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World Percussion Ensemble — MPF2253.01

Spring 2015

Instructor: Susie Ibarra

Days & Time:

Credits: 2

***Time Change*** In this class we will examine composition and improvisation through melodic, harmonic, rhythmic structures as well as important cultural and folkloric content in examples of music from traditional practices in various parts of the world. The ensemble will learn and perform music from Eastern Europe, Africa, Southeast Asia, Central Asia. Individually each

Music

World Theater Now — DRA2317.01

Fall 2022

Instructor: Jennifer Rohn

Days & Time:

Credits: 4

Drama

World Vocal Ensemble — MPF4126.01

Fall 2017

Instructor: Kerry Ryer-Parke

Days & Time:

Credits: 2

This class is for confident, adventurous singers wishing to study and perform music from areas where group singing has strong roots in tradition. We will explore different ways of producing vocal sound, such as the Balkan “hard voice”, the rounder sounds of South Africa, and the unusual tunings of Caucasus Georgia while learning about the secular and

Music

World Vocal Ensemble — MPF4126.01

Spring 2015

Instructor: Kerry Ryer-Parke

Days & Time:

Credits: 2

***Time Change*** This class is for confident, adventurous singers wishing to study and perform full-throated music from regions where singing is part of the rhythm of everyday life. Meeting concurrently with the World Percussion Ensemble, we will collaborate on music from Eastern Europe, Africa, Southeast and Central Asia. We will learn about the distinctive sounds and

Music

Worlding: Building in Digital Space — MA4108.01

Fall 2021

Instructor: Sue Rees

Days & Time:

Credits: 4

Unlike any other medium, animation provides unmatched suspicion of disbelief. Moreover, in digital space, one can exercise their imagination beyond material and physical limitations. The combination of the two provides the permissive space to live out our wildest reveries: utopias, dystopias, social experiments, psi-fic scenarios, or dollhouses for amphibians. This class can

Visual Arts

Wounded Literature: Trauma and Representation — LIT2262.01

Spring 2014

Instructor: Sarah Harris

Days & Time:

Credits: 4

This course will be a study of the paradox of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, these works grow out of disasters on an individual and/or collective scale. To better understand Anne Whitehead's assertion that writers "have frequently found that the impact of trauma can only adequately be represented by mimicking its

Literature

Wounded Literature: Trauma, Memory, and Representation — LIT2262.01

Spring 2015

Instructor: Sarah Harris

Days & Time:

Credits: 4

This course will be a study of the paradoxes of trauma literature. Stories that compel their telling, yet are unassimilated and unspeakable, this writing grows out of disaster and crisis on an individual and/or collective scale. To better understand Anne Whitehead’s assertion that “Novelists have frequently found that the impact of trauma can only adequately be represented by

Literature

Writers, Directors Workshop — DRA4388.02, section 2

Spring 2024

Instructor: Carly Rudzinski

Days & Time:

Credits: 2

This project-based class will bring playwrights, directors, and actors together into a collaborative company to workshop new material or re-imagined previously published work. Four projects will share resources to bring the work to its next logical level, dependent on each project’s goal and process. Each project will share a bill with another for two performances. As with

Drama

Writers, Directors Workshop — DRA4388.01, section 1) (new course code as of 10/20/2023

Spring 2024

Instructor: Kirk Jackson

Days & Time:

Credits: 4

Drama

Writing a Life — LIT4510.01) (time change as of 11/11/2022

Spring 2023

Instructor: Benjamin Anastas

Days & Time:

Credits: 4

In this course, we will move chronologically through a life, from childhood to old age, with the help of sixteen different writers. We will read broadly (novels, plays, short stories) and focus on one key question at every life stage. As kids, we will investigate imperfect narrative voices and strategic silences. As teenagers, we will explore writing about politics with humor,

Literature

Writing Essays About Literature — LIT2102.01

Spring 2016

Instructor: Wayne Hoffmann-Ogier

Days & Time:

Credits: 4

Writing Essays is an introduction to writing clearly-constructed and logically-argued essays in response to reading, analyzing, and appreciating literary genre, including poetry, short stories, essays, plays, and novels. The course offers an analysis of the technical elements in literature: imagery, symbolism, metaphor, point of view, tone, structure, and prosody. The class

Literature

Writing Essays about Literature — LIT2102.01

Spring 2014

Instructor: Wayne Hoffmann-Ogier

Days & Time:

Credits: 4

Literature

Writing Essays About Literature — LIT2102.01

Spring 2017

Instructor: Wayne Hoffmann-Ogier

Days & Time:

