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Showing 25 Results of 7245

What is Sculpture — SCU2106.01

Fall 2021
Instructor: John Umphlett (new faculty as of 8/24/2021)
Days & Time:
Credits: 4
How do we make it? How do we talk about it? And what does it mean? How do we make objects in space? Is gravity our friend or foe? This course invites students to investigate the fundamental principles of sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including
Visual Arts

What is Sculpture? — SCU2106.01

Fall 2013
Instructor: Jason Middlebrook
Days & Time: TBA
Credits: 4
How do we make it? How do we talk about it? And what does it mean? How do we make objects in space? Is gravity our friend or foe? This course invites students to investigate the fundamental principals of sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including
Unknown

What is Sculpture? — SCU2106.01

Fall 2016
Instructor: Jon Isherwood
Days & Time:
Credits: 4
How do we make it? How do we talk about it? And what does it mean? This course invites students to investigate the fundamental principals of sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including plaster, wood, cardboard, Styrofoam and metal. Regular slide
Visual Arts

What is Sculpture? — SCU2106.01

Fall 2017
Instructor: Jon Isherwood
Days & Time:
Credits: 4
How do we make it? How do we talk about it? And what does it mean? This course invites students to investigate the fundamental principals of sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including plaster, wood, cardboard, Styrofoam and metal. Regular slide
Visual Arts

What is Sculpture? — SCU2106.01

Fall 2014
Instructor: jon isherwood
Days & Time: TBA
Credits: 4
How do we make it? How do we talk about it? And what does it mean? How do we make objects in space? Is gravity our friend or foe? This course invites students to investigate the fundamental principles of sculpture while encouraging exploration of classical and contemporary approaches. Sessions are intensive explorations into a variety of techniques and materials including
Visual Arts

What Is the Truth? World War II from the Japanese Perspective — JPN4709.01

Fall 2017
Instructor: Ikuko Yoshida
Days & Time:
Credits: 4
What is the truth in history?  Is there one truth?  In this course, students learn World War II from the Japanese point of view by reading and examining Japanese history textbooks, novels, essays, and films.  Historical events such as the bombings of Pearl Harbor and Hiroshima can be perceived differently depending on whether you study them in Japan or in America
Languages

What is the Truth? World War II from the Japanese Perspective — JPN4709.01

Fall 2018
Instructor: Ikuko Yoshida
Days & Time:
Credits: 4
What is the truth in history? Is there one truth? In this course, students learn World War II from the Japanese point of view by reading and examining Japanese history textbooks, novels, essays, and films. Historical events such as the bombings of Pearl Harbor and Hiroshima can be perceived differently depending on whether you study them in Japan or in America. In other
Languages

What is the Truth? – Learning WWII with History Textbooks in Japan — JPN4233.01

Fall 2015
Instructor: Ikuko Yoshida
Days & Time: TBA
Credits: 4
What is the truth in history?  Is there one truth?  In this course, students learn World War II from the Japanese point of view by reading and examining Japanese history textbooks, novels, essays, and films.  Historical events such as the bombings of Pearl Harbor and Hiroshima can be perceived differently depending on whether you study them in Japan or in America
Languages

What Was Critique and What Comes Next? — APA4207.01

Fall 2023
Instructor: David Bond
Days & Time:
Credits: 4
If progressive scholarship holds anything sacred, perhaps it is critique. Over the past century, critique has become not only the guiding commitment of radical scholarship but also the unflappable identity of the public intellectual. Yet a number of unfortunate assumptions have been built into this manner of engaging the world. Among them, that intellectuals have privileged
CAPA Society Culture and Thought

What Was Critique and What Comes Next? — APA4207.01

Spring 2015
Instructor: David Bond
Days & Time:
Credits: 4
If progressive scholarship holds anything sacred, perhaps it is critique. Over the past century, critique has become not only the guiding commitment of radical scholarship but also the unflappable identity of the public intellectual. Yet a number of unfortunate assumptions have been built into this manner of engaging the world. Among them, that intellectuals have privileged
CAPA Social Science

What Was Critique and What Comes Next? — APA4207.01

Spring 2018
Instructor: David Bond
Days & Time:
Credits: 4
If progressive scholarship holds anything sacred, perhaps it is critique. Over the past century, critique has become not only the guiding commitment of radical scholarship but also the unflappable identity of the public intellectual. Yet a number of unfortunate assumptions have been built into this manner of engaging the world. Among them, that intellectuals have privileged
CAPA

When Books Become Films — LIT2100.01

Spring 2022
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
What is lost and what is gained when a work of literary fiction becomes a film? Who gets to retell what stories, and when? What makes a successful adaptation, and why? To what degree does the spirit of the original story persist, when, like the Ship of Theseus, its various components have been replaced, repurposed, and removed? In this course we will look at issues of craft,
Literature

When Technology and the Human Body become Partners, Who Leads? — DAN4294.02

Spring 2024
Instructor: Levi Gonzalez
Days & Time:
Credits: 1
This hands-on intensive course is taught by visiting artist Cathy Weis, who will be showing videos she shot in the studios and on the streets of New York City from 1983 to today. Examining these archival videos will serve as a launching pad for students to begin their own collaborative projects. Through these collaborative projects, students will have an opportunity to expand
Dance Visual Arts

