Fall Term Schedule
Fall 2024
| Number | Title | Instructor | Time |
|---|
AHST 459-1 Nader Sayadi TR15:25 - 16:40 |
This course explores textiles as vital objects in human lives for millennia. It explores a selection of these luxurious textiles and their intersection with social, economic, and political lives in the Islamic world between the ninth to the eighteenth centuries. At the end of the semester, students will have an overall picture of Islamic dynastic history, its broad geographical expansion from Spain to India, and its cultural themes such as political system, social structure, economic sectors, religious rituals, cross-cultural exchanges, diplomatic gifting, royal leisure, and funerary practices. This course invites students to see artifacts as not merely passive objects but active agents in history as well as their everyday lives. It also discusses a few technical aspects of weaving textiles and looks at textiles as three-dimensional objects. Finally, this course will assist students with developing their critical thinking, research, and writing as crucial skills to succeed in their future careers through weekly readings, visual analysis, in-class discussions, and research projects.
|
ANTH 429-1 Llerena Searle MW14:00 - 15:15 |
No description
|
ENGL 428-1 Jeffrey Tucker MW10:25 - 11:40 |
The explosion of black culture during the early Twentieth Century known as the “Harlem” or (more broadly) “New Negro” Renaissance included the emergence of some of the most important works of the African American literary tradition. This course will provide a survey of the literature and culture that reflect the spirit of that era. In addition, the course will consider recent African-American fiction in order to ascertain what the Harlem Renaissance has meant for subsequent writers and artists. Special attention will be paid to the following topics: migration, jazz, the Blues, literary modernism, theories of black identity, and difference within black America. Readings include works by Langston Hughes, Zora Neale Hurston, Jean Toomer, George Schuyler, Toni Morrison, Samuel R. Delany, and more. Requirements include class participation, six 1-page reading responses, and two 6-8-page formal writing assignments.
|
ENGL 455-1 James Rosenow TR14:00 - 15:15 |
This course surveys the history of cinema from its emergence in the mid-1890s to the transition to sound in the late 1920s. We will examine the cinema as a set of aesthetic, social, technological, national, cultural and industrial practices as they were exercised and developed during this 30-year span. We will explore the diverse forms cinema took and functions it performed during this period by looking closely at a range of films and writings about films and film culture. We will also examine contexts within which these films were produced and experienced as well as theorizations of cinema that emerged concurrently with them. The course thus introduces students to the study of film history as well as a key national and international trends in making and thinking about cinema as it rose to prominence as a vital component of the art and culture of the twentieth century. Previous coursework in film is recommended, though not required; please contact the professor if this will be your first experience studying film in an academic setting.
|
MHS 594-2 Lisa Jakelski M12:35 - 15:25 |
How is "new music" being made in the early twenty-first century? In this course, we will begin to map the ecosystems in which contemporary art music has been made since approximately 1990. We will examine these ecosystems from a variety of perspectives, including the vantage points of composers, performers, institutions, critics, administrators, and audiences. Although we will not attempt to perform a comprehensive survey of recent art music, we will explore a variety of compositions, both U.S. and international. We will also consider the roles that aesthetics, economics, politics, and technology play in shaping new music. And, as part of our work together in this course, we will develop strategies for researching, understanding, and writing about the recent past and present day.
|
Fall 2024
| Number | Title | Instructor | Time |
|---|
MHS 594-2 Lisa Jakelski M12:35 - 15:25 |
How is "new music" being made in the early twenty-first century? In this course, we will begin to map the ecosystems in which contemporary art music has been made since approximately 1990. We will examine these ecosystems from a variety of perspectives, including the vantage points of composers, performers, institutions, critics, administrators, and audiences. Although we will not attempt to perform a comprehensive survey of recent art music, we will explore a variety of compositions, both U.S. and international. We will also consider the roles that aesthetics, economics, politics, and technology play in shaping new music. And, as part of our work together in this course, we will develop strategies for researching, understanding, and writing about the recent past and present day.
|
ANTH 429-1 Llerena Searle MW14:00 - 15:15 |
No description
|
ENGL 428-1 Jeffrey Tucker MW10:25 - 11:40 |
The explosion of black culture during the early Twentieth Century known as the “Harlem” or (more broadly) “New Negro” Renaissance included the emergence of some of the most important works of the African American literary tradition. This course will provide a survey of the literature and culture that reflect the spirit of that era. In addition, the course will consider recent African-American fiction in order to ascertain what the Harlem Renaissance has meant for subsequent writers and artists. Special attention will be paid to the following topics: migration, jazz, the Blues, literary modernism, theories of black identity, and difference within black America. Readings include works by Langston Hughes, Zora Neale Hurston, Jean Toomer, George Schuyler, Toni Morrison, Samuel R. Delany, and more. Requirements include class participation, six 1-page reading responses, and two 6-8-page formal writing assignments.
|
AHST 459-1 Nader Sayadi TR15:25 - 16:40 |
This course explores textiles as vital objects in human lives for millennia. It explores a selection of these luxurious textiles and their intersection with social, economic, and political lives in the Islamic world between the ninth to the eighteenth centuries. At the end of the semester, students will have an overall picture of Islamic dynastic history, its broad geographical expansion from Spain to India, and its cultural themes such as political system, social structure, economic sectors, religious rituals, cross-cultural exchanges, diplomatic gifting, royal leisure, and funerary practices. This course invites students to see artifacts as not merely passive objects but active agents in history as well as their everyday lives. It also discusses a few technical aspects of weaving textiles and looks at textiles as three-dimensional objects. Finally, this course will assist students with developing their critical thinking, research, and writing as crucial skills to succeed in their future careers through weekly readings, visual analysis, in-class discussions, and research projects.
|
ENGL 455-1 James Rosenow TR14:00 - 15:15 |
This course surveys the history of cinema from its emergence in the mid-1890s to the transition to sound in the late 1920s. We will examine the cinema as a set of aesthetic, social, technological, national, cultural and industrial practices as they were exercised and developed during this 30-year span. We will explore the diverse forms cinema took and functions it performed during this period by looking closely at a range of films and writings about films and film culture. We will also examine contexts within which these films were produced and experienced as well as theorizations of cinema that emerged concurrently with them. The course thus introduces students to the study of film history as well as a key national and international trends in making and thinking about cinema as it rose to prominence as a vital component of the art and culture of the twentieth century. Previous coursework in film is recommended, though not required; please contact the professor if this will be your first experience studying film in an academic setting.
|