All

Course System Home Course Listing 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 7245

Tile: Expanding the Parameters — CER2126.01

Spring 2025
Instructor: Aysha Peltz
Days & Time:
Credits: 4
This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many
Visual Arts

Tile: Expanding the Parameters — CER2126.01

Spring 2022
Instructor: Aysha Peltz
Days & Time:
Credits: 4
This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many
Visual Arts

Time Capsule 2016 — MOD2159.01

Fall 2016
Instructor: Erika Mijlin
Days & Time:
Credits: 1
If we were to prepare a time capsule to leave behind for a future generation to open, how would we go about it? What would we include? What kinds of questions would we have to ask in order to decide on a list of items? First, we might have to define ‘ourselves’, and what we know and think about our time and place in history. Then, how do we express this understanding through a
Modules: Transferable Approaches Visual Arts

Time, History, and Memory — Canceled

Fall 2013
Instructor: Karen Danna
Days & Time: TBA
Credits: 4
This course offers a critical appraisal of the concepts of time, history, and memory in the social and cognitive sciences. We will start by defining our field of research at the intersection of sociology, psychology, history, anthropology, and cognitive neuroscience. We will examine the emergence of memory as an object of study within these disciplines, and focus on the
Unknown

Time, Memory, and Meaning Making — DRA4309.01

Spring 2016
Instructor: Sherry Kramer
Days & Time:
Credits: 4
May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn.    -Delmore Schwartz They say that time is the main character of every story.  In time bound art forms, there are two times running in parallel--the story's, and the audience's. This class will investigate 
Drama

Time, Memory, and Meaning Making — DRA4309.01

Fall 2021
Instructor: Sherry Kramer
Days & Time:
Credits: 4
May memory restore again and again The smallest color of the smallest day: Time is the school in which we learn, Time is the fire in which we burn. -Delmore Schwartz The true territory that we create for the audience of a play or film is not the story we tell, or the characters we create, but the memories that the audience makes and processes about those stories and characters
Drama

Time-Travel 101: Toni Morrison and Octavia Butler — LIT2548.01

Spring 2025
Instructor: An Duplan
Days & Time:
Credits: 4
Both Toni Morrison's and Octavia Butler’s novels push us to consider time differently. Rather than as static artifacts, both women’s characters treat time, memory, and history as malleable materials. Take Morrison’s idea of "re-memory" in her novel Beloved, for example, a vivid reliving of the past that seems more than memory itself, something closer to being transported
Literature

TMD: Practice + Process — DAN4831B.03, section 3

Fall 2025
Instructor: Jasmine Hearn
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.02, section 2

Spring 2026
Instructor: Faculty TBA
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.04, section 4

Spring 2026
Instructor: Faculty TBA
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.01, section 1

Fall 2025
Instructor: Kingsley Ibeneche
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.03, section 3

Spring 2026
Instructor: Faculty TBA
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.04, section 4

Fall 2025
Instructor: Kayla Farrish
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.02, section 2

Fall 2025
Instructor: Katie Swords Thurman
Days & Time: TU,FR 4:10pm-6:00pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

TMD: Practice + Process — DAN4831B.01, section 1

Spring 2026
Instructor: Katie Swords Thurman
Days & Time: MO,TH 3:40pm-5:30pm
Credits: 2

Each Practice + Process course is designed around the research/pedagogic interests of the faculty member leading the class. The overall curricular structure positions studio practice, creative process and critical reading, thinking and languaging as integrated elements within one course, enabling students to move between modes of learning, reflection and making.

Dance (BFA)

Tolstoy's Short Fiction — LIT2395.01

Fall 2015
Instructor: Brooke Allen
Days & Time: TBA
Credits: 2
In this class we will read a number of the shorter works of Leo Tolstoy (1828-1910). These will probably include, but might not be limited to, "The Death of Ivan Ilyitch," The Kreutzer Sonata,"  "Master and Man," "Hadji Murad," "The Cossacks," "Father Sergius," "The Devil," "Family Happiness," and "Strider."
Literature

Tom Stoppard — LIT4376.01

Spring 2022
Instructor: Maya Cantu
Days & Time:
Credits: 4
Exemplified by works like Rosencrantz and Guildenstern Are Dead, Travesties, and Arcadia, the plays of Tom Stoppard perform dazzling high-wire acts of language and theatricality. Jumping between literary erudition and vaudevillian hijinks, Stoppard’s plays use meticulous technical precision to chart the enigmas of the brain and the chaos of the heart. As the playwright
Drama Literature

Toni Morrison and Afro-Diasporic (Re)Mything — LIT4538.01

Fall 2021
Instructor: Phillip B. Williams
Days & Time:
Credits: 4
Toni Morrison is one of America’s most cherished, studied, and criticized writers. Using antebellum and contemporary American history as her thematic and temporal foundation, Morrison has written about race, gender, class, and sexuality with a keen eye on mythology and fable. In this class, we will read through many of her novels, including but not limited to Sula, Song of
Literature

Toni Morrison and Afro-Diasporic (Re)Mything — LIT2256.01

Fall 2016
Instructor: Michael Dumanis
Days & Time:
Credits: 4
Toni Morrison is one of America’s most cherished, studied, and criticized writers. Using antebellum and contemporary American history as her thematic and temporal foundation, Morrison has written about race, gender, class, and sexuality with a keen eye on mythology and fable. In this class, we will read through many of her novels, including but not limited to Sula, Song of
Literature

Tools for the Advancement of Public Action: The Destruction and Rebuilding of a Democratic Future-An Intergenerational Conversation — APA2031.02

Spring 2025
Instructor: Susan Sgorbati
Days & Time:
Credits: 1
Staggering change and suffering have occurred around the world in the last month. These changes are leaving many scared and uncertain for their futures and for the future of a free and civil society. This series aims to understand the gravity of the problems before us and how to address them. Students and guests will contrast the former workings of American politics to the
CAPA

Topics in Applied Philosophy: Privacy — PHI2126.01

Fall 2015
Instructor: Paul Voice
Days & Time: TBA
Credits: 2
Privacy has long been regarded as important and yet claims to privacy have been frequently challenged and often overridden by political, economic, and technological considerations. Do we have a right to privacy? If so, what is its philosophical justification and what essential human goods and capacities does it protect? In what circumstances and for what reasons can we be asked
Society Culture and Thought

Topics in Applied Philosophy: Privacy — PHI2126.01

Fall 2021
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Privacy has long been regarded as important and yet claims to privacy have been frequently challenged and often overridden by political, economic, and technological considerations. Do we have a right to privacy? If so, what is its philosophical justification and what essential human goods and capacities does it protect? In what circumstances and for what reasons can we be asked
Society Culture and Thought

Topics in Applied Philosophy: Privacy — PHI2126.01

Spring 2020
Instructor: Paul Voice
Days & Time:
Credits: 2
Privacy has long been regarded as important and yet claims to privacy have been frequently challenged and often overridden by political, economic, and technological considerations. Do we have a right to privacy? If so, what is its philosophical justification and what essential human goods and capacities does it protect? In what circumstances and for what reasons can we be asked
Society Culture and Thought

Topics in Applied Philosophy: Privacy — PHI2126.01

Spring 2014
Instructor: Paul Voice
Days & Time:
Credits: 2
Privacy has long been regarded as important and yet claims to privacy have been frequently challenged and often overridden by political, economic, and technological considerations. Do we have a right to privacy? If so, what is its philosophical justification and what essential human goods and capacities does it protect? In what circumstances and for what reasons can we be asked
Social Science