Catalog Version

Winter/Spring 2013
Catalog update:
October 15, 2012

Access archived catalogs in the Catalog Archive section.

Students are required to follow the Academic Handbook and Code of Student Responsibility

Courses in the Arts and Literature domain ask students to extend their knowledge and experience of the arts while developing their critical and reflective abilities. In these courses, students interpret and analyze particular creative works, investigate the relations of form and meaning, and through critical and/or creative activity, come to better understand the original audience that witnessed a work of art and how its meaning and significance changes over time. These courses focus on works of art or literature, however the process of analysis may include social, cultural, and historical issues. Genres covered in this domain include literature, the visual arts, media arts, the performing arts, music, and theater.

Courses

Below please find examples of courses previously offered for arts and literature credit. For information on current offerings, please consult campus connection.

ABD 235

HARLEM RENAISSANCE AND NEGRITUDE

This interdisciplinary course will examine the diasporic literary and cultural movements known as the Harlem (or New Negro) Renaissance and the Negritude Movement in literature, music, and visual arts. Specific attention will be given to the historical, economic, and political aspects which helped to form these movements. Figures to be examined include: Du Bois, Hughes, Locke, Larsen, Douglas, Cullen, Cesaire, Damas and Senghor.

ABD 244

AFRICAN WOMEN WRITERS

This course examines fiction and criticism with the purpose of studying how African woman configure themselves in literature and how they (re)define feminist theory. Authors to be studied include include: El Saadawi, Emecheta, Alkali, Nzapa, Head, Ngcobo Lessing: Gordimer; Aidoo; Ba, and Joyce.

ABD 245

RACE AND ETHNICITY IN LITERARY STUDIES

This course examines various ways in which race is constructed and, concurrently, how race as a "fiction" operates in literary studies. Literature presents and explores the ways in which the world is viewed and experienced by individuals in a particular society or social group. Since literature provides unique insights into different historical and cultural movements, studying how race is understood and deployed (explicitly and implicitly) in a text provides a powerful way to examine the fluidity of race and to compare how it is understood in different parts of the Black diaspora.

ABD 246

PRINCIPLES OF AFRICAN ART (CROSS-LISTED W/ HAA 101)

This introductory-level course surveys the arts of select cultures from west and central Africa. The course will focus on the arts of royalty as a means by which to introduce basic concepts and larger issues within the field. The arts of groups who borrow from royal iconography, such as diviners, religious cults, societies of elders, and others, will also be investigated. Themes pertinent throughout the course include issues of gender, colonialism, cultural interaction, and historical change in both visual art and the nature of kingship. Cross-listed as HAA 101.

ABD 247

ANCIENT AFRICAN ART: PREHISTORIC TO THE EUROPEAN ENCOUNTER

This course surveys a selection of artistic traditions from across the African continent beginning with the earliest attempts by humanity to visually represent complex thought until the Portuguese began trading along the coast of West Africa in the mid-fifteenth century. Emphasis is placed on demonstrating connectedness with a larger cultural environment, while also suggesting connections to future artistic traditions. Cross-listed with HAA 201.

ABD 249

JAZZ AND THE DIASPORIC IMAGINATION

This course will examine the role jazz has played in the cultural imaginations of peoples across the African Diaspora. What does jazz symbolize for authors and artists, and how have they adapted jazz to fit their own aesthetic, ideological, and political needs? How has it been used to influence poetry, drama, visual art, film, fiction, and dance? What are the different ways in which 'jazz' (itself a problematic and multifaceted term) has been manipulated? Figures to be examined might include: Amiri Baraka, Kamau Brathwaite, Sonia Sanchez, Romare Bearden, Allen Ginsberg, Albert Murray, Langston Hughes, Ralph Ellison, Nicholas Guillen and Bob Kaufman.

ABD 252

CONTEMPORARY AFRICAN ART: INDEPENDENCE TO THE PRESENT

This course surveys African art from the age of African independence in the 1960s until the present day. The meaning of the term contemporary as it applies to African art is questioned in this course. The position of the artist between African artistic tradition and the global art market is also of vital importance. Cross-listed with HAA 203.

AMS 250

IN THEIR OWN VOICES: AMERICAN AUTOBIOGRAPHY

This course presents a range of American autobiographies, from different places and from times ranging from Colonial to modern. The selected authors represent varying backgrounds and races.

AMS 290

AMERICAN VOICES I: TO 1860

Part one of a two course sequence, this course provides an integrated, multidisciplinary view of American culture and ideas, addressing the questions: "What is America? What does it mean to be an American?" The courses are focused on primary sources, mostly first person narratives and fiction, developing methods for analyzing and interpreting these sources. Students write a series of papers on the narratives; students taking the two course sequence substitute a research paper for some of the narratives papers in the second course, American Voices II.

AMS 291

AMERICAN VOICES II: FROM 1860

Part two of a two course sequence, this course continues the approach and method of American Voices I.

Prerequisites:

WRD 104 or HON 100 or HON 101 is a prerequisite for this class.

ANI 101

ANIMATION FOR NON-MAJORS

Course introduces a variety of basic animation techniques for cinema and gaming, such as hand-drawn, cutout, stop-motion and (very basic) 3D, with an emphasis on the use of computer technology. Examples of diverse animation genres and styles (experimental, cartoon, anime, special effects, computer games) from different cultures will be screened and discussed. Students will explore the unique qualities of the medium through a series of hands-on projects that can be adapted to their own personal interests. They will learn about professional animation process (storyboard and animatic) during the production of a final project that encourages them to consider the role and potential of animation in our society.

ANI 206

HISTORY OF ANIMATION

This course is an introduction to the history and development of the field of animation. We will explore this subject from various perspectives: by chronology, from its prehistory before the invention of film to the present day; by form, including method and medium; by culture, comparing the US to Japan, Russia, Europe and others; by subject; and by personality, concentrating on the figures who have shaped the art form and continue to influence it through their example. Students are expected to bring an enthusiastic interest in the medium, and to devote serious effort to reading about, viewing, researching and discussing animation and the artists who have created it.

ART 104

CREATING ART

A studio course that uses visual problems and critical discussions to develop creative and perceptual abilities; relates these abilities to the principles of art in cultural and historic contexts (non-art majors).

ART 105

TWO-DIMENSIONAL FOUNDATIONS

Development of perceptual ability through the analysis of two dimensional concepts of line, shape, value texture, color, space and organization. Materials Fee.

ART 106

BEGINNING DRAWING

Introduction to composition , line and rendering in black and white drawing media. Basic techniques for descriptive and expressive use of drawing media. Materials Fee.

ART 110

BEGINNING PAINTING

An introduction to basic organizational and technical concepts in painting. The preparation and proper use of materials is also stressed.

Prerequisites:

ART 105 is a prerequisite for this class.

ART 113

THREE DIMENSIONAL FOUNDATIONS

Development of perceptual ability through the analysis of three-dimensional concepts of line, shape, material, light, movement, and organization. Materials Fee.

ART 114

FOUR DIMENSIONAL FOUNDATIONS

This course is introduction to the shared elements and principles of time based art forms. Course will examine those elements and principles on examples of three time based mediums: performance (body art), video and one of interactive art forms that uses Flash software. Students at the beginning of each three-week session will be introduced to the one of three mediums with gradual project development and execution at the end of three-week period. Lectures, demonstrations, exercises and in class and home assignments and assigned readings about the process, form and content specific to time based art forms, will be main the vehicles for delivering the course contents to students.

ART 115

BEGINNING SCULPTURE

An introduction to traditional and contemporary approaches to sculpture with an emphasis on clay modeling, plaster casting and carving. Studio core course. Materials Fee.

ART 204

VISUAL COMMUNICATION

A studio course applying visual principles of communication to written presentations using the most common PC graphics programs mostly photoshop and illustrator. (non-art majors and art majors).

ART 224

BEGINNING DIGITAL PHOTOGRAPHY

An introduction to digital photographic processes emphasizing photographing with digital cameras, image correction and modification and printing.

ART 227

DIGITAL IMAGING FOR ART AND DESIGN

Students will develop dexterity and finesse as digital illustrators and imagers using two of the most powerful and ubiquitous computer software tools available in contemporary design: Adobe Photoshop & Adobe Illustrator. Manual drawing and traditional photographic techniques will be applied to the development of digital images. The primary focus will be on analytic problem solving and developing students' abilities to create complex images, illustrations and icons that effectively convey content and create context.

Prerequisites:

ART 101 and ART 105 are a prerequisite for this class.

ART 229

PRINTMAKING I

Training in the artistic possibilities of a variety of techniques, including wood-cut, intaglio and mono-print, used in the production of limited edition prints. Materials Fee.

Prerequisites:

ART 105 and ART 106 are a prerequisite for this class.

