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Showing 25 Results of 7795

Ten Decades, Ten Exhibitions: Popular Art Narratives of the Twentieth Century — VA2226.01

Instructor: Anne Thompson
Days & Time:
Credits: 4
This introductory course considers modernism and postmodernism through a close examination of exhibitions that shaped scholarly and popular conceptions of twentieth-century art. Starting with the Last Futurist Exhibition of Painting in 1915, readings, films, discussions and interactive lectures will address styles and ideas within the context of the art spectacle or “show.”

Terrible Choices: Philosophy Tragedy — PHI4226.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
The tragic protagonist is a person pushed to the breaking point- dealing with disaster, fate, suffering, unspeakable loss, and often the consequences of their own bad decisions. Greek tragedy shows human beings struggling in a world that often seems brutal, senseless, and beyond their control, where contingency is a hard fact of life. As such, tragedy raises significant

Terrible Choices: Philosophy & Tragedy — PHI4226.01

Instructor: Catherine McKeen
Days & Time: TU 2:10pm-5:50pm
Credits: 4

The tragic protagonist is a person pushed to the breaking point- dealing with disaster, fate, suffering, unspeakable loss, and often the consequences of their own bad decisions. Greek tragedy shows human beings struggling in a world that often seems brutal, senseless, and beyond their control, where contingency is a hard fact of life. As such, tragedy raises significant

Terrible Choices: Philosophy & Tragedy — PHI4226.01

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

The tragic protagonist is a person pushed to the breaking point- dealing with disaster, fate, suffering, unspeakable loss, and often the consequences of their own bad decisions. Greek tragedy shows human beings struggling in a world that often seems brutal, senseless, and beyond their control, where contingency is a hard fact of life. As such, tragedy raises significant

Tessellation — DRW2265.01

Instructor: Farhad Mirza
Days & Time:
Credits: 4
This drawing and modeling course is an introduction to tessellation, also known as space filling, or packing. Through drawing exercises on various grids (which also happen to be tessellations) we will learn about edges and vertices, moving to regular, semi-regular, and edge tessellation among others, eventually proceeding from planar tiling to packing in three dimensions.

Tessellation — DES2102.01) (cancelled 5/2/2024

Instructor: Farhad Mirza
Days & Time:
Credits: 4
This course is an introduction to tessellation, also known as space filling, or packing. Through drawing exercises on various grids (which also happen to be tessellations) we will learn about edges and vertices, moving to regular, semi-regular, and edge tessellation among others, eventually proceeding from planar tiling to packing in three dimensions. Tessellation is a spatial

Tessellation — DES2105.01

Instructor: Farhad Mirza
Days & Time:
Credits: 4
This course is an introduction to tessellation, also known as space filling, or packing. Through drawing exercises on various grids (which also happen to be tessellations) we will learn about edges and vertices, moving to regular, semi-regular, and edge tessellation among others, eventually proceeding from planar tiling to packing in three dimensions. Tessellation is a spatial

Tessellation — DRW2265.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
This drawing and modeling course is an introduction to tessellation, also known as space filling, or packing. Through drawing exercises on various grids (which also happen to be tessellations), we will learn about edges and vertices, moving to regular and semi-regular tessellation, and edge tessellation among others, eventually proceeding from planar tiling to packing in three

Text Seminar: Plato's Erotic Dialogues — PHI4128.01

Instructor: Karen Gover
Days & Time:
Credits: 4
In this course we will study in close detail Plato's two great dialogues on the subject of erotic love. In the first seven weeks, we will focus on The Symposium, and in the second seven weeks we will read The Phaedrus. Our engagement with the primary texts will be supplemented with readings on the history, cultural context, and interpretations of these works. In addition to the

Text Seminar: Plato's Republic — PHI4244.01

Instructor: Karen Gover
Days & Time:
Credits: 4
***Time Change New Description*** Plato's _Republic_ is not only a foundational work in the history of Western political philosophy, but also a fascinating and beautiful work of literature.  It has provocative and even radical things to say about human nature, ethics, education, family, government, and art.  We will work our way methodically through the primary text

Text Seminar: Plato’s Republic — PHI4244.01

Instructor: Karen Gover
Days & Time:
Credits: 4
Plato's Republic is not only a foundational work in the history of Western political philosophy, but also a fascinating and beautiful work of literature. It has provocative and even radical things to say about human nature, ethics, education, family, government, and art. We will work our way methodically through the primary text while engaging with some of the best Plato

