2015–16 Undergraduate Index A–Z
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|Title||Offering||Standing||Credits||Credits||When||F||W||S||Su||Description||Preparatory||Faculty||Days||Multiple Standings||Start Quarters||Open Quarters|
|Program||JR–SRJunior–Senior||16||16||Day||F 15 Fall||The "emerging self" connotes our continued process of development through the life span. This program explores the concept of the self, a range of developmental theories, and frames the question of "Who am I?" as a therapeutic endeavor. We will use our personal journey of self discovery as one aspect of the emergent self. We will explore both established theoretical models as well as the literature of "self-help" to come to an understanding of the academic as well as the layperson's views of the self.||George Freeman||Mon Tue Wed||Junior JR Senior SR||Fall||Fall|
|Course||FR–SRFreshmen–Senior||4||04||Weekend||Su 16 Session II Summer||This course examines film through the lens of gender studies. Both film studies and gender studies will be covered at an introductory level, with additional support and opportunities provided to students with previous experience. We will focus primarily on female-identified performers, producers, and directors, but we will address their work through an intersectional lens, with attention paid to elements of race and sexuality, as well as to non-binary gender identities. There will be one screening with lecture every week; students will watch additional films at home and post weekly screening reports. More advanced students may pursue a research or screenwriting project in lieu of weekly reports.||Elizabeth Williamson||Sat||Freshmen FR Sophomore SO Junior JR Senior SR||Summer||Summer|
Naima Lowe and Julie Russo
Signature Required: Fall
|Program||SO–SRSophomore–Senior||16||16||Day and Evening||F 15 Fall||W 16Winter||S 16Spring||What does it mean to make moving images in an age of omnipresent media, information overload, social inequality, and global capitalism? What's the relationship between aesthetic form and power across race, class, gender, and other axes of difference? How can we understand the interplay between popular media and experimental modes? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? How can media makers represent or transform the “real” world? Students will engage with these questions as they gain skills in film/video/television history and theory, critical analysis, media production, collaboration, and critique.This full-time, yearlong program links media theory with practice. We will explore a variety of media modes and communication strategies, primarily interrogating representations of the "real” in media texts spanning the continuum between popular entertainment and artistic practice. As creative critics, we will gain fluency in methodologies including: close reading and formal analysis; mapping narrative and genre; unpacking power from feminist, critical race, decolonial, and anti-capitalist perspectives; and cultural, historical, and technological framing of commercial and independent media production. These analytical skills will help us understand strategies that artists have employed to challenge, mobilize, and re-appropriate mainstream media forms. As critical creators, we'll learn foundational production skills and experiment with alternative approaches, including nonfiction, video art, writing for and about media, autobiography, essay films, remix, installations, and performance. In addition to production assignments, program activities will encompass analysis and criticism through screenings, readings, seminars, research, and critical writing. We'll also spend significant time in critique sessions discussing our creative and critical work.In fall, students will explore ways of seeing, listening, and observing in various formats, focusing intensively on 16mm film production and completing both skill-building exercises and short projects. These collaborative exercises and projects will have thematic and technical guidelines consistent with the program curriculum. Our production work will be grounded in the study of concepts and methodologies from media history and theory, including significant critical reading, research, and writing. In hands-on workshops and assignments, we'll analyze images as communication and commodities and investigate how images create and contest meaning in art, politics, and consumer culture.In winter, students will delve deeply into field- and studio-based video/audio production and digital editing, using the CCAM studio and HD video technologies. We'll do this learning in conjunction with studying the social and technological history of television and video. Our production work will be primarily collaborative, though students will conclude the quarter by working on an independent project proposal.In spring, as a culmination of the conceptual, collaboration, and production skills developed in fall and winter, each student will create an independent project. Possible forms include video or film, installation, web-based projects, research projects, and internships. Technical workshops, screenings, research presentations, and critique discussions will support this emerging work.||Naima Lowe Julie Russo||Sophomore SO Junior JR Senior SR||Fall||Fall|
Anne de Marcken (Forbes) and Alejandro de Acosta