ART 230

ISSUES IN ENVIRONMENTAL DESIGN

Issues in Environmental Design is an introductory course that will examine concepts, theories and practices across multiple scales of design, including graphic, product, architecture, landscape architecture and urban design. We will explore the history and practice of eco-design as well as sustainable design in modern cultures. The environmental impact of design will be examined in relation to everyday products, as well as the consumer culture that feeds their mass production. Examples of excellence will be explored through the examination of case studies; local demonstrations will illustrate the theme of `restorative design; and artists projects that address environmental issues will also be studied. The underlying theme is the connection between culture and nature, and how we much reduce our negative impact on systems that support all life while building positive systems that support all life.

ART 260

ART & DESIGN I:HISTORY, CONCEPT, STRUCTURE

This course introduces the world of graphic design in a social and historical context. The goals are to explore formal structures and research methods with emphasis on the role of analysis and conceptual thinking as the first tasks of the print and multi-media designer. The course includes basic instruction to typography.

Prerequisites:

(ART 101 and ART 105) or ANI 105 are a prerequisite for this class.

ART 289

EXPERIMENTAL VIDEO ART

This course continues the exploration of video as a means of artistic expression with advanced, conceptual, experimental and creative uses of video and sound. Topics include sound art, editing, professional lighting techniques, as well as documentary, theory and history of avant-garde film/video. HD digital cameras will be provided by the art department. Hands-on skills will be developed and projects will be edited in Final Cut Express.

ART 302

TOPICS IN THE HISTORY OF CINEMA

Courses on the history of cinema that explore the form, content and historical significance of the media. Taught in the College of Communication with cross-list in Art.

CTH 250

ART IN THE SPANISH AMERICAN EMPIRE (CROSS-LISTED W/ HAA 246)

This course offers a critical survey of the art of colonial Latin America (circa 1520s-1820s), from the Caribbean to Mexico, Central America, and South America. Framed by the Spanish Conquest of the 16th century and Independence in the early 19th century, lectures will survey state-sanctioned arts of the Iberian colonizers, including the foundations of the Catholic Church across the ?New World? landscape. Race will be a frequent issue of discussion as we consider both indigenous American and African participation in social realities and artistic practice in this colonial context. Cross-listed with HAA 246.

CTH 251

CATHOLIC THEMES IN CONTEMPORARY CINEMA

This course will explore and examine the interaction of Catholic themes, symbols, and images through Hollywood and foreign films. Students are required to analyze films outside of class, give oral presentations, and compose papers on selected films.

CTH 252

BYZANTINE ART (CROSS-LISTED WITH HAA 234)

This course will explore the art of the Byzantine Empire from the founding of Constantinople in A.D. 330 to the fall of the city to the Ottomans in 1453. Lectures and readings will primarily focus on how contemporaries understood and interacted with a diverse group of monuments and objects now classified as Byzantine art. Significant attention will be devoted to how works of art functioned in the service of imperial and ecclesiastical ideology. Discussions will analyze how Byzantine art was appreciated and appropriated in both the medieval Mediterranean and in modern scholarship. Cross-listed with HAA 234.

CTH 253

EARLY MEDIEVAL ART (CROSS-LISTED AS HAA 231)

This course explores the art of the Medieval period from a broad range of cultures: Early Christian, Byzantine, Islamic, Carolingian, and Ottonian. We will discuss major stylistic trends and explore the relationship between art, culture, and religion. Works of art will be evaluated in terms of their social functions in the societies that produced them and our analysis will incorporate the perspectives of both the producers (patrons, artists) and consumers of art. Cross-listed as HAA 231.

CTH 254

LATE MEDIEVAL ART

This course will explore the art of the late Medieval period from a broad range of cultures and styles: Byzantine, Romanesque, Gothic, and Islamic. We will discuss major stylistic trends and explore the relationship between art, culture, and religion. Works of art will be evaluated in terms of their social functions in the societies that produced them and our analysis will incorporate the perspectives of both the producers (patrons, artists) and consumers of art. Cross-listed as HAA 232.

CTH 256

ITALIAN RENAISSANCE ART (CROSS-LISTED AS HAA 237)

This course provides an overview of the history of Italian Renaissance art and architecture in Italy's primary centers of artistic production. Cross-listed as HAA 237.

CTH 257

BAROQUE ART (CROSS-LISTED AS HAA 238)

Starting in 1600, from the vantage point of the Counter-Reformation and the rise of modern European states, Baroque Art covers the principal works of art & architecture; artists and patrons; and a wide sweep of social, religious, and political, conditions that impacted cultural thinking and production in the 17th century. Attention is focused on the most prominent artistic centers in Italy, the Spanish Netherlands, England, Spain, the Dutch Republic, and France. The in-class lectures with discussion are accompanied by field work to the Baroque collections of the Art Institute of Chicago. Cross-listed as HAA 238.

CTH 258

NORTHERN RENAISSANCE ART (CROSS-LISTED AS HAA 236)

This course features the most significant works of art, their artists & patrons, the social & economic aspects of artistic production, and the dominant cultural issues that flowed brilliantly in Northern Europe - above all, in France, the Netherlands, Bohemia, and German-speaking lands - between 1300 and 1600, that is, during the volatile period of the Renaissance & outbreak of the Protestant Reformation. And although Flemish oil painting offers the most evident legacy of the Northern Renaissance to the casual museum visitor, this course also introduces the most important outputs in printmaking; sculpture; and the industrial arts, as in tapestry weaving and the fabrication of luxury articles in metalwork.

CTH 260

ART, LITURGY AND LIFE

This class examines how beauty and its antithesis, ugliness, permeate Catholic life and thought. Students will be introduced to the topic by considering examples from a variety of media, including ritual, painting, sculpture, architecture, crafts, and mural art. The students will learn not only how works of art accompany the performance and celebration of worship but also how Christians have learned to discern the living presence of the incarnate form of the divine Word within both art and liturgy. This course will demonstrate with concrete examples how art in Catholicism is the nexus that joins spirituality and liturgy. Theoretical orientation can be gleaned from the Christian theological tradition (St. Augustine, Hans Urs von Balthasar), Christian aesthetic theory (Jacques Maritain, Flannery O?Connor, Walker Percy, or Alejandro Garcia Rivera), liturgical reformers (Odo Cassel, Louis Bouyer, or Virgil Michel), or the document of Vatican II on liturgy, namely, Sacrosanctum Concilium.

CTH 261

CATHOLIC FAITH AND MUSICAL EXPRESSION

An investigation of the relationship between Catholic life and music. The development of Catholic service music (masses, canticles, hymns, motets, etc.) as well as religious choral works may be studied.

CPL 312

THE LITERATURE OF IDENTITY

Cross-cultural study of self-discovery and identity as manifested in the literatures of self-awareness and self-definition (African-American, Hispanic, gay/lesbian, etc.).

GAM 224

GAME DESIGN FOR NON-MAJORS

This course approaches the study of computer games from three directions angles: first, as examples of media that can be analyzed and critiqued for their thematic elements, formal structure, plot and interactive appreciation; second, as complex software artifacts subject to technological constraints and the product of a labor-intensive design and implementation process; and three as a cultural artifact with behaviors and associations comparable in import to other popular art forms. Student will study the principles of game design and use them both to analyze existing games and to develop their own original game ideas. Students will also learn about the process of game development, starting from the game's narrative concept and moving to consideration of a game's components: the representation of the player, of artifacts, the virtual world that contains them and the interaction between them and the player. PREREQUISITE(S): NONE.

GPH 211

PERCEPTUAL PRINCIPLES FOR DIGITAL ENVIRONMENTS I

An introduction to the visual, non-verbal principles incorporated in the effective presentation of on-screen environments. This course emphasizes the use of two-dimensional elements and their organization.

GPH 212

PERCEPTUAL PRINCIPLES FOR DIGITAL ENVIRONMENTS II

Further experience with the visual, non-verbal principles incorporated in effective presentation of on-screen environments. This course emphasizes the use of three-dimensional elements, spaces and their organization. PREREQUISITE(S): ART 105, GD 105, GPH 211 or HCI 402.

GPH 213

PERCEPTUAL PRINCIPLES FOR DIGITAL ENVIRONMENTS III

An introduction to the visual and communication principles for the structure and organization of time-based digital environments. Introduction to standard 2D animation software applications. PREREQUISITE(S): GPH 211 or GD 105 or equivalent

DC 113

AUDIO FOR PODCASTS AND OTHER MEDIA

This course is an introduction to the uses and practical applications of sound for multimedia. Students will study various uses of sound and music on the Internet from creative to professional websites. Using free or inexpensive hardware and software, students will learn to create and edit podcasts and attach audio files to programs and web pages such as Facebook, Itunes, Keynote, PowerPoint and other sites. The course will cover both Mac and PC applications so all students will be able to work on projects from their home computers. The course will also cover current legalities of digital media. PREREQUISITES: NONE

DC 120

VIDEO EDITING

Students analyze and assemble dramatic scenes under a variety of conditions and narrative strategies. Editing theories, techniques and procedures, issues of continuity, effects, movement and sound are examined as they relate to the fundamentals of cinematic montage and visual storytelling. This class presents a variety of topics and experiences that are designed to broaden the student's understanding of the art of cinematic storytelling and montage. Work on more advanced projects is integrated into the class as a means to an understanding of advanced editing tools and techniques. This course has an additional fee. PREREQUISITE(S): NONE

DC 125

DIGITAL STILL PHOTOGRAPHY FOR NON-MAJORS

This course is an introduction to the history and aesthetics of still photography and to the concept of photography as a descriptive and interpretive artistic medium. Students studying photographs in this context will discover relationships between individual photographers choices and their own understanding of meaning. The role these artistic choices play in conveying meaning in still photography. Discussions of the photos' cultural contexts and meanings will deepen their understanding of the role of still photography as a conduit for cultural values. Students will learn the fundamental concepts necessary to shoot, edit, manipulate, and print digital still photographs. Also, students will acquire the knowledge needed to analyze and critique existing work. Students will be required to use their own digital still cameras for this course. This course has an additional fee.

