Sewing Fundamentals — DRA2130.02, section 2
Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine.
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Sewing Fundamentals — DRA2130.02; section 2
Students will learn the basics of sewing. Included will be various hand stitches used in garment construction and repair as well as learning how to use a sewing machine.
This course is offered during the second seven weeks of the term.
Sexual and Gender Minority Well-Being — CMS5311.01
This course provides a scientifically grounded exploration of the psychological, social, and systemic factors influencing the well-being of sexual and gender minority (SGM) individuals. Students will examine the intersections of sexual orientation, gender identity, and other diverse identities (e.g., race, religion, disability) within the counseling context
Shakespeare's Tragedies — LIT2421.01
In this course, we’ll read a selection of Shakespeare’s tragedies, including Anthony and Cleopatra, Hamlet, Julius Caesar, King Lear, Macbeth, Othello, and Romeo and Juliet. We’ll consider the historical context of the plays, their sources, and the shadows they have cast on subsequent cultural productions. We’ll study Shakespeare’s language closely, and think about what his
Shakespeare: Comedies and Romances — LIT2215.01
In his comedies (Much Ado About Nothing, As You Like It, A Midsummer Night's Dream, Twelfth Night, etc.) and in his late so-called 'romances' (Cymbeline, A Winter's Tale, Pericles, and The Tempest), Shakespeare presents us with a vision of the stage as a place of transformation and delight, of cognition and recognition. In forests, islands, glades, and gardens, the characters
Shakespeare: Comedies and Romances — LIT2392.01
In his comedies and in his late so-called "romances," Shakespeare presents us with the stage as a place of transformation and delight, of cognition and recognition. In forests, islands, glades and gardens, the characters lose and find their lives and loves, and the magic of play-acting, of stage-craft itself, is the medium of discovery. We will read and look at the
Shakespeare: The Comedies — LIT2287.01
The class will dive deep into reading and discussions of six Shakespeare comedies, The Tempest, Taming of the Shrew, Twelfth Night, Midsummer Night’s Dream, Much Ado About Nothing, and As You Like It, focusing on the structure, plot, character, and language, as well as influences and original source material for these plays. Why do Shakespeare's comedies endure, what can we
Shakespeare: The Comedies — LIT2287.01
The class will dive deep into reading and discussions of five Shakespeare comedies, The Tempest, Taming of the Shrew, Twelfth Night, Midsummer Night's Dream, and As You Like It, focusing on the structure, plot, character, and language, as well as influences and original source material for these plays. We will also read and discuss Eastward Ho!, a comedy co-written by
Shakespeare: The History Plays — LIT2214.01
We will read and watch seven of Shakespeare history plays (two Roman and five English). We will examine the historical background of each play, the sources from which Shakespeare drew his material, and a range of critical responses to the plays. Classes will also include discussion, written responses, and student recitals of selected scenes or speeches. Students will write two
Shakespeare: The History Plays — LIT2214.01
We will read and watch seven of Shakespeare history plays (two Roman and five English). We will examine the historical background of each play, the sources from which Shakespeare drew his material, and a range of critical responses to the plays. Classes will also include discussion, written responses, and student recitals of selected scenes or speeches. Students will write two
Shakespeare: The History Plays — LIT2214.01
"An explosion of history plays appeared on the scene in Elizabethan England,” as Marjorie Garber describes England’s transition into a “political power, proud of its absolute monarch.” Of these plays, few offered more multifaceted portrayals of pageantry, tyranny, succession, and causality than the history plays of William Shakespeare. The playwright examined the power
Shakespeare: The Poetry — LIT2218.01
"What is your substance, whereof are you made,
That millions of strange shadows on you tend?"
Sonnet 53
In this course we will immerse ourselves in the major works of Shakespeare's poetry: the Sonnets; his Neoclassical poems, Venus and Adonis and The Rape of Lucrece; A Lover's Complaint; and several poems from the plays. While we expand our understanding of Shakespeare's
Shakespeare: The Tragedies — LIT2217.01
We will read the major tragedies: Hamlet, Othello, King Lear, Macbeth, Antony Cleopatra; view important film productions; and read a range of historical and contemporary criticism. There will be exams, papers, and in-class conferences.
