All

Select Filters and then click Apply to load new results

Areas of Study
Course Day & Time(s)
Course Level
Credits
Course Duration
Showing 25 Results of 7318

Rape/Culture: Sexual Violence and the Visual Arts, from Giambologna to Kara Walker — AH2405.01

Instructor:
Days & Time:
Credits: 2
“Heroic rape” is no stranger to art history. Under this rubric, students have been introduced to the field and its concerns via crisp photographs of canonical works in which Roman foundation legends, etiological myths, and political absolutism are prescribed and perpetuated via the trope of (eroticized) sexual violence. The existence of a ‘rape culture’ in modern life in

Rare and Common: Advanced Reading in Conservation and Ecology — BIO4321.01

Instructor: Caitlin McDonough MacKenzie
Days & Time:
Credits: 2
Quantifying and monitoring the abundance of particular organisms is often the major endeavor in conservation and ecology research. We work to protect endangered species, facilitate the recovery of threatened species, reduce invasive species, and restore historically present species, but we also understand that even absent human pressures, some species are more rare than others.

Rawls and Justice — PHI4132.02

Instructor: Paul Voice
Days & Time: MO,TH 10:00am-11:50am
Credits: 2

John Rawls (1921-2003) was arguably the most important and influential political philosopher of the twentieth century. His first major work, A Theory of Justice (1971) transformed the field of political philosophy and his ideas and arguments remain at the center of the philosophical debate on the question of justice. This course consists of a

Rawls and Justice — PHI4132.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 2
John Rawls (1921-2003) was one of the most important political philosophers of the twentieth century. His first major work, A Theory of Justice (1971) transformed the field of political philosophy and his ideas and arguments remain at the center of the philosophical debate on the question of justice. This course consists of a careful study of the main arguments in his early and

Re-Creating the Classics — LIT2318.01

Instructor: Marguerite Feitlowitz
Days & Time:
Credits: 4
"Why read the classics?" Italo Calvino famously asked. What does it mean to be "contemporary"? Why is it that our meditations on, and debates with, these landmark works never seem to be "settled"? Why is it that some of our most deeply experimental, politically combative, and visionary writers continually find inspiration in canonical works? In our exploration of these

Re-Creating the Classics — LIT2318.02

Instructor: mfeitlowitz@bennington.edu
Days & Time:
Credits: 4
A contemporary drama critic recently wrote: “Whenever you return to something—to a play, a song, a scene—you bring your past with you. And not just what you’vebeen through and figured out, but what your culture has been through and figured out too, and what you are both still going through.” How is it that a work written hundreds or thousands of years ago can resonate so

Re-Creating the Classics — LIT2318.01

Instructor: Marguerite Feitlowitz
Days & Time:
Credits: 4
"Why read the classics?" Italo Calvino famously asked. What does it mean to be "contemporary"? Why is it that our meditations on, and debates with, these landmark works never seem to be "settled"? Why is it that some of our most deeply experimental, politically combative, and visionary writers continually find inspiration in canonical works? In our exploration of these

Re-thinking History: Critical Perspectives on Modern and Post-modern Dance — DAN2409.01

Instructor: Levi Gonzalez
Days & Time:
Credits: 4
This course is open to any student who wishes to explore the complicated ways in which histories form around discourses of the body, culture, aesthetic philosophy, and power. We will examine the aesthetic principles of modern and postmodern dance history; explore the artistic work of key and neglected figures from this history; and place this work within a larger social,

Re-Thinking Society: Radical Visions — PHI2161.01

Instructor: Paul Voice
Days & Time:
Credits: 4
In this introductory course you will read a wide range of political philosophers and theorists who rethink and reimagine society. Beginning with the “masters of suspicion”, Marx, Nietzsche, Mill, and Freud, we will explore radical social visions from thinkers such as Rosa Luxemburg, Herbert Marcuse, Hannah Arendt, Franz Fanon, Steve Biko, Michel Foucault, John Rawls, Chantel

Re-Thinking Society: Radical Visions — PHI2161.01

Instructor: Paul Voice
Days & Time:
Credits: 4
In this introductory course you will read a wide range of political philosophers and theorists who rethink and reimagine society. Beginning with the “masters of suspicion”, Marx, Nietzsche, Mill, and Freud, we will explore radical social visions from thinkers such as Rosa Luxumburg, Herbert Marcuse, Franz Fanon, Steve Biko, Michel Foucault, John Rawls, Chantel Mouffe, and

Re-Thinking Society: Radical Visions — PHI2161.01

Instructor: Paul Voice
Days & Time:
Credits: 4
In this introductory course you will read a wide range of political philosophers and theorists who rethink and reimagine society. Beginning with the “masters of suspicion”, Marx, Nietzsche, Mill, and Freud, we will explore radical social visions from thinkers such as Rosa Luxumburg, Herbert Marcuse, Hannah Arendt, Franz Fanon, Steve Biko, Michel Foucault, John Rawls, Chantel

Re-Thinking Society: Radical Visions — PHI2161.01

Instructor: Paul Voice
Days & Time:
Credits: 4
In this introductory course you will read a wide range of political philosophers and theorists who rethink and reimagine society. Beginning with the “masters of suspicion”, Marx, Nietzsche, Mill, and Freud, we will explore radical social visions from thinkers such as Rosa Luxumburg, Herbert Marcuse, Franz Fanon, Steve Biko, Michel Foucault, John Rawls, Chantel Mouffe, and