|Program||JR–SRJunior–Senior||16||16||Day||F 15 Fall||In this program, students will interrogate and generate queer narratives by thinking through narrative aspects of queer concepts and theories and discovering what is (or can be) queer in various narrative forms.To take on this work we’ll engage with some foundational texts of queer theory as well as its contemporary articulations, addressing themes of sex and gender, queer and trans subjectivities, race and culture, drugs and technology, visibility and opacity, and many possible political articulations of a queer sort. In addition, a variety of critical, literary, lyrical, and cinematic texts that push and problematize conventions of narrative will serve as foci for inquiry and for inspiration.We’ll combine lectures, seminars, readings, screenings, and workshops to build a foundation in theoretical modes of reading, writing, and discussion as well as to develop technical skills in creative writing and media.Students will place their work in a critical context in order to consider whether queerness and narrative—both the body and the body of work—are “natural”, constructed, or something else entirely.||Anne de Marcken (Forbes) Alejandro de Acosta||Mon Mon Wed Thu Thu||Junior JR Senior SR||Fall||Fall|
Miranda Mellis and Alejandro de Acosta
|Program||FR–SRFreshmen–Senior||16||16||Day||W 16Winter||This interdisciplinary humanities program engages concepts and new fields of inquiry that emerge at the crossroads of philosophy, anthropology, queer studies, postcolonial studies, and literature. We invite participants to be curious about ideas that are shaped directly as a consequence of crossing disciplinary borders. To speculate is to contemplate, to wager, and to wonder. To begin speculating on everything we’ll think through the figure of inconstancy (frequent and irregular change), as it has been applied to some humans, all humans, and nature or cosmos generally. We’ll use diffraction as a method, aiming to cross and combine disciplines and discourses with courage and care. We’ll study tendencies, dispositions, manifestations and conceptual infrastructures in philosophical discourses and literary texts that turn towards the catastrophic (a downturn, a sudden ending, a radical change), positing new forms (of writing, being, and thinking) that, among other things, aim to decenter the human and posit non-anthropocentric perception.Our index will include readings in Queer Ecology, New Materialism, experimental and anti-colonial literature, and early Soviet utopian scientific, philosophical, and architectural projects. Writing practices will entail a focus on the essay as a capacious, multifarious literary form and will include occasional creative writing experiments. We will cultivate the art of the seminar as critical inquiry, and care will be taken to support participants in developing and deepening reading and writing skills. We will participate in a multi-program, bi-weekly lecture series looking at the anthropocene and climate change from multiple disciplinary perspectives. Readings to include works by Oswald de Andrade, Alexander Bogdanov, Giordano Bruno, Eduardo Viveiros de Castro, Allison Cobb, Claire Colebrook, Michelle Detorie, Thalia Field, Donna Haraway, Robert Kocik, Quentin Meillasoux, Montaigne, Timothy Morton, Lorine Niedecker, Andrey Platonov, Leslie Scalapino, McKenzie Wark, and others.||Miranda Mellis Alejandro de Acosta||Tue Wed Thu||Freshmen FR Sophomore SO Junior JR Senior SR||Winter||Winter|
Alejandro de Acosta
|Program||SO–SRSophomore–Senior||16||16||Day||S 16Spring||In this program, we’ll work through questions pivoting on the artificial: in an ancient sense, the fake, the tricky, and the clever; in a contemporary one, the constructed, the mediated, and the networked. How does the idea of the artificial inform and alter our thinking about affinity and community, order and chaos, nature and technology? What about our ideals of truth or authenticity might reveal artificial trajectories of thought and action? Could our moral or ethical codes be written, or re-written, artificially? We’ll connect the question of artifice in literature to themes of monstrosity, absurdity, immaturity, erotism, and strangeness, to old patterns in craft and style of writing, and to recent mutations in technologies of communication. We’ll also study the process of writing in the contexts of authors’ communities and translation.Lectures and discussions will engage these conceptual and poetic questions using methods drawn from queer research, feminist and post-colonial literary theory, deconstruction, contemporary philosophy, and media theory. Students will have opportunities to develop and improve skills in creative and critical writing, as well as close reading, focused discussion, and reading aloud. We will also engage in translation and transcription exercises. Literary readings will likely include novels by Mary Shelley, César Aira, Félix Fénéon, and Witold Gombrowicz, stories by Samuel R. Delany, poetry by Will Alexander, Antonio Porchia, Alejandra Pizarnik, Marosa di Giorgio, and plays by Copi. Theoretical and philosophical perspectives will be drawn from Donna Haraway, Barbara Johnson, Édouard Glissant, and Vilém Flusser, among others.||Alejandro de Acosta||Tue Wed Thu||Sophomore SO Junior JR Senior SR||Spring||Spring|