Shakespeare: The Tragedies — LIT2217.01
We will read and watch six of Shakespeare's Tragedies, and will read the sources from which Shakespeare drew his material. Students will write two essays, and are expected to participate in discussion based on careful reading of the plays. Please note there will be two evening film screenings, times to be arranged.
Shakespeare: The Tragedies — LIT2217.01
We will spend the term immersed in in-depth reading and analysis of the plot, structure, and language, and cultural context of six Shakespeare tragedies: Titus Andronicus, Julius Caesar, Romeo and Juliet, Hamlet, King Lear, and Othello. We will focus on the themes of power, corruption, betrayal, revenge, despair, and madness, among others. We will
Shakespeare: The Tragedies — LIT2217.01
We will spend the term immersed in in-depth reading and analysis of the plot, structure, language, and cultural context of five Shakespeare tragedies: Titus Andronicus, Hamlet, Othello, King Lear, and Macbeth. We will also read Thomas Kyd's 16th-century play The Spanish Tragedy, to which Shakespeare owed a significant debt, and Tom Stoppard's 20th-century existentialist,
Shakespeare: The Tragedies — LIT2217.01) (day/time updated as of 10/9/2023
We will spend the term immersed in in-depth reading and analysis of the plot, structure, and language, and cultural context of five Shakespeare tragedies: Titus Andronicus, Julius Caesar, Hamlet, King Lear, and Othello. We will also read Tom Stoppard’s 20th-century existentialist, absurdist parody of Hamlet, Rosencrantz and Guildenstern Are Dead. We will focus on the themes of
Shakespeare: The Tragedies — LIT2217.01
We will read the major tragedies--Hamlet, Othello, King Lear, Macbeth, Antony Cleopatra; view important film productions; and read a range of historical and contemporary criticism. There will be exams, papers, and in-class conferences.
Shakespeare’s Problem Plays — LIT4332.01) (cancelled 1/31/2023
What do you do with a cruel comedy? With a tragedy that ends ‘well’? With a play that defies generic classification altogether? In this course, we’ll read four of Shakespeare’s so-called ‘problem plays’ — Measure for Measure, The Merchant of Venice, Timon of Athens, and The Winter’s Tale — with particular attention to their use of language, and we’ll
SHHH! The Social Construction of Silence — PSY4205.01
***Time Change***
Silence is a central element of social life, but it has rarely been the focus of explicit research and theory. This may reflect a conception of silence as "absence," or mere ground for figures of speaking, utterance, and noise. This course reverses these conceptions: Silence is a presence, and a figure emerging from grounds of speech, utterance, and noise. It
Shipwrecked — LIT2289.01
Alienation, deprivation, solitude, and starting anew may be prevalent ideas in contemporary dystopian storytelling, but the physical and psychological circumstances of running aground have long been fertile ground for writers. The course will reflect on the precursors of such narratives, beginning in the eighteenth century with Daniel Defoe's Robinson Crusoe and
Shipwrecked — LIT2289.01
Alienation, deprivation, solitude, and starting anew may be prevalent ideas in contemporary dystopian storytelling, but the physical and psychological circumstances of running aground, along with its rewards, have long been fertile ground for writers. The course would reflect on the precursors of such narratives, beginning in the eighteenth century with Robinson Crusoe and
Shorter Songs — Cancelled
What elements set certain composers apart from their contemporaries? In any genre, there are those who “raise the bar” and gain respect both for being prolific and breaking traditions of harmony and form. Jazz saxophonist Wayne Shorter took his cue from ground-breaking composers before him such as Duke Ellington and Thelonius Monk, helping to create new directions in jazz while
Shorter Songs — MTH4110.01
What elements set certain composers apart from their contemporaries? In any genre, there are those who “raise the bar” and gain respect both for being prolific and breaking traditions of harmony and form. Jazz saxophonist Wayne Shorter took his cue from ground-breaking composers before him such as Duke Ellington and Thelonius Monk, helping to create new directions in jazz while