DC 201

INTRODUCTION TO SCREENWRITING

This course is an introduction to and overview of the elements of theme, plot, character, and dialogue in dramatic writing for cinema. Emphasis is placed on telling a story in terms of action and the reality of characters. The difference between the literary and visual medium is explored through individual writing projects and group analysis. Development of synopsis and treatment for a short theatrical screen play: theme, plot, character, mise-en-scene and utilization of cinematic elements. PREREQUISITE(S): None.

DC 202

HISTORY OF MOTION PICTURE EDITING

This course studies the origins and rise of film editing as an art form, an industry, a set of technological practices ranging from analog film to digital video. The course examines critical historical events that impacted film editing: the emergence of the studio system, the coming of sound, narrative, experimental and documentary film, MTV, and audience shifts. For many, editing is the unique source of the art of filmmaking. This course addresses this question. PREREQUISITE(S): NONE

DC 205

FOUNDATIONS OF CINEMA

This course will examine the craft, technology, and aesthetic principles of media production. Drawing heavily on a wide array of historical examples, the course will examine the many expressive strategies potentially usable in the creation of moving image art forms: the importance of story and controlling ideas, storytelling with images, the basics of composition and editing, and an examination of narrative, documentary, and experimental approaches. In addition to analyzing the works of others, students will also produce their own projects thus, putting theory into practice. This course has an additional fee.

DC 207

HISTORY OF CINEMA I, 1890-1945

This course examines the history of cinema as one of the most influential cultural forms of the 20th Century. We will study the aesthetic and technological developments of cinema during its first 50 years, as well as examine the social and economic factors shaping its history. Initially influenced by other art forms (theater, literature, painting) filmmaking quickly acquired its own formal system, language, and traditions. We will trace the changing styles, techniques, content, and methods of filmmaking as an art form, as popular culture, and as an industry. We will consider how cinema is bound to its social context via audience relations, economics, technology, and ideology. The limited scope of this course will cover primarily feature-length, narratives films as the dominant mode of filmmaking, although we will also look at the development of documentary and experimental filmmaking. The class will consist of lectures, screenings, and discussions.

DC 208

HISTORY OF AMERICAN CINEMA, 1946-1975

From Film Noir to Hitchcock, an examination of post war Hollywood, film noir, wide screen and epic films, the development of the star system, the director as auteur, and the influence of international film movements and directors. Screenings, lecture, and discussion. PREREQUISITE(S):NONE

DC 209

HISTORY OF CINEMA III, 1975-PRESENT

This final course in the film history sequence is designed to introduce students to a sense of modern film history and the multiple permutations of cinema around the modern film history and the multiple permutations of cinema around the globe. It presents film history from a global perspective, concentrating primarily on the development of new national and transnational cinemas. The course continues to chart the development of the American studios since the mid-1970s while examining the effects of media consolidation and convergence. Moreover, the course seeks to examine how global cinemas have reacted to and dealt with the formal influence and economic domination of Hollywood filmmaking on international audiences. Class lectures, screenings, and discussions will consider how cinema has changed from a primarily national phenomenon to a transnational form of communication in the 21st century.

DC 222

CLASSIC HOLLYWOOD FILM STRUCTURE

Critical analysis of successful Hollywood films and their narrative structures. Films of various genres and eras will be examined. Students will learn how to recognize classical three-act structure in finished films and scripts. Students will develop a cinematic language with which to discuss films as well as a toolbox of techniques to use when making films. Key story concepts to be discussed include: protagonist, antagonist, want versus need, elements of the future, poetic justice, planting and payoff, catalyst, climax, and Aristotelian terminology. PREREQUISITE(S): NONE

DC 233

CINEMA & ART

This course will provide an overview of avant-garde film, video, animation and installation, and the relationship of these cinematic forms to Modern and Contemporary art. Students will be introduced to the major styles and themes of alternative and experimental moving image work from the past hundred years. Cinema & Art places emphasis on moving image work that is not usually included in a survey of mainstream cinema or film history. A major concern for the class is first-hand exposure to these original sources, and an examination of the relationship of these works to mainstream cinema and other types of popular culture. Topics covered in the class include the avant-garde and kitsch, Surrealism, experimental film, abstract animation, video art, camp, and video installation. In addition to lectures by visiting artists and viewing films, videos, and installation work, students will produce a short creative work in the style of their choice that responds to the work studied during the quarter.

DC 250

THE ART OF SCREEN ACTING

This course will examine the role of acting, actors, and actor-director collaboration in the development of narrative cinema. The screen demanded a new approach to acting which differed markedly from the theatrical traditions which proceeded it. Seminal practitioners of actor training such as Constantin Stanislavski and his American interpreters Lee Strasberg, Sanford Meisner, and Stella Adler and their students (such as Brando, Pacino, DeNiro, Hoffman, and Duvall) have had an incalculable influence on how screen actors prepare for a role and work with directors. This course will survey the major acting techniques and approaches, examine major films as case studies, and explore contemporary approaches to screen acting and actor-director collaboration in the cinema.

ENG 120

READING LITERATURE

Study of the elements and construction of literary texts, of the vocabulary of literary criticism, and of various literary modes and genres.

ENG 218

READING AND WRITING FICTION

An introduction to the art of fiction through analysis and criticism of fiction by established writers and through writing and revising the student's own stories.

ENG 219

READING AND WRITING POETRY

An introduction to the art of poetry through analysis and criticism of poems by established poets and through writing and revising the student's own poems.

ENG 227

STUDIES IN DRAMA

Studies in Drama is an introduction to the appreciation and analysis of drama as a cultural form, with attention to both text and performance. Readings vary, including plays from different dramatic genres, historical periods, and cultures.

ENG 228

INTRODUCING SHAKESPEARE

Introduction to the basic structures and conventions of representative plays by William Shakespeare, emphasizing film and stage interpretations. May not be taken by students who have completed ENG 328, Shakespeare.

ENG 245

THE BRITISH NOVEL

Introduction to the historical development, literary forms, and intellectual scope of the British novel from 1700 to the present. Key topics include the representation of gender, class, and empire.

ENG 265

THE AMERICAN NOVEL

Studies in the American novel. Variable emphasis on the historical development, regional expression, multicultural scope, ethical engagement, and/or recurring thematic concerns of the genre.

ENG 272

LITERATURE AND IDENTITY

Studies in the literary expression and representation of identity. This course is not repeatable.

ENG 275

LITERATURE AND FILM

Introduction to the comparative study of literature and film. Emphasis on construction of narrative, development of character, point-of-view, and adaptation across genres and mediums. This course is not repeatable.

ENG 280

WORLD LITERATURE TO 1500

Introduction to selected examples of world literature to 1500, focusing on mythology, epic and drama.

ENG 281

WORLD LITERATURE SINCE 1500

Introduction to examples of world literature since 1500. Focuses primarily on explorations of self and the world in drama, poetry, and the novel from the Renaissance through the Modern eras.

ENG 284

THE BIBLE AS LITERATURE

Introduction to the major stories, genres (e.g., poems, parables, prophecies) and intra-textual echoes of the Bible.

ENG 286

TOPICS IN POPULAR LITERATURE

Studies in the forms and functions of popular fiction. Variable emphasis on particular genres, including mystery and detective fiction, fantasy, science fiction, romance, gothic. Variable topics. (See schedule for current offerings.) May be repeated on different topics.

ENG 288

AUTOBIOGRAPHY AND BIOGRAPHY

Introduction to the forms, functions, problems and purposes of life-writing.

ENV 181

LANDSCAPE AND MEANING

In this course students will engage issues central to the design of landscapes, examining the complex exchange between social perception, ecological function and physical form in landscape architecture. Students will evaluate the formal character of particular landscapes and how this expression contributes to the overall experience of a place. The literary perspective of the course will focus on the rich tradition of associations between landscape design and social ideologies. Students will be asked to apply concepts from the literature to landscapes from their own personal experience to understand how meaning is both deeply personal and culturally derived. Students will extend this interpretation to creating their own landscape design for transforming an existing site in Chicago.

