| Spring 2010 |
Waite,Peter
02/20/2010 - 03/27/2010
Saturday 09:00 AM - 05:00 PM
Art Workshop 105
Special Schedule: Saturdays, February 20, 27, March 6, 13, 20, & 27
This basic foundation drawing course will focus on the still life as subject matter. All are welcome, from the most experienced—those who love to draw—to the beginners who think they never could, never will draw. The course will cover such considerations as line (gesture, directional, contour), perspective and sighting, ellipses, value, composition, and proportion.
Starting with very simple objects (single fruits and vegetables) the drawings will eventually lead to pairings, groupings, and then more complex arrangements of diverse objects. "The politics of the still life" (content) will also be discussed: deliberately selected objects that when put together in a setting open up possibilities of telling a kind of story or visual dialogue.
Students will gain a familiarity with basic drawing materials (mostly charcoal, pencils, conte crayons) but will also hopefully gain some inkling into what it takes to come to some kind of "manual override"—when the hand takes over from the eye, and conversely, when the mind and eye can work the hand with assurance.
Course tuition: $2022. Course fee: $45.00.
This course is not open to auditors.
Peter Waite (B.F.A. Hartford Art School; M.F.A. School of the Art Institute of Chicago) has been a Guggenheim fellow and has taught at Wesleyan University and at the University of Connecticut, Fairfield University, and Bennington College. His work is represented by the Edward Thorp Gallery in New York City. He has had 15 solo exhibitions, including the Edward Thorp Gallery (2005, 2002, 2001, 1996, 1994), the Winston/Wachter Gallery (Seattle, 2006), and the Olin Gallery of Roanoke College (Salem, VA, 2005). View his paintings on his Web site at www.peterwaite.com.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Studio | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Belanger,Marion
01/25/2010 - 05/07/2010
Tuesday 06:00 PM - 08:30 PM
Zilkha Gallery 106
Photography is a medium perfectly suited to the portrayal of one another and of one's self. We will investigate the many approaches to the photographic portrait/self-portrait ranging from the traditional to the more experimental methods. Weekly readings will inform our visual investigations and provide a context for dialogue, as will photograph books and visits to local photographic archives. Throughout the term, we will also learn basic digital photographic methods to refine images.
We will examine photographic work by Julia Margaret Cameron, August Sander, Diane Arbus, John Coplans, Lee Friedlander, Emmet Gowin, Nan Golding, Francesca Woodman, Lucas Samaras, Judith Joy Ross, Cindy Sherman, Dawued Bey, Sally Mann, Samuel Fosso, and others.
Texts will include Richard Brilliant, Portraiture and Brookes Johnson, Photography Speaks: 150 Photographers on Their Art. A packet of readings will also be required.
Each student will propose and produce a body of eight photographic portraits of self or other as a final project. Other course requirements include the presentation of five images bi-weekly for critique, as well as response papers to readings and gallery visits, and an in-class presentation on the work of a photographer.
Course tuition: $2022.
Enrollment is limited to 14 students. This course is not open to auditors.
For the first class meeting, students should have read Richard Brilliant, Portraiture, up to page 44.
A syllabus for this course is available at:
ARTS 613
Marion Belanger (B.F.A. Alfred University; M.F.A. Yale University) is a recent John Simon Guggenheim fellow and a widely exhibited photographer whose current projects focus on visualizing ecology. Her photographs were recently shown in Germany as a part of Contemporary American Photography, 7. Internationale Fototage Mannheim/Ludwigshafen, at the Connecticut Commission on the Arts Gallery in Hartford and at the Corcoran Gallery of Art in Washington. View her work at www.marionbelanger.com. Her forthcoming book, Everglades: Outside In, will be published by Center for American Places.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 14 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Shinohara,Keiji
01/25/2010 - 05/07/2010
Monday 06:00 PM - 09:00 PM
Art Workshop 105
In this advanced studio arts course, students will explore the use and combination of materials from various media in which they already have training—such as drawing, painting, photography, digital imaging, and printmaking—to create new art forms that highlight each discipline's strengths. The goal is to push artists further along in their work and to deepen their artistic vision. The course will combine lecture, critique, and studio time. Students will work on three or four projects throughout the course.
Prerequisite: Students must have taken at least one or two courses in drawing, painting, photography, printing, sumi-e, or other media, or have previous equivalent experience. This course will not introduce students to new techniques; rather, it will allow students to explore what can be done with the techniques in which they are already fluent.