Texts in Transit: Translating from French to English — FRE4613.02

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

In this course we will practice translating from French into English. We will work on developing a mindfulness about language use as well as a comparative eye focused on English and French’s stylistic and structural preferences. Grammar and lexical development will also be on offer and will highlight

That Dweam within a Dweam: Mawwiage in the Shakespeare Comedies — LIT2583.01

Instructor: Manuel Gonzales
Days & Time: TH 1:40pm-5:20pm
Credits: 4

In this exploration of Shakespeare's comedies, we will focus our attentions on the marriage plot, the movement from disorder to order, the means by which the world is set to rights when a man marries a woman, whether or not they love each other or are right for each other, or if perhaps one of them is trapped in a love-potion spell cast on them by Robin Goodfellow, or maybe

The "I" of the Beholder — LIT4386.01

Instructor: Franny Choi
Days & Time:
Credits: 4
From Maggie Nelson’s Argonauts, to Hanif Abdurraqib’s essays on pop music, to Saidiya Hartman’s writing on archives of the transatlantic slave trade, many writers have taken up the task of looking at history, art, and culture by first looking inward. This 4-credit class will explore autotheory, first-person cultural criticism, and other critical writing with a distinctly

The "I" of the Beholder — LIT4386.01

Instructor: Franny Choi
Days & Time:
Credits: 2
From James Baldwin's writing on Richard Wright, to Maggie Nelson's Argonauts, to Hanif Abdurraqib’s essays on pop music, many writers of nonfiction have taken up the task of looking at works of art, media, and literature by first looking inward. This 2-credit class will explore autotheory, first-person cultural criticism, and other critical writing that employs a

The 2020 Election — APA2174.01

Instructor: Brian Campion
Days & Time:
Credits: 2
This course looks at the Presidential candidates for 2020, their platforms, and how these platforms would impact American society. Additionally, the course will work to examine and conclude what issues are most important to Americans and how Americans view politics and the American Presidency at this time in the country's history. In addition to required readings and writing

The 24 Filial Piety Stories and Zhuangzi's Tales — CHI4407.01

Instructor: Ginger Lin
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 4

This course introduces students to two foundational texts in Chinese thought: The Twenty-four Stories of Filial Piety, which highlight the Confucian ideal of devotion to one’s parents, and the Tales of Zhuangzi, which reflect Daoist values of spontaneity, naturalness, and freedom. By reading these works in translation and in modern Mandarin at the student’s language level,

The 5 Threads of Participatory Organizing in the Workplace: Practical Applications and Prototypes — APA2243.02

Instructor: Susan Basterfield with Robert Ransick
Days & Time:
Credits: 1
For more than a century, assumptions about how the workplace is best organized to optimize production or profits have not been challenged - and neither has the definition of ‘value’. It’s clear that the ‘workplace of the future’ is not the workplace of the past. Whether through automation, decentralization, or an intention to grow awareness of the workplace as a dynamic psycho

The 60s Dance Revolution, Then and Now — DAN4671.02

Instructor: Terry Creach
Days & Time:
Credits: 1
The 1960s were marked with global political upheaval and social change. Radical change also marked the small downtown stages in New York City. In this course we will focus on the dance trends in the 1960s in America and on the emergence of the Judson Dance Theater in particular.  Working with the unique materials in the Bennington College Dance Archives as well as with

The Actor's Instrument — DRA2170.02

Instructor: Dina Janis
Days & Time: TBA
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

The Actor's Instrument — Section 2 - DRA2170.02

Instructor: dina janis
Days & Time: TBA
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific

The Actor's Instrument — DRA2170.01, section 1

Instructor: Kirk Jackson
Days & Time:
Credits: 4
An actor honors and bears witness to humanity by embodying and giving voice to the human element in the landscape of theatrical collaboration. Investigating the impulses and intuitions that make us unique as individuals can also identify that which constitutes our shared humanity. Through exploration of the fundamentals of performance, students address the actor’s body, voice,

The Actor's Instrument — Section 1 - DRA2170.01

Instructor: jenny rohn
Days & Time: TBA
Credits: 4
The craft of acting will be the main focus of this class. Through physical and vocal warm-up exercises, sensory exploration, improvisation, scene work, and extensive reading students will be asked to develop an awareness of their own unique instrument as actors and learn to trust their inner impulses where this is concerned. Extensive out of class preparation of specific