ENV 180

ISSUES IN ENVIRONMENTAL DESIGN

Issues in Environmental Design is an introductory course that will examine concepts, theories and practices across multiple scales of design, including architecture, landscape architecture and urban design. Students will discuss and evaluate the design decisions that compose our built environment with a focus on contemporary ideas of ecological sustainability. Examples of excellence will be explored through the examination of case studies. The underlying theme is the connection between culture and nature, and how we may reduce our negative impact on systems that support all life while building positive systems that support all life.

FCH 306

SEVENTEENTH-CENTURY FRANCE

From the baroque through the classical period.

FCH 319

FRENCH/FRANCOPHONE WOMEN WRITERS

Studies in literary, cultural and social issues.

GEO 172

CULTURAL GEOGRAPHY

How do artists depict different locations? How do television portrayals of New York City compare and contrast between situation comedies and drama series? How do lyrics and music portray a sense of place and local identity? This course will analyze how places are represented and understood through arts, music and literature. Students will develop the theoretical skills to examine the cultural geography both of the United States and elsewhere.

HAA 101

PRINCIPLES OF AFRICAN ART (CROSS-LISTED W/ABD 246, FORMERLY ART 246)

HAA 115

PRINCIPLES OF ASIAN ART (FORMERLY ART 242)

An introduction to major developments of art and architecture across Asia including South Asia, Southeast Asia, the Himalayas, and East Asia. This course examines not only painting, sculpture, and architecture, but also gardens, ceramics, and prints. Special emphasis will be placed on religious arts of Buddhism and Hinduism, along with landscape and figural painting of China and Japan. Formerly ART 242.

HAA 130

PRINCIPLES OF EUROPEAN ART (FORMERLY ART 102)

An introduction to the art historical methods and their application to a broadly chronological and select survey of the European world from pre-history to the 20th century. Field trips to Chicago art institutions extend the visual traditions and critical methods taught in class lectures and discussions. Formerly ART 102.

HAA 145

PRINCIPLES OF THE ARTS OF THE AMERICA

What is distinctive about art created over time on the American continents? This class begins to answer the question by examining some of the principal developments in art history from the ancient indigenous cultures (particularly those of Meso- and South America), through the period of European colonialism (especially Spanish and English), to the modern art movements across the sovereign nations, including the United States and Canada. Since time permits only a sampling of artistic forms across time, lectures are often issue-oriented, with a focus on selected problems facing scholars. Periodic discussions allow students to weigh in on topics and offer their own critiques. This class argues that the distinctiveness of American visual forms springs from the heterogeneous cultural traditions that simultaneously divide and unify its inhabitants.

HAA 201

ANCIENT AFRICAN ART: PREHISTORIC TO THE EUROPEAN ENCOUNTER

HAA 202

MODERN AFRICAN ART: EUROPEAN ENCOUNTER TO INDEPENDENCE

This course surveys a selection of artistic traditions from across the African continent beginning with the arrival of the Portuguese along the coast of West Africa in the mid-fifteenth century until the age of African independence in the 1960s. While the impact of a European presence helps define the boundaries of this course, artistic response to that presence is but one theme. Interactions between African cultures and the impact of Islam are equally important considerations.

HAA 203

CONTEMPORARY AFRICAN ART: INDEPENDENCE TO THE PRESENT

HAA 215

CHINESE ART (FORMERLY ART 342)

This is a chronological survey of premodern Chinese art from antiquity to the nineteenth century. Special attention is given to sculpture and painting, but architecture and ceramics are also covered. There is an emphasis on prehistoric bronze vessels, Buddhist sculpture, and landscape painting of the Song through Qing periods. Formerly ART 342.

HAA 216

JAPANESE ART (FORMERLY ART 343)

This is a chronological survey of premodern Japanese art, from the prehistoric era to the Meiji period (1868-1911). Topics covered include painting, sculpture, and architecture, as well as decorative arts, prints, and garden design. Special attention is given to Buddhist and Shinto religious arts, along with screen painting and woodblock prints. Formerly ART 343.

HAA 217

ARTS OF INDIA AND THE HIMALAYAS

This is a chronological survey of premodern arts of the subcontinent of South Asia and the Himalayas. We start with the Indus Valley Civilization and move through the nineteenth century, including Mughal arts. Special attention is given to the emergence of figural imagery in Buddhist and Hindu sculptural arts, and the development of religious architectural forms from early stupas and cave temples to later shrines.

HAA 218

ARTS OF THE SILK ROAD

This course will examine the visual history of the Silk Road, focusing on works of art and architecture created in Central Asia. We not only consider the prehistoric, ancient and medieval arts of this region, but we also investigate the modern development of a romanticized notion of the Silk Road and the imperial interest in acquiring treasures from the Silk Road. Today we frequently hear about the legacy of the Silk Road in promoting multicultural exchange. However, the Silk Road has long been affected by the expansionist agendas of empires. From the time of Alexander the Great (356-323 B.C.E.) through the period of Genghis Khan (1162-1227) and on, there have been military leaders who have led their armies into Silk Road lands seeking territory, riches, and glory.

HAA 230

ANCIENT MEDITERRANEAN ART

This course will explore the art of the ancient period (circa 30,000 B.C.E. ? 330 C.E.) from a broad range of cultures and styles: from the Paleolithic cave paintings to the Roman Colosseum, from the pyramids of Egypt to the Parthenon in Greece. We will consider how art, religion, urbanism and writing profoundly affected the development of the ancient Mediterranean and Mesopotamian world. We will analyze major stylistic trends and explore the relationship between art, culture, and religion. We will also discuss the role of art in the hands of political leaders and the profound interconnectedness of ancient civilizations. Frequent discussions will analyze controversies in the study of ancient art and scrutinize topics such as gender, power, aesthetics and authenticity. Formerly ART 233.

HAA 231

EARLY MEDIEVAL ART (CROSS-LISTED W/CTH 253, FORMERLY ART 240)

HAA 232

LATE MEDIEVAL ART (CROSS-LISTED W/CTH 254, FORMERLY ART 244)

HAA 234

BYZANTINE ART

HAA 236

NORTHERN RENAISSANCE ART (CROSS-LISTED W/CTH 258, FORMERLY ART 232)

HAA 237

ITALIAN RENAISSANCE ART (CROSS-LISTED W/CTH 256, FORMERLY ART 241)

This course concentrates on the architecture & pictorial arts that flourished on the Italian peninsula between ca. 1300 and 1600, although selected forays are undertaken into comparative European and Asian cultures. Its content focuses on the most significant works of art & architecture, including the technical arts; the key personalities, above all, the artists & their patrons; and a broad range of cultural & political issues that affected artistic thinking and production. Cross-listed with CTH 256. Formerly ART 241.

HAA 238

BAROQUE ART

HAA 239

19TH CENTURY EUROPEAN ART

Introductory survey of major moments and movements in 19th-century European art, with some attention to U.S. developments, as warranted. The course analyzes major painters and sculptors of the early modern period and their influence in shaping cultural events, such as, for example, the Industrial Revolution. Formerly ART 238.

HAA 240

ART FROM 1900-1945 (FORMERLY ART 239)

This course will examine the major artists, movements, and issues at play in the visual arts of Europe from 1900 to the outbreak of World War II. Lectures and class discussions will address how modern art, often oppositional and contradictory in nature, responds to, reflects, or builds on the effects of modernization (i.e. urbanization, industrialization, and global capitalism). Modern art objects will be read for both stylistic innovation and for connections to, and commentaries on, specific historical developments. Significant themes to be addressed include the character and history of the avant-garde, the relationship between high art and mass culture, the changing identities and aims of the modern artist, and the institutional basis of art production. Formerly ART 239.

HAA 242

ART FROM 1945 - 1975

This course will consider art and culture of Western Europe and the United States from World War through the Vietnam War. Beginning with the period of high modernism, major art historical movements and highly distinct aesthetic practices will be examined in order to foreground the complex relations that exist between art making and specific socio-historical contexts. Topics to be addressed include the development of the arts after World War II, the role of art in a consumerist and spectacle-driven society, the dematerialization of the art object, and the shift from late modernist to postmodern sensibilities. Students will be introduced to a range of theoretical models which foreground structural and formal investigations, as well as issues of social and historical analysis. Formerly ART 322/HAA 364.

HAA 245

ART OF THE ANCIENT AMERICAS (CROSS-LISTED W/LST 247, FORMERLY ART 247)

This class surveys the art of the ancient Americas (circa 1000 BCE-1520 AD), with a focus on the most artistically significant civilizations of Mesoamerica and South America, and some of the difficulties encountered in studying them. Lectures will explore visual traditions as diverse as the people they reflect; cultures to be covered include the Olmec, Maya and Aztec of Mesoamerica, and the Moche and Inca of Peru. Since most of these cultures did not use the written word, the class will also regularly raise questions of methodology in pre-Columbian scholarship. Cross-listed with LST 247.

HAA 246

ART IN THE SPANISH AMERICAN EMPIRE (CROSS-LISTED WITH CTH 250 & LST 248, FORMERLY ART 248)

This course offers a critical survey of the art of colonial Latin America (circa 1520s-1820s), from the Caribbean to Mexico, Central America, and South America. Framed by the Spanish Conquest of the 16th century and Independence in the early 19th century, lectures will survey state-sanctioned arts of the Iberian colonizers, including the foundations of the Catholic Church across the 'New World' landscape. Race will be a frequent issue of discussion as we consider both indigenous American and African participation in social realities and artistic practice in this colonial context. Cross-listed with CTH 250 and LST 248. Formerly ART 248.

HAA 247

MODERN LATIN AMERICAN ART (CROSS-LISTED W/LST 249, FORMERLY ART 249)

This lecture class is a survey of Latin American art created since the Wars of Independence which helped to create the modern nations in the 19th century (i.e. 1820s through the present). Lectures consider the struggle of artists to articulate newly sovereign identities through visual production, even as complicated relationships with Europe and increasingly, the United States, continue. Topics covered include Latin American modernism, surrealism, radical arts, and social realism, with a special consideration of post-revolutionary Mexican mural painting. Cross-listed with LST 249. Formerly ART 249.

HAA 260

AMERICAN ART (FORMERLY ART 335)

This course examines American art (the British colonies and United States) from the colonial period to the mid-twentieth century. Works of art are examined both in relation to American social and cultural history and also as aesthetic objects. The overarching themes of the class include the "American-ness" of American art, the relationship between American and European art, the function and production of art, and the expanding definition of American expression through multicultural diversity. Formerly ART 335.

HAA 280

HISTORY OF PREMODERN ARCHITECTURE (FORMERLY ART 370)

Social, economic and political history of European and Mediterranean architecture, from Paleolithic times to the 1789 French Revolution. Topics include: classicism, the status and role of the architect, social struggle, patronage and architectural technologies. Formerly ART 370.

HAA 281

HISTORY OF MODERN ARCHITECTURE

World architecture from the 1789 French Revolution to the present. Examines the influence of industrial, technological, political and social change in the development of modernist and post- modernist architecture. Formerly ART 371.

ILL 206

HISTORY OF COMICS

This course will cover the history of the art form collectively known as "comics" --mechanically reproduced graphic storytelling--which includes comic strips, comic books, graphic novels, Japanese manga and online comics. Students will be introduced to the evolution of the art form from 18th century precursors, to late 19th century newspaper pages, to the 20th century comic book, through today's sophisticated graphic novels. The course will devote considerable time to comics of other cultures, with special emphasis on Japan and Europe. It will also examine the relationship of comics to culture at large, and the struggle of underground and alternative comic artists to explore adult subjects such as politics and gender.

INTC 230

PERFORMANCE OF LITERATURE (Formerly CMNS 230)

Introduction to the communication of literature through oral interpretation. Involves critical analyses of selected literary works and preparation for and delivery of short performances. (Formerly CMNS 230)

INTC 367

PERFORMANCE FOR SOCIAL CHANGE (Formerly CMNS 367)

This is an experiential field experience that examines the role of performance in social activism. Student projects will identify a social issue of critical concerns and devise a performative response. (Formerly CMNS 367)

ITA 307

DANTE'S INFERNO: THE WORLD OF THE CONDEMNED

A close reading of the first part of Dante's masterpiece.

ITA 308

DANTE'S PURGATORY AND PARADISE: THE REALM OF SALVATION

A close reading of selections from Purgatory and Paradise. ITA 106 or equivalent and ITA 201-203 recommended.

ITA 329

ITALIAN FILM

The development of Italian cinema from its origins to the present. ITA 106 or equivalent and ITA 201-203 recommended.

ITA 340

ITALIAN CIVILIZATION III

The artistic, social and political development of modern Italy from industrialization through the Fascist era to contemporary society. ITA 106 or equivalent and ITA 201-203 recommended.

LST 247

ART OF THE ANCIENT AMERICAS (CROSS-LISTED AS HAA 245)

This class surveys the art of the ancient Americas (circa 1000BC-1520AD), with a focus on the most artistically significant civilizations of Mesoamerica and South America and some of the difficulties encountered in studying them. Lectures will explore visual traditions as diverse as the people they reflect; cultures to be covered include the Olmec, Maya and Aztec of Mesoamerica, and the Moche and Inca of Peru. Course material will constantly probe the relationship between the visual forms studied and their likely political and/or social function; however, especially because of the scarcity of primary source texts, the class will also regularly raise questions of methodology in pre-Columbian scholarship. Students should emerge from the class with a grasp of the contribution of specific scholars of pre-Columbian art, with an appreciation of some of the problems of its study, and with the understanding of some of the most significant-and heterogeneous-artistic forms from the ancient Americas. Cross-listed as HAA 245.

LST 248

ART IN THE SPANISH AMERICAN EMPIRE (CROSS-LISTED WITH HAA 246/CTH 250)

This course offers a critical survey of the art of colonial Latin America (circa 1520s-1820s), from the Caribbean to Mexico, Central America, and South America. Framed by the Spanish Conquest of the 16th century and Independence in the early 19th century, lectures will survey state-sanctioned arts of the Iberian colonizers, including the foundations of the Catholic Church across the "New World" landscape. Race will be a frequent issue of discussion as we consider both indigenous American and African participation in social realities and artistic practice in this colonial context.. Cross-listed with HAA 246 and CTH 250.

LST 249

MODERN LATIN AMERICAN ART (CROSS-LISTED WITH HAA 247)

LSE 300

EDUCATION AND LITERATURE

This course is designed to engage students in critical reflection, commentary, and evaluation of literature, informed by theoretical as well as aesthetic considerations. Literary works will be interpreted and analyzed regarding interactions between form and content, as well as effects of authors' treatment of material upon the construction of meaning. Primary goals are the enhancement of understanding, appreciation and enjoyment of literature. Social and cultural dimensions of literature will also be addressed within the context of examining educational issues such as: what it means to become educated in culturally diverse contexts; construction of identity; the development of values and world views; the individual in relationship to community and/or society; and relationships among artistic works, human experiences and education. This course satisfies the arts and literature requirement.

MCS 207

HISTORY OF CINEMA I, 1890-1945

MCS 208

HISTORY OF CINEMA II, 1945-1975

This course covers the continued rise and development of cinema from 1945 to 1975. The course will have a dual focus, looking simultaneously at both the American studio system and international cinemas. The lectures, screenings, and discussions place equal emphasis on charting the development of cinematic techniques as well as examining the growth of specific national cinemas. In addition, the course surveys international stylistic trends in narrative, documentary, and avant-garde film. Students will acquire a broad understanding of the institutional, social, technological, and aesthetic forces that have shaped the development of cinema during the mid-twentieth century. Lab for film viewing required.

MCS 209

HISTORY OF CINEMA III, 1975-PRESENT

MCS 251

SPACES OF CINEMA IN ROME

This course examines the history and heritage of Italian cinema through an analysis of critically acclaimed films produced in Rome. Topics of focus include the comparison of Italian and Hollywood constructions of historical settings, and the cinematic organization of visual space. The course features visits to the Roman sites where films examined in the course were produced. The course's goal is the development of an understanding of filmmakers' artistic choices and the expectations that they set up for their audiences through setting. Offered in conjunction with the Rome Film Studies Program.

MCS 273

STORYTELLING & STYLE IN CINEMA (FORMERLY FILM/VIDEO ANALYSIS)

Course covers basic concepts and terminology of film and video as forms of art and mass culture. This course covers the aesthetic elements that constitute film and video texts: plot structures, sets, costumes and makeup, acting, lighting, cinematography, editing, and sound. By performing extensive textual analyses, students learn how the interaction of these elements produces meaning. Students also gain basics of how these concepts are practiced in film production. After mastering the aesthetic concepts, students also examine their use in three different modes of film: fiction, documentary, and the avant-garde. There is a required lab for film viewing. (Formerly Film/Video Analysis)

MOL 210

CLASSICAL MYTHOLOGY

Classical Mythology is an interdisciplinary blend of the classical traditions of myth and literature, concentrating on myth. It endeavors to place Classical myths into their historical, social and cultural contexts. Students will learn significant myths and the names and functions of the most important characters in them along with primary myth theories.

MOL 211

HEROES AND EPICS

Heroes and Epics is a literature course is centered around Homer?s Iliad and Odyssey and Vergil?s Aeneid; it endeavors to place these epic poems into their geographical, historical, social, and cultural contexts. Students will learn the definition of Epic as a literary genre and discover how this genre evolved, through ancient Greek oral tradition, to reflect audiences and times.

MOL 212

CLASSICAL TRAGEDY

Classical Tragedy is a literature course that introduces students to the authors, social contexts and performances of ancient Greek drama. Students will learn how to interpret the ?myth? presented on the ancient Greek stage, and how to apply what they have learned to detect and interpret the moral, social and political issues raised in this timeless, yet keenly particular, literature.

MOL 213

ANCIENT GREEK AND ROMAN COMEDY

Ancient Greek and Roman Comedy. Selected landmarks of Greek and Roman satirical literature. Students learn mportant theories of interpretation, theories of humor as well as secondary interpretive opinions about ancient Comedy. This course endeavors to train intelligent critics of modern satire.

MOL 214

THE CLASSICAL FEMININE

Close reading of translations of ancient Greek, Latin, and Semitic texts that pertain to or are written by women. We will investigate the nature and the roles of the "feminine" in Antiquity, studying the day-to-day lives of women, with emphasis on the textile arts that comprised their primary daily activity. Although students will visit these texts through English renderings, the course will yield a lively sense of the ancient languages in which they were written -- and, thereby, the living conversations with which women of these time-honored cultures expressed, and wove, themselves.

MOL 248

CHINESE CALLIGRAPHY

An introduction to the art of Chinese calligraphy. Hands-on practice as well as history and theory of the art. This course is open to students with no background in Chinese calligraphy, language, literature, or culture.

MOL 308

TOPICS IN JAPANESE LITERATURE

Variable topics. Taught in English. Consult schedule for current offering.

MOL 320

MODERN JAPANESE LITERATURE IN TRANSLATION

Covers modern Japanese literature in English translation from the Meiji era to the present. Themes for study include tradition and modernization, the individual and society, gender, and nostalgia. In addition, beginning with excerpts from Tsubouchi Shoyo's 1886 essay "The Essence of the Novel," students will trace the development of the novel in modern Japan.

MOL 321

CLASSICAL JAPANESE LITERATURE IN TRANSLATION

Classical Japanese literature, in English translation, from the earliest periods up to the Meiji era.

MUS 100

UNDERSTANDING MUSIC

(4 credits) Developing an understanding of musical elements and forms, and how composers use them to create music throughout the history of western music. This course also includes a look at the musics of the world and jazz. This course is not available to students in the School of Music. Arts and Literature.

MUS 102

COMPOSITION AND SOUND ART FOR NON-MUSIC MAJORS

Students in this course develop their own creative music projects. Activities include performing, recording, and emulating styles of all kinds in new compositions. Instrumental, vocal, and computer music ability can be fostered in this course. No previous experience necessary. This course is not available to students in the School of Music. Arts and Literature.

MUS 104

MUSICAL EVOLUTION AND INNOVATION: RENAISSANCE TO 2OTH CENTURY

Musical Evolution and Innovation from the Renaissance to the 20th Century. An examination of how musical compositions from 1600 to our own time have been influenced by physical and technical limitations of instruments, tuning, and related matters. This course is not available to students in the School of Music. Arts and Literature.

MUS 105

ROCK MUSIC-THE BEATLES: MUSIC,AESTHETICS AND CULTURE

This course is a survey of the music and movies of the Beatles. Topics covered in this class include the basic elements of music to allow students to analyze and compose simple songs. No previous knowledge of music is necessary. This course is not available to students in the School of Music. Arts and Literature.

MUS 106

THE ART OF ELECTRONIC MUSIC

An examination of the art and techniques of electronic music and the influence electronics have had on contemporary music from Varese to rap. This course will examine the literature and cultural implications of electronic music as well as contemporary music techniques such as analog and digital recording, synthesis, sequencing and sampling. This course is not available to students in the School of Music. Arts and Literature.

MUS 107

HITCHHIKER'S GUIDE TO MUSIC THEORY

(4 credits) The fundamentals of notation and elemental theory for non-music majors. Online drills and short composition studies will be included as course activities. Arts and Literature.

MUS 108

ROCK MUSICS OF THE WORLD

A historical survey of the world's main styles of rock music, extending from Chuck Berry to Puff Daddy to Cold Play, from Bob Marley to Black Sabbath. This course is not available to students in the School of Music. Arts and Literature.

MUS 109

FROM WAGNER TO YOUTUBE: THE WEDDING OF MUSIC AND DRAMA

Examines the use of music to reinforce drama and visual image in opera, film and rock video. This course is not available to students in the School of Music. Arts and Literature.

MUS 140

MUSIC OF THE WORLD'S PEOPLE

(4 credits) A survey of music roles and practices in a variety of countries and continents. This course is not available to students in the School of Music. Arts and Literature.

MUS 200

MUSIC OF THE UNITED STATES TO 1900

(4 credits) This course discusses two types of subject matter: the traditions of art music or "classical" American music from the Colonial era through the latter Nineteenth Century; and the important vernacular or popular tradition of music which emerged between 1830-40 and continued up through about 1900. Music student may only use this course to fulfill free electives. Arts and Literature.

MUS 201

MUSIC OF THE UNITED STATES SINCE 1900

(4 credits) This course discusses two types of subject matter: the traditions of art music or "classical" American music in the twentieth and twenty-first Centuries. Additionally, important vernacular or popular traditions since 1900 will be studied. This includes idioms such as: jazz blues, Broadway musicals, the standard popular song, motion picture music, commercial music, rock and roll, and various other types of popular music. Music student may only use this course to fulfill free electives. Arts and Literature.

MUS 202

WOMEN AND MUSIC

(4 credits) A survey exploring the roles of women musicians in their societies. This course may only be used as a free elective for students in the School of Music. Arts and Literature.

MUS 203

CONTEMPORARY MUSICAL IMPROVISATION: SCRATCH ORCHESTRA

(4 credits) This course will focus on improvisational practices with a focus on experimental composers between 1959 - 1980. Students will form a large ensemble. Class activity will focus on hands-on music making with a combination of laptops and acoustic instruments.

MUS 204

WHAT WERE THE BLUES? 1920-1960

(4 credits) This course will follow the history of the blues from its first recordings in the early 1920s through the "rediscovery" of classic blues artists in the late 50s, with an emphasis on listening to and discussing a rich legacy of classic blues recordings.

MUS 205

THAT HIGH LONESOME SOUND: BLUEGRASS 1936-1972

A study of the social, cultural, and technological contexts of classical bluegrass, recordings made between 1936 and 1972.

MUS 272

TRENDS IN 20TH CENTURY ART AND MUSIC

(4 credits) Appreciative approach to the styles of selected 20th-century artists and composers. School of Music students may take this course only as a free elective. Arts and Literature.

MUS 274

THE GOSPEL MUSIC TRADITION IN AMERICA

(4 credits) The origins, people, context, spirit and music. This course may only be used as a free elective for students in the School of Music. Arts and Literature.

MUS 275

HISTORY OF THE SYMPHONY

(4 credits) An examination of the development, literature and spirit of one of Man's great artistic traditions. This course may only be used as a free elective for students in the School of Music. Arts and Literature.

MUS 278

JAZZ

(4 credits) A comprehensive study of the origins and developments of jazz, specifically concentrated on important jazz styles and performers since 1917. This course may only be used as a free elective for students in the School of Music. Arts and Literature.

MUS 305

MUSICAL ENCOUNTERS OF THE PORTUGUESE EMPIRE

(4 credits) This course explores the role that music played in encounters between Europeans traveling on behalf of the Portuguese Empire and the cultures colonized by the Portuguese beginning in fifteenth century and continuing today in post-colonial contexts. This course will also examine the musical genres that developed as a result of cross-cultural contact. Musical case studies are selected from different historical periods and diverse cultures and geographical areas encompassed by the Portuguese Empire: Portugal, Asia, Africa, and South America. This class will include listening and reading assignments, and students will have the opportunity to further explore an area of interest in a research project on a topic of their choice. Arts and Literature.

PAX 240

VOICES OF WAR AND PEACE; ART, LITERATURE AND FILM

This course is an overview of the ways in which the arts, including literature and film, portray warfare and the attempts to end violence and build reconciliation and peace.

PRF 290

PERFORMANCE WORKSHOP FOR NON-MAJORS

Students work on basic performance skills through individual and group exercises in acting, voice and speech and movement. Can be taken by non-Theatre School students.

PRF 380

ADVANCED PERFORMANCE WORKSHOP FOR NON-MAJORS

This course is a continuation of PRF 290 and will allow students who have completed the introductory course further exploration in performance by applying basic acting skills to the presentation of short plays and scenes from modern dramatic literature.

Prerequisites:

PRF 290 is a prerequisite for this class.

SNC 185

THE BEATLES AND THE CREATIVE PROCESS

The Beatles are significant in many ways: they were an unprecedented show business phenomenon; they were leaders of Sixties cultural rebellion; and they stand, for many, as a signal instance of popular entertainment attaining the status of high art. This course will examine the musical craftsmanship of the Beatles, focusing on their work as songwriters and record makers. Recent audio and print releases documenting the group's performing and recording history provide a unique and detailed glimpse of the Beatles' creative process. We will utilize these materials to closely trace the development of the group's work while using other resources to place it in a larger historical and cultural context. The goal is to shed critical light on this recent chapter in cultural history. That discussion will, in turn, highlight questions about creativity in a modern context where commerce vies with art, technology redefines performance and an emerging global village culture transforms concepts of originality and tradition. Arts and Literature.

