Fall 2026

Course System Home Course Listing Fall 2026

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Showing 25 Results of 253

Portfolio 1 — DAN5406B.01, section 1

Instructor: Emily Wexler
Days & Time: TBA
Credits: 6

During this course, students will begin to reflect, gather, articulate, and compose their extensive body of professional work in the field of dance by organizing this work into a text that will be bound. The text often takes the form of life writing, grounding life experience in professional artistic, intellectual, and creative pursuits.

Projects in Dance — DAN4712.01

Instructor: Levi Gonzalez
Days & Time: MO 7:00pm-8:50pm
Credits: 2

This course is for students with prior experience in dance making who wish to create new work for performance. We will share our work regularly, explore different feedback modalities, and reflect on our own individual artistic approaches and concerns. We will also explore various ways of articulating our work through written and spoken

Qualitative Research and Design — SCT2110.01

Instructor: Audrey Devost
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

Qualitative inquiry seeks to discover and describe in narrative reporting what particular people do in their everyday lives and what the actions mean to them. The course is intended for students at all standpoints of their individual projects who wish to gain experience and expertise in engaging with qualitative research methods. As a 2000-level reading and writing intensive

Queer French (in English) — FRE2109.02

Instructor: Stephen Shapiro
Days & Time: MO 3:40pm-5:30pm & WE 4:10pm-6:00pm
Credits: 2

In this course, we will examine French culture’s engagement with questions of sexuality and gender, with a focus on authors, artists, theorists, and others who have questioned ideas of normative sexuality from the Middle Ages through the 21st century. Authors and texts to be studied may include Marie de France, Gabrielle d’Estrées et l'une de ses soeurs, Montaigne, l’Abbé de

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

Rakugo is one of Japan's traditional art forms and a storytelling entertainment that became extremely popular during the Edo period (1603-1868). Rakugo is a unique storytelling performance because a storyteller sits on a seat called “kooza" on stage and tells humorous stories without standing up. Additionally, the storytellers narrate and

Reading and Writing Nonfiction: History of the Essay — LIT4422.01

Instructor: Jenny Boully
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

This workshop course in nonfiction will ask students to generate essays in conversation with canonical essayistic works, both classical and contemporary, as well as traditional and experimental. We will read Pre-Socratic philosophers such as Heraclitus and Roman orators such as Plutarch, examine Sei Shonagon and Kenko, muse on Michel de Montaigne, Virginia Woolf, and William

Reading and Writing Poetry: Word Choice and Linebreak — LIT4292.01

Instructor: Michael Dumanis
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

This workshop-based creative writing course starts with the premise that every time we put a word down on a page or break a line at a particular point, we are making a choice of genuine consequence. The process of writing a poem is ultimately a sequence of these seemingly small choices and the particular arrangement of words and lines in our poems is more responsible for how

Reading and Writing: Autofiction — LIT4522.01

Instructor: Benjamin Anastas
Days & Time: WE 2:10pm-5:50pm
Credits: 4

What is Autofiction?

The term “autofiction” originated in France in the late 1970s to describe a certain kind of knowing, renegade, and mock-heroic school of autobiographical fiction that fell somewhere between the nihilistic experimentalism of

Reading Ethnography — ANT2126.01

Instructor: Marios Falaris
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

Ethnography is one of the key genres of writing in the discipline of anthropology and is employed across the social sciences. Proponents celebrate this genre for the nuance with which it describes social phenomena – while skeptics accuse it of getting too bogged down in detail. This course will consider how anthropologists read ethnography

Reimagining Representation — PHO2113.01

Instructor: Terry Boddie
Days & Time: TH 1:40pm-5:20pm
Credits: 4

Photography was used scientific purposes and a tool of imperial during the early years of its invention. These two things have helped shaped its historical representation of the body as well as its descriptive language. Marginal groups of individuals when they were represented in photography were often presented in a

Resonant Bodies: Advanced Movement, Voice, Text — DAN4035.01

Instructor: Elena Demyanenko
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

An advanced studio-laboratory where nuanced movement, voice, and writing operate as one unstable system. The body is approached as a resonant instrument, with voice and text emerging as somatic extensions of the moving body.