Credits: 4

Literature

Writing Essays About Literature — LIT2102.01

Spring 2015

Instructor: Wayne Hoffmann-Ogier

Days & Time:

Credits: 4

Literature

Writing Landscape — LIT2201.01

Fall 2014

Instructor: akiko busch

Days & Time: TBA

Credits: 4

"Nature is our widest home," Edward Hoagland once wrote, and the workshop would examine why this is so. The course would consider how the cycles, rhythms, and disturbances of the natural world have always had a place in American letters. Some students would have the opportunity to use their observations from and experience in fieldwork as raw material from which to develop

Science Mathematics and Computing Literature

Writing on Music — MUS2156.02

Spring 2022

Instructor: Carly Rudzinski

Days & Time:

Credits: 1

A brief, intensive workshop on writing about music, an essential act of multidisciplinary translation. We will read a range of short-form journalistic essays from across the musical spectrum. Students will write short concert and album reviews, developing a musical ear for language, while providing feedback and editing for each other. Special attention will be focused on

Music

Writing on Music — MUS2156.01

Spring 2022

Instructor: Nicholas Brooke

Days & Time:

Credits: 1

Music

Writing on Music — MOD2124.03

Fall 2016

Instructor: Nicholas Brooke

Days & Time:

Credits: 1

"Writing about music is like dancing about painting," goes a chestnut attributed to Elvis Costello. Yet the art of putting music into words is one of the oldest artistic collaborations. In this class, we'll look at examples of contemporary musical prose, and talk about this essential act of multidisciplinary translation. Students will write short concert and album reviews

Modules: Transferable Approaches

Writing on Music — MOD2124.04

Fall 2016

Instructor: Nicholas Brooke

Days & Time:

Credits: 1

Modules: Transferable Approaches Music

Written California, 1850s to the Present — LIT2374.01

Fall 2018

Instructor: Kathleen Alcott

Days & Time:

Credits: 4

“Though every prospect pleases, and only man is vile.” Traveling through the brand new state of California to conduct a survey of its geology, William. H. Brewer couldn’t help but think of this line from Heber. Even in its earliest iteration, California was a place where the fantasy of expansion—whether mental, geographical, technological—came at a dramatic cost. As the

Literature

YEAR ONE | SOCIAL PRACTICE as PUBLIC ACTION — APA4248.01) (cancelled 10/18/2023

Spring 2024

Instructor: Elæ Moss, MFA Teaching Fellow

Days & Time:

Credits: 4

The YEAR ONE project asks you to imagine that you begin a new timeline for yourself starting now: whenever you begin, that’s your YEAR ONE. To participate in YEAR ONE, the question you ask yourself is, essentially, this: if you came to the conclusion that you couldn’t rely on currently existing systems and institutions to teach you the skills you need for a range of

CAPA

Yeats and Visions of the Apocalypse — LIT4167.01

Spring 2019

Instructor: Anna Maria Hong

Days & Time:

Credits: 4

This course takes William Butler Yeats’s poem “The Second Coming” as its starting point, launching from this often invoked poem to other poems and writings by Yeats that concern his unusual concepts of time, aging, and apocalypse including his prose work A Vision. We will examine Yeats’s prosodic choices regarding meter, rhyme, and form and how these musical decisions enhance

Literature

Yoga: Mindfulness and Cultivating a Peaceful Practice — DAN2023.01

Spring 2025

Instructor: Carly Rudzinski

Days & Time:

Credits: 1

This course will introduce students to the basic shapes and movements of yoga, along with a close reading of the yoga sutras. The yoga sutras serve as a guide to obtain wisdom and practice yogic philosophy in our everyday lives. Students will learn how to practice yoga on and off their mats, and will engage in exercises for both the body and mind. Beginners, intermediate, and

Dance

You Do You, Feldenkrais and Dancing: Scores for Improvisation — DAN2144.01

Spring 2019

Instructor: Miguel Gutierrez

Days & Time:

Credits: 2

The Feldenkrais Method® reawakens, restores and revitalizes the capacity for movement and function in all bodies. It is an spectacularly generative practice for people who are devoted to movement as a means of exploration and expression. In this workshop we will begin each day with an Awareness Through Movement lesson and from there go into scores for embodied improvisational

Dance

Your French Films — FRE2112.01

Spring 2014

Instructor: Noelle Rouxel-Cubberly

Days & Time:

Credits: 4

Never seen a Godard film? You couldn't name a French female filmmaker? You wonder what French-speaking Arabic films look like? In this exploratory course on French cinema, each student will select, with the help of the instructor, the film they want to include in the syllabus. Critique and theoretical readings will be included in the analysis of the films. Group work and scene

Languages