: TBA
Credits: 4
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Dance

Making from Scratch/Sourcing the Body — DAN2256.01

Fall 2018
Instructor: Elena Demyanenko
Days & Time:
Credits: 2
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium. Trusting the intrinsic intelligence of the body in making, we will source multiple systems (e.g. muscular, skeletal, fluid, organ) and other ways of reading the body (e.g.
Dance

Making It Personal — SCU4114.01

Spring 2022
Instructor: John Umphlett
Days & Time:
Credits: 4
The question that animates this advanced sculpture course is: what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most effective expression for them. Paradoxically, however, the artist finds out what they have to say by
Visual Arts