SNC 187

RACE AND IDENTITY IN THE AMERICAN THEATER

This course will explore issues of race and racial identity in American society through the medium of theater. Texts will include several of the following: "Blues for an Alabama Sky," a Civil War retelling of the Oedipus story; "Twilight, Los Angeles, 1992," Anna Deveare's performance piece based on the Rodney King riots; "The Story," Tracy Scott's play about the pressures on a young black journalist to climb the media ladder; "Spinning Into Butter," Rebecca Gilman's provocative play about racial harassment on a college campus; Lorraine Hansberry's classic "A Raisin in the Sun;" Thomas Gibbons' "Personal Collection," which deals with the issue of appropriation of cultural heritage; and one of the ten plays from August Wilson's epic cycle. The class will also view a play on these themes at a Chicago theater. Faculty: Fred Wellisch Arts ans Literature.

SNC 192

NEW ORLEANS IN SONG, STORY & STRUGGLE

The tapestry of New Orleans culture is tremendously rich and varied. This course will concentrate on two strands in that tapestry music from New Orleans and fiction about it. Students will learn about music forms which originated in the city or its environs and which have gone on to dazzle the world, including jazz, r&b, zydeco and funk. We will situate these art forms in social and historical context and examine the complex creative processes which have shaped them. We will become familiar with innovators and icons such as Louis Armstrong, Professor Longhair, Clifton Chenier, the Neville Bothers and Dr. John. We will also read works by literary artists who have a background in and/or fascination with New Orleans, including The Awakening by Kate Chopin; A Streetcar Named Desire by Tennessee Williams; and Mumbo Jumbo by Ishmael Reed. Moreover, we will consider the role played in American history and imagination by New Orleans as well as the role played by images and fantasies of New Orleans in struggles for social justice at the local and national level. Faculty: John Kimsey Arts and Literature.

REC 216

PRO TOOLS AND THE DEVELOPMENT OF THE RECORDING STUDIO

(4 credits) The goal of this course is to transform students from casual listeners of recorded music into educated critical analysts. Students will study the history and development of recording technology and recording studios. Lab exercises will teach the basics of recording and signal processing using Digidesign Pro Tools software. Arts and Literature.

THE 100

WORLD OF THE THEATRE

Through the aesthetic analysis of plays and dramatists that were foundational in the development of dramatic literature, the student is encouraged to develop basic critical standards for the understanding and appreciation of dramatic production. Can be taken by non-Theatre School students.

THE 200

DRAMA ON STAGE: GENDER & SEXUALITY IN THE THEATRE

Through lecture, discussion, projects and actual theatre attendance, students explore the human nature of the theatrical impulse and its evolution into theatrical form. Plays and readings deal with issues of gender identity, sexual orientation, and sexuality in performance. Students follow the process of specific drama productions from script to stage and examine the artistic process and the role that sexuality and gender play in performance and rehearsal.

THE 208

UNDERAGE ONSTAGE

This class examines theatrical literature from the Ancient Greeks through today to uncover how and why playwrights include children in their works and what affect this has on audiences. Contributing variables examined while studying these plays include the time period written in, the social, political, and cultural context, the playwright?s style, and the genre used. The class will also explore the choice faced by a number of directors; whether to use children true to the age in the script, or adults who can still play young people. The vocabulary of Dramatic Text Analysis will be taught and used when providing written and oral examination of plays covered.

THE 209

SKETCH COMEDY

Live performances of sketch comedy present theatre in one of its most elemental forms. With a focus on actors and text rather than technical elements, stagings of sketch revues explore the relationship between audience and artist in a dynamic and revealing way. This course will explore both the theoretical underpinnings of comedy and the practical techniques for the creation of this work. The class will examine as literature this work that is often overlooked by critics and theorists because of its perception as a ?low? art form.

THE 242

STAGE DIRECTION FOR NON-MAJORS

This course is designed to introduce students to the director's craft. The focus is on the director's relationship to text through the analysis of playscripts and the use of that analysis to plan an interpretation of a play. Analysis will come from a variety of perspectives--personal, psychological, social, and historical. In addition to preparing and presenting their projects, students will attend performances and write papers in response. The class combines lecture, discussion, group exercises, and in-class activities.

THE 244

DRAMATIC WRITING FOR NON-MAJORS

This course is designed as an introduction to the process of playwriting. The emphasis on the exploration of a range of techniques and tools available to the playwright. Through the completion and discussion of a series of writing exercises, the class will examine the various elements of playwriting. Particular attention will be paid to the connections between form and meaning. Work for the course will include weekly exercises, written responses to plays in production, and the presentation of projects. Instructional methods will include lecture, discussion, group exercises, and in-class activities. The final project of the class will be the completion of a draft of a 10-minute play.

THE 246

STAGE DESIGN FOR NON-MAJORS

The course introduces the essential principles of designing for the stage. The art of stage design is explored through the analysis and interpretation of dramatic literature. Students will engage in script analysis, creative research, critical writing, model building and rendering to present visual and written work that represents their personal reflection on the plays examined in the class.

THE 250

AMERICAN FUNNY: STAGE COMEDY FROM GROUCHO MARX TO TINA FEY

We're a funny people. We also like to watch others be funny. This course explores some aspects of American stage comedy, a genre that is as funny, but less studied, than film comedy.

THE 251

STAGE TO SCREEN: CINEMATIC TRANSLATIONS OF THE DRAMATIC CANON

It is almost always the case that audiences are introduced to the dramatic canon with cinematic translations of the great plays, rather than actual productions. In this course we will examine what elements theatre and film share as well as what elements one or the other medium possesses exclusively if any. What is lost or, indeed gained in cinematic translation? What is the notion of theatricality? What cannot be translated to the film? What societal elements come into play when translating a play for the screen? Socio-political and historical milieu of the original plays will be examined as well as those of the screen plays

THE 253

THEME PARK THEATRE

Theme parks have become contemporary equivalents of the ancient Greek theatre festivals - places where the citizenry gather to revisit the myths and history of the community. While much has been written about theme parks from the perspective of cultural studies, urban planning, and commerce, little attention has been paid to their function as performance or theatre. In this class we will attempt to develop criteria for evaluating theme park attractions as works of art. How do theme parks fulfill or challenge traditional definitions of theatre? What is the relationship between audience and performer? Can/should theme parks aspire to do more than entertain? How are stories told physically and architecturally? How have theme parks influenced theatre and other art forms?

THE 255

ANGELS, PUNKS AND RAGING QUEENS:THE ECLECTIC QUILT OF AIDS DRAMA

Acquired Immune Deficiency Syndrome (AIDS) has left an indelible mark on both the history and culture of the world. While fear and loss can paralyze, they can also mobilize. In addition to destroying generations of artists, AIDS has become what some call "the great unifier," giving voice to a new generation of theatre artists. But what are these voices? Cries for social change? Political rants? Stories of remembrance? Lessons to educate? All of the above? What does AIDS mean when it appears onstage in a performance? By interpreting and analyzing plays from both national and global AIDS perspectives, reading critical and reflective essays, and through discussion, students in the course will discover how the ritual of theatre has been used to create the eclectic quilt of voices that is AIDS drama.

THE 256

THEATRE FOR YOUNG AUDIENCES DRAMATIC LITERATURE:PLAYS FOR THE ONCE AND FUTURE AMERICAN AUDIENCE

Over the past one hundred years or so, artists and educators in the United States have specifically dedicated themselves to sharing and creating aesthetic, creative experiences for young people. But what have been the impulses behind these plays and creations? Why specifically devise a theatre for young audiences (TYA)? Are children just little adult theatre goers or has an approach and methodology developed through the years to speak directly to young people? The goal of this introductory course is find some answers to these questions by surveying the history of dramatic literature for children in the United States from the beginning of the last century to the present day. Through readings, lectures, workshops, and discussions students will gain insight into the TYA theories, philosophies, styles, and practices that have accumulated over the years. By excavating the past and examining the present, students will achieve further appreciation and understanding of the spectrum of theatrical experiences written and improvised for children.

THE 257

WRITING LOCALLY, THINKING GLOBALLY: INTERNATIONAL THEATRE FOR YOUNG AUDIENCES DRAMATIC LITERATURE

While writing and performing for their local communities, various international artists have made a global impact on the field of theatre for young audiences. This course is an investigation of the principles, procedures, and practices of theatre for young audiences playwrights and artists worldwide. Through analysis of readings, lectures, workshops, and discussions students will explore the skills and aesthetic techniques that theatre creators from around the globe use to communicate with their audiences. By examining historical, theoretical, and artistic intercontinental connections, students will hopefully gain further appreciation and understanding of the contemporary, global theatre for young audiences (TYA) field.