Through rigorous physical

Sage City Symphony — MPF4100.01

Instructor: Nicholas Brooke
Days & Time: Su 2:45PM-5:30PM
Credits: 1

Sage City Symphony is a community orchestra that invites student participation. The Symphony is noted for their policy of commissioning new works by major composers as well as playing the classics. There are always openings in the string sections and occasionally by audition for solo winds and percussion. There will be 1-2 concerts each term.

Please note: this class

Sankofa & memoria: Archiving - Finding your history in order to go forward — DAN4381.01

Instructor: Kaolack Ndiaye
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

In this course, we will be uncovering, re-positioning, and affirming historical legacies and traditions that stand the risk of being lost forever, and explore how to use them to fight discrimination, racism and hate today. We will do so using Sankofa, a quest for knowledge through critical examination, patient investigation,

Screenwriting Story Studio: The Horror! The Horror! — LIT2584.01

Instructor: Manuel Gonzales
Days & Time: TH 8:30am-12:10pm
Credits: 4

This introductory screenwriting course will focus its attention on, well, maybe you've guessed it, the horror script. We'll be reading feature-length horror screenplays, discussing the various ways to make someone shudder or scream or white-knuckle the arms of their theater seat (or loved one), and in the process we will spend time learning the various structural and formal

Scriptorium: Romance — WRI2170.02, section 2

Instructor: Camille Guthrie
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—as essai means “trial” or “attempt." We will create new habits and

Scriptorium: Romance — WRI2170.01, section 1

Instructor: Camille Guthrie
Days & Time: MO,TH 10:00am-11:50am
Credits: 4

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—as essai means “trial” or “attempt." We will create new habits and

Senior Projects: Writing Unbound — LIT4425.01

Instructor: Mariam Rahmani
Days & Time: WE 2:10pm-5:50pm
Credits: 4

This Senior Projects course in Literature is two-pronged. Firstly, the course offers space and time to develop your thesis in any formal genre including literary fiction, poetry, creative nonfiction, and scholarly essay, or any approved project in a hybrid or other genre. (Note that all translation theses will be directed to Translation Atelier, where your

Silkscreen Printmaking — PRI2122.02

Instructor: Corinne Rhodes
Days & Time: MO 1:40pm-5:20pm
Credits: 2

Screen printing is an extremely versatile means of reproducing a 2-D image onto a variety of objects.  Hand-drawn, painted, photographic and digital images can all be used singularly and in combination with each other.  Preparation and processing is relatively simple and multiples can be produced quickly. In

Song Cycle — MCO4805.01

Instructor: Nicholas Brooke
Days & Time: WE 10:00am-11:50am
Credits: 2

What makes a group of songs a “cycle”? Is it a theme, lyric, or simple proximity?  Isn’t a song cycle just a concept album? In this course we’ll play through and recompose the literature about song cycles, from Schubert to Joanna Newsom’s Ys to many others. We’ll start by radically recomposing a

Songs in the Key of Wonder — MTH4148.01

Instructor: Michael Wimberly
Days & Time: WE 10:00am-11:50am
Credits: 2

This seminar is based on the 1973 songwriting classics, “Innervisions” , and the 1976 “Songs in the Key of Life”, both released on Tamala Records, a subsidiary of Motown Records. Students will examine melodic and harmonic chord progressions using 18th century tonal harmony, and 20th century jazz substitutions, chromaticism, and quartal harmony that Stevie Wonder used in

South Sudan Live: The Challenges and Opportunities in a Conflict Zone — APA4115.01

Instructor: Susan Sgorbati
Days & Time: WE 8:30am-12:10pm
Credits: 2

This hybrid class will examine the current situation in South Sudan. By interviewing in real time, farmers, journalists, students and artists onthe ground in South Sudan, we will hear the voices of people who are directly experiencing living in a conflict zone.  We will also study the history, politics, economics and ecology of South Sudanb to inform our conversations.