Re-Thinking Society: Radical Visions — PHI2161.01

Instructor: Paul Voice
Days & Time:
Credits: 4
In this introductory course you will read a wide range of political philosophers and theorists who rethink and reimagine society. Beginning with the “masters of suspicion”, Marx, Nietzsche, Mill, and Freud, we will explore radical social visions from thinkers such as Rosa Luxemburg, Herbert Marcuse, Hannah Arendt, Franz Fanon, Steve Biko, Michel Foucault, John Rawls, Chantel

Reader's Theater Ensemble — DRA2247.01

Instructor: Dina Janis
Days & Time: TBA
Credits: 4
In this performance-based course we will investigate the Reader's Theater form. Students will concentrate on beginning vocal techniques and training, as well as the practice of reading out loud in performance. Individual as well as group projects will be developed and performed during the term. Corequisite: Dance or Drama lab assignment.  

Reader's Theatre Ensemble — DRA2247.01

Instructor: Dina Janis
Days & Time:
Credits: 4
In this performance-based course we will investigate the Reader’s Theater  and Radio Theater formats. Students will concentrate on beginning vocal techniques and training, as well as the practice of reading out loud in performance. Individual as well as group projects will be developed and performed during the term.

Reading Writing Fiction: ESLit — LIT4594.01) (day/time updated as of 5/10/2024

Instructor: Mariam Rahmani
Days & Time:
Credits: 4
Reversing the typical shame around so-called "ESL" speakers, this course explores the rich history of modern and contemporary Anglophone literature written by authors who learned English as a second language or within a bi/multilingual context. This rigorous reading list is then used as a springboard for cultivating diverse voices and stories in the classroom. The course’s

Reading Writing Fiction: Plot and Suspense — LIT4144.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
What is plot? What are stakes and how are they raised and can a story or a novel still compel a reader with small or smaller stakes? What is dramatic tension and what are the other ways a writer can build tension into a short story or a chapter? What, in other words, keeps a reader turning pages through a story or a novel and what happens when these same tools are applied to

Reading Writing Poetry: Revision as Play — LIT4593.01

Instructor: An Duplan
Days & Time:
Credits: 4
The point of revision, we’re told, is to make our writing better. No wonder (framed this way) the idea of revision can often provoke annoyance, boredom, or even fear. But what if the revision process was closer to John Cage’s “chance operations,” a completely spontaneous and open-ended experience of creativity? Or, what if, through revision, we could explore yet-undiscovered

Reading Writing: Spectacular Failure — LIT4383.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
I often suggest to students in a writer's workshop that they should, when submitting work for class, aim for spectacular failure, figure out the breaking point of their own abilities and charge headlong past them, because there is no better place to test one's limits than in a workshop full of peers working at the same goal. In this generative writing workshop, I'm putting my

Reading Writing: Spectacular Failure — LIT4383.01

Instructor: Manuel Gonzales
Days & Time:
Credits: 4
I often suggest to students in a writer’s workshop that they should, when submitting work for class, aim for spectacular failure, figure out the breaking point of their own abilities and charge headlong past them, because there is no better place to test one’s limits than in a workshop full of peers working at the same goal. In this generative writing workshop, I’m putting my

Reading & Writing Fiction: Exquisite Pressure — LIT4613.01

Instructor: Manuel Gonzales
Days & Time: TU 2:10pm-5:50pm
Credits: 4

In her essay, Violence, director Anne Bogart writes, "Richard Foreman, perhaps the most intellectual of American directors, said that, for him, creation is one hundred percent intuitive. I have learned that he is right. This is not to say that one must not think analytically, theoretically, practically and critically. There is a time and a place for this kind of left-brain

Reading & Writing Fiction: Writing the Body — LIT4604.01

Instructor: Mariam Rahmani
Days & Time: WE 2:10pm-5:50pm
Credits: 4

This Reading & Writing Fiction course focuses on the novel, and in particular on reading and writing the body, with an emphasis on femininity. We will look at both the construction of and conspicuous erasure of the femme/feminine body. We will treat gender as a construct, discussing gender normativity, ciswomanhood, transness, and other related subjects and

Reading & Writing Poetry: Audacity, Excess, Extravagance — LIT4611.01

Instructor: Franny Choi
Days & Time: WE 2:10pm-5:50pm
Credits: 4

William Wordsworth said that “poetry is the spontaneous overflow of powerful feelings.” Emily Dickinson said, “If I feel physically as if the top of my head were taken off, I know that is poetry.” Allen Ginsberg said: “Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy!”  This is a poetry workshop about subverting

Reading & Writing Poetry: Experiments in Multimedia — LIT4615.01

Instructor: An Duplan
Days & Time: MO 1:40pm-5:20pm
Credits: 4

“When I combine imagery and text, I'm really just trying to surprise myself,” writes poet Diane Khoi Nguyen. In fact, there are many pathways to surprise when we start to experiment with multimedia. Certainly the result must have been surprising when the late John Giorno, in 1968, developed the phone-based, poetry performance project,