THE 258

SHADOWS OF UNDERSTANDING: THE HOLOCAUST IN THEATRE AND PERFORMANCE

The Holocaust of the 20th Century perpetrated and executed by Nazi Germany, has both seared itself into people's consciousness and become very much a part of world culture. Theatre and performance have been created to try to understand this event and search for meaning. Created through multiple perspectives and styles - historical and political, philosophical and religious, realistic and surrealistic, using dark humor and the power of memory, focusing on gender relations -- there is no one method of presenting the Holocaust artistically. Through a close investigation of key theatre and performances, students will discover many works that were unknown to them and that will help to shed some light on these representations more deeply, reflecting the complexity of the Holocaust in a search for understanding and ultimately seeking to answer this imperative, "Can and should art be made from representations of genocidal atrocity?"

THE 259

PERFORMING MOSAIC: JEWISH CULTURE'S INFLUENCE ON AMERICAN THEATRE AND PERFORMANCE

Over the years the abundance of artistic contributions from Jewish creators: playwrights, performers, composers and lyricists, acting teachers and producers - has helped to shape the American Theatre as we know it. Through a critical reading of the plays in their context and viewing performances on video this course will explore the unique synthesis and the long and colorful relationship between Jews and theatre in America. Critical questions to be asked are: How does the ethnic mosaic of America and American values and multi-culturalism act as an incubator? How did anti-Semitism and stereotypes play a role? Does the cultural memory of the Jew as the "outsider and survivor in history" provide a particular aesthetic?

THE 261

OCULAR PROOF: SHAKESPEARE'S INFLUENCE IN CINEMA

Shakespeare's plays explore the scope and depth of the human experience. Using the visual elements of cinema, these epic stories translate effectively for modern audiences. Students will read four plays by Shakespeare, and explore their thematic and dramatic interpretations on film: two adapted from Shakespeare's themes and two cinematic versions of the plays themselves which will elucidate the 'ocular proof' of Shakespeare's influence on cinema.

THE 341

ARE WE STILL FABULOUS?: QUEER IDENTITY IN CONTEMPORARY DRAMA

Born out of ACT UP and the AIDS militant movement of the late 1980s and early 1990s, Queer Nation concerned itself with the issue of gay and lesbian enfranchisement and power. They created the battle cry, "We're here, we're queer, we're fabulous, get used to it;" thereby granting the gay community ownership of the word "fabulous." Fabulousness not only became a new manifesto for queer politics and camp, but also became synonymous with irony, tragic history, defiance, gender-fuck, glitter, and drama. Currently, young playwrights have shifted the visor of gay drama from overtly politcal dramas to stories of identity and love. In replacing direct political messages with more personal appeals for social progress, is contemporary gay drama still fabulous? By interpreting and analyzing the most current queer plays, reading critical and reflective essays, and through discussion, students in the course will decide for themselves if "fabulous" is a thing of the past or stronger than ever in the present.

THE 344

HAMLET IN PERFORMANCE: SCRIPT, STAGE, SCREEN

It is through performance that the essence of Shakespeare materializes. In this course we will examine the relationship of Hamlet to theory, theatrical performance, and film. What makes a good production of Hamlet or a bad one? Was Hamlet rooted in economic necessity? What is lost or gained by filmic representation? To comprehend Shakespeare as a writer whose Hamlet continues to fascinate modern audiences, the course looks at not only the page-to-stage translations but also the critical cultural context in which he first achieved artistic success.

THE 345

POLITICAL THEATRE

This course surveys political theatre from the ancient Greeks right up until today. Through an examination of the political contents of specific plays and of theoretical reading, such as manifestos, the course instructs students in critical thinking, the relationship between form and content, and between a society and one genre of art.

WGS 322

FEMALE IDENTITIES: YOUNG ADULT LITERATURE

This course is an introduction to Young Adult Literature as a genre and explores how this literature relates to adolescent girls' experiences in diverse cultural contexts. It addresses themes related to physical and emotional development, the development of personal values and beliefs; the construction of identity; beliefs and attitudes about the body; interpersonal relationships; gender and sexuality; and coping with change, death, belonging, alienation, and escape. Course materials are multicultural with a focus upon the experiences of female adolescents in terms of ethnicity, culture, gender, religion, disability, as well as other dimensions of difference within national and international contexts.

WGS 324

WOMEN IN THEATRE: A GLOBAL PERSPECTIVE

This course examines the concepts of gender and theatrical performance with reference to history, culture, critical response, viewer interpretation, and identity in a global context. Students will study character as a dramatic construct with respect to gender, race, and class; it examines how dramatic images are as diverse as their cultural contexts; explores the concepts of reader and viewer response to theater; and interrogates the relationship between the American theatrical image and the larger global context within which images are created.

WGS 336

WOMEN AND FILM

This course explores one or more ways in which film as art, as cultural product, or as industry has dealt with women, as subjects, artists, consumers or critics of film.

WGS 378

UTOPIAN AND DYSTOPIAN LITERATURE AND FILM: GENDER, RACE AND BEYOND

What does the future hold for humankind on this planet and elsewhere? What will life be like in the not too distant as well as far distant futures? How will societies be organized? What kinds of cultural milieus will shape life and living? How will identities be articulated and negotiated? Who will govern? Who will be in resistance? Who will be present and who will be absent? How will things come to be? These questions will form the core of our study of a genre devoted to social commentary, envisioning vastly different ideas about the future, emergent from 20th century works.

WRD 281

WRITING CENSORSHIP

An introduction to censorship as both a mechanism of social control and a fundamental element of all rhetorical situations. Explores the history of censorship in the West and engages theoretical questions about the power of language and its suppression as a force for violence. Affords students opportunities to experiment with effective strategies of resistance by writing under varied conditions of censorship.

Prerequisites:

WRD 103 or HON 100 is a prerequisite for this course.

CPL 211

GREAT IDEAS,THE INDIVIDUAL AND SOCIETY II

From Renaissance to Enlightenment Representative works of European literature from the Renaissance to the Enlightenment. Emphasis on close reading of particular texts in different genres; all readings in English. Authors treated in this sequence may include: Pico della Mirandola, Machiavelli, Erasmus, Rabelais, Bacon, Las Casas, Montaigne, Shakespeare, Descartes, Hobbes, Milton, Pascal, Locke, Defoe, Voltaire, Hume, Rousseau, Kant, Sade. Formerly ISP 211.

DC 224

SCRIPT TO SCREEN

This analytical course examines the screenplay's evolution to the screen from a writer's perspective. Students will read feature length scripts of varying genres and then perform a critical analysis and comparison of the text to the final produced versions of the films. Storytelling conventions such as structure, character development, theme, and the creation of tension will be used to uncover alterations and how these adjustments ultimately impacted the film's reception.

Catalog Version

Arts and Literature

Courses

African & Black Diaspora Studies

American Studies

Animation

Art Media and Design

Catholic Studies

Comparative Literature

Computer Games Development

Computer Graphics and Motion Technology

Digital Cinema

English

Environmental Studies

French

Geography

History of Art and Architecture

Illustration

Intercultural Communication

Italian

Latin American and Latino Studies

Liberal Studies In Education

Media and Cinema Studies

Modern Languages

Musicianship

Peace, Justice and Conflict Studies

Performance

School for New Learning

Sound Recording Technology

Theatre

Women’s and Gender Studies

Writing, Rhetoric and Discourse

ABD 235

HARLEM RENAISSANCE AND NEGRITUDE

ABD 244

AFRICAN WOMEN WRITERS

ABD 245

RACE AND ETHNICITY IN LITERARY STUDIES

ABD 246

PRINCIPLES OF AFRICAN ART (CROSS-LISTED W/ HAA 101)

ABD 247

ANCIENT AFRICAN ART: PREHISTORIC TO THE EUROPEAN ENCOUNTER

ABD 249

JAZZ AND THE DIASPORIC IMAGINATION

ABD 252

CONTEMPORARY AFRICAN ART: INDEPENDENCE TO THE PRESENT

AMS 250

IN THEIR OWN VOICES: AMERICAN AUTOBIOGRAPHY

AMS 290

AMERICAN VOICES I: TO 1860

AMS 291

AMERICAN VOICES II: FROM 1860

Prerequisites:

ANI 101

ANIMATION FOR NON-MAJORS

ANI 206

HISTORY OF ANIMATION

ART 104

CREATING ART

ART 105

TWO-DIMENSIONAL FOUNDATIONS

ART 106

BEGINNING DRAWING

ART 110

BEGINNING PAINTING

Prerequisites:

ART 113

THREE DIMENSIONAL FOUNDATIONS

ART 114

FOUR DIMENSIONAL FOUNDATIONS

ART 115

BEGINNING SCULPTURE

ART 204

VISUAL COMMUNICATION

ART 224

BEGINNING DIGITAL PHOTOGRAPHY

ART 227

DIGITAL IMAGING FOR ART AND DESIGN

Prerequisites:

ART 229