Whenever Wherever Festival: As a Celebration of Diverse Communities — APA2283.01

Spring 2022
Instructor: Carly Rudzinski
Days & Time:
Credits: 2
Playing with a concept of festival as celebration of our daily life and as a space to exchange individual history, creativity and expression, students will plan, develop, organize and conduct mini-events using any forms—such as workshop, performance, participatory installation, exploratory tour, tea ceremony or ritual. Students are encouraged to research, connect to and
CAPA Dance

Who is Gloria Steinem? — MOD2149.04

Spring 2015
Instructor: Karen Gover
Days & Time:
Credits: 1
In preparation for her visit to campus, this module will be an introduction to the thought and work of Gloria Steinem, journalist, activist, co-founder of Ms. Magazine, and feminist organizer. We will situate her work within the "second wave" of feminism and within its larger political context in US history. This course will be offered Thursday, May 14 - Monday, June 1.
Modules: Transferable Approaches

Whose Opera? — MCO4361.01

Spring 2015
Instructor: Kitty Brazelton
Days & Time:
Credits: 4
Looking for six able composers, six able writers and six able singer/actors. Or those who combine these abilities. Example of bi-weekly assignment: short operatic sketch by six teams of writer-composers for singer-actors. Writer starts - delivering libretto to composer who sets words to music, and team delivers sketch to class one week later. After sketch is critiqued in class,
Music

Whose Opera? — MCO4361.01

Spring 2018
Instructor: Kitty Brazelton
Days & Time:
Credits: 4
Looking for six able composers, six able writers and six able singer/actors. Or those who combine these abilities. Example of bi-weekly assignment: short operatic sketch by six teams of writer-composers for singer-actors. Writer starts – delivering libretto to composer who sets words to music, and team delivers sketch to class one week later. After sketch is critiqued in class,
Music

Why Bodies Matter: An Introduction to Dance Studies — DAN2348.02

Fall 2020
Instructor: Dana Reitz
Days & Time:
Credits: 4
Even now, or perhaps especially now, the state of our moving and breathing bodies is critical to how we operate in the world. Dance Studies is an emergent interdisciplinary field of academic inquiry that considers dance, corporeality and embodied experience as important and valuable forms of knowledge in the creation and distribution of cultural discourse. This course will
Dance

Why Bodies Matter: An Introduction to Dance Studies — DAN2348.01

Fall 2023
Instructor: Levi Gonzalez
Days & Time:
Credits: 4
Even now, or perhaps especially now, the state of our moving and breathing bodies is critical to how we operate in the world. This course is open to students of any discipline who wish to explore the impact and implications of embodiment and its relationship to art, culture, politics and power.  The course will introduce students to some of the principal concerns and
Dance

Why Jazz? How this music known as jazz came to be and how it influenced modern day music — MHI2002.01

Fall 2023
Instructor: Jen Allen
Days & Time:
Credits: 2
In this course we will walk through the timeline of how this music, often known as jazz, came into existence and how it proceeded to open doors for many other types of music.  We will look at how the social and political atmosphere of the early 1900s in New Orleans created the perfect environment for the creation of a new and unique music.  We will walk through the
Black Studies Music

Wicked Problems — MOD2126.02

Fall 2013
Instructor: Eileen Scully
Days & Time: TBA
Credits: 1
'Wicked problems' demand answers and resist remedies. They loom large, yet cannot be located or pinned down. Examples include global warming, terrorism, poverty, and human trafficking. After orienting ourselves in the topology and terminology of 'wicked problems,' we will do a brief survey of innovative approaches. Using downloadable share-ware specifically designed to tackle
Advancement of Public Action

Wicked Problems — MOD2126.04

Fall 2013
Instructor: Eileen Scully
Days & Time: TBA
Credits: 1
'Wicked problems' demand answers and resist remedies. They loom large, yet cannot be located or pinned down. Examples include global warming, terrorism, poverty, and human trafficking. After orienting ourselves in the topology and terminology of 'wicked problems,' we will do a brief survey of innovative approaches. Using downloadable share-ware specifically designed to tackle
Advancement of Public Action

Wicked Problems and Diabolical Dilemmas — HIS4235.01

Spring 2024
Instructor: Eileen Scully
Days & Time:
Credits: 4
“Wicked problems” demand answers and resist remedies. They loom large yet cannot be located or pinned down. “Diabolical dilemmas” force us to make repugnant choices in favor of lesser evils. Examples of both include global warming, pandemics, terrorism, migration, healthcare, corruption, poverty, and human trafficking. After orienting ourselves in the relevant topology and
CAPA Society Culture and Thought

Wicked Problems and Diabolical Dilemmas — HIS4235.02

Fall 2020
Instructor: Eileen Scully
Days & Time:
Credits: 4
“Wicked problems” demand answers and resist remedies. They loom large, yet cannot be located or pinned down. “Diabolical dilemmas” force us to make repugnant choices in favor of lesser evils. Examples of both include global warming, pandemics, terrorism, migration, healthcare, corruption, poverty, and human trafficking. After orienting ourselves in the relevant topology and
CAPA Society Culture and Thought

William Maxwell: Writer and Editor — LIT2281.02

Fall 2014
Instructor: annabel davis-goff
Days & Time: TBA
Credits: 2
William Maxwell was an editor at the New Yorker for forty years; he was also one of the twentieth century's great American writers. We will read three of his novels and a selection of the stories he edited. These will include work by Mavis Gallant, Shirley Hazzard, and Frank O'Connor. This course is suitable for students of all levels. This course will be offered the second
Literature