Course tuition: $2022. Course fee: $115.
Enrollment is limited to 14 students. This course is not open to auditors.
Keiji Shinohara, a master Ukiyo-e woodcut printmaker, is visiting artist in art and East Asian studies. His work has been exhibited at the Library of Congress, the Art Institute of Chicago, the Worcester Museum of Art, the Asia Society, and the Smithsonian. He is known for highly sculptural landscape prints, which speak to the spirit of Ukiyo-e in a modern voice. His Sumi-e paintings were featured in the collaborative artists' book, The Language of Her Body, with photos by Derek Dudek, fragments of text by Amy Bloom, and typography by Robin Price. Click here for more information about Keiji Shinohara and click here for more information about his work.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Studio | Level: GLSP | Credits: 3 | Enrollment Limit: 14 |
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glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Bricca,Jacob Paul
01/25/2010 - 05/07/2010
Wednesday 06:30 PM - 09:30 PM
CFS 124
This course is designed to provide a basic understanding of how documentary films are made. Through a series of exercises and in-class critique sessions, students will practice using composition, lighting, sound, and editing to tell stories about real-life people and events. The course will include screenings of documentary shorts and features which demonstrate various models of successful documentary storytelling techniques, and a guest speaker who will show and discuss their work. All course work leads up to a final project, in which students will research, shoot and edit their own documentary short.
Students will be responsible for regular participation in class discussions and critiques, four short filmmaking exercises, and one Final Project (8-15 minute documentary).
Students must furnish their own video cameras, and must also have an external (Firewire or USB2) hard drive with at least 250GB of space.
Course tuition: $2022. Course fee: $35.
Enrollment is limited to 16 students. This course is not open to auditors.
A syllabus for this course is available at:
ARTS 643
Jacob Bricca (B.A. Wesleyan University; M.F.A. American Film Institute) is visiting assistant professor of film studies at Wesleyan University. He is a film director, cinematographer, and editor whose credits include Lost in La Mancha, a feature documentary about Terry Gilliam's ill-fated attempt to make a film adaptation of Don Quixote; Jimmy Scott: If You Only Knew, a feature documentary about the famed jazz singer that has won rave reviews in Variety and The Los Angeles Times and appeared on PBS's Independent Lens in February 2004; Homeland; What a Girl Wants; and Copworld, an A&E special. Click here for more information about Jacob Bricca.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 14 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Jokl,Todd
01/25/2010 - 05/07/2010
Thursday 06:00 PM - 09:00 PM
Art Workshop 112
Digital Media acts as an introduction to Digital Imaging, Flash Animation, Digital Audio, and Website Design basics. Overall, this course has three goals.
The first is to provide students with an understanding of the historical, sociological, and theoretical context of digital media, in particular digital art. We will do this through looking at work, critical readings and discussion.
Second, is to provide students with technical knowledge. This means enabling them to use a wide variety of materials and techniques, not only the most obvious, but also alternative methods that may be overlooked. In the case of new media, it is extremely important to understand the hardware and software technologies that underlie common tools, so that we can find our own ways to implement them. The goal is to teach students to use tools thoughtfully, and to experiment with how these tools can be used to the students? own ends, rather than just to create the ?cookie cutter? effects that they tend to encourage. We will do three types of hands-on work in this class: in class exercises to familiarize students with the tools, open ended creative assignments (to be done primarily outside of class) using and perhaps subverting these same technologies, and an interactive final project of the students devising.
Last but not least, my hope is to help students to form appropriate and compelling conceptual goals. Art making is largely a matter of critical thinking: thinking about one?s work, the world in which it exists, and what one hope?s to achieve with it. As the catalog description says, ?Digital technologies offer artists new tools for artistic expression and provide new spaces in which to experience them.? But all great work is driven by ideas. To quote conceptual artist, Sol Le Witt, ?The idea becomes a machine that makes the art.? Without good ideas there is no good art.
Grades will be based on attendance and participation in class (during lectures, demonstrations, discussions and critiques) (40%), on completing the assignments on time and putting forth effort, creativity and craftsmanship into the assignment (60%).
Course tuition: $2022.
Enrollment is limited to 16. This course is not open to auditors.
A syllabus for this course is available at:
ARTS 652
Todd Jokl (B.A., Yale University; M.F.A., University of Connecticut) is visiting instructor in art. Click here for more information about Todd Jokl.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 16 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Baraw,Charles
02/20/2010 - 05/01/2010
Saturday 10:00 AM - 01:30 PM
Downey 100
Special Schedule: Saturdays, February 20 - May 1 (excluding March 27 & April 3)
From his first book, Typee, a travelogue based on his own captivity by Polynesian cannibals, to his major works, Moby-Dick and Benito Cereno, Herman Melville drew inspiration for his writings from both his own experiences and reading historical narratives, from which he pilfered at will. For Melville, the boundaries between personal experiences, reading, and writing are as fluid as the formal distinctions between fiction and non-fiction, autobiography and novel, or plot and exposition. In Moby-Dick and elsewhere, Melville represents writing as a mode of reading, and both become explicit subjects of the story, inseparable from Ahab's quest for the White Whale. What, then, can Melville teach us about reading itself? Can we become better readers under his guidance and instruction?
This course examines Melville's major works, his source materials, and two 20th-century adaptations of Billy Budd (the opera by Benjamin Britten and the film by Peter Ustinov) to understand how the relation of reading, writing, and experience informs Melville's philosophical explorations and his critique of 19th-century culture.
Reading includes adventure tales: Typee and Omoo, Moby-Dick, and The Confidence Man; shorter novels: Benito Cereno, The Encantadas, and Billy Budd. Source materials include The Narrative of Amasa Delano, Mocha Dick, The Essex Wrecked by a Whale, and Indian Hating, an Account of Col. Moredock. We will view films Billy Budd by Benjamin Britten (opera) and Peter Ustinov (motion picture).
In addition to writing one short (4-5 page) and one longer (10-15 page) critical paper, we will follow Melville's lead and try our hand at a creative reading or re-writing of one or more historical narratives.
We may take a field trip to Mystic Seaport for a "Melville" tour for which students will be expected to pay out of pocket.
Course tuition: $2022.
Students should read Moby-Dick prior to the start of the course. In addition, we will begin discussion of Typee during the first class session.
Enrollment is limited to 18 students. This course is open to auditors.
Charles Baraw (BA University of Vermont; MA Middlebury College; PHD Yale University) is a visiting assistant professor of English. His current book project is Hawthorne and the Travelling Eye: Tourism and Nineteenth-century American Literary Culture, which examines the role of aesthetics in travel, apprehension, narrative structure, and the development of professional authorship in the United States. Click here for more information about Charles Baraw.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Karamcheti,Indira
01/25/2010 - 05/07/2010
Tuesday 06:00 PM - 08:30 PM
Downey 100
How are "Third World" women, both in the First World and in the Third, represented and understood by others? How do they represent and understand themselves? Analyzing images such as the Orientalized woman, the exoticized/eroticized woman, the earth mother, the debased and exploited laborer, or the witch/temptress, we will study how these representations developed historically, questioning how they persist and how they are resisted. Studying films, still images, and written texts, we will compare western views of Third World women with their representations of themselves.
Beginning with images from the popular media, such as magazine advertisements and book covers, which represent the "other" woman as exotic and erotic, we will examine how such advertisements contribute to representations of the first world woman's sexuality and virtue. Selected short stories from Africa, the Caribbean, and India, as well as excerpts from travel writers like Lafcadio Hearn and Florence Nightingale, will introduce some of the major issues in our discussion: are third world women objects for our delighted or lascivious contemplation? Or are they the objects of our pity and social concern? Or are they something else entirely? Some writers from Africa and India, like Ama Ata Aidoo of Ghana and Lalithambika Antherjanam, ask how oral cultures can be represented in print, while others ask about how we can learn to listen to women in cultures where they are traditionally silenced.
We will pursue these issues as we go on to study these sources: the scholar Malek Alloula, who, in The Colonial Harem, considers the influence of the French postcard industry around the 1920s on the relationship between the European colonizer and the colonized woman; the representations of Josephine Baker, who moves between the U.S. and France, in such films as Zouzou or The Princess Tamtam, which complicate the idea of the exotic "primitive" woman and add to our understandings both of colonialism and of how third women attempted to manipulate representation to their own benefit. Within the French colonial world, Euzhan Palcy, a woman filmmaker from the Caribbean island of Martinique, gives us an image of the all-sacrificing, all-nurturing mother in her film Sugar Cane Alley. George Bernard Shaw, the master satirist and social critic, uses the idea of the "primitive" woman to parody Voltaire's Candide and thereby contributes to notions of the "noble savage." Rabindranath Tagore's Devi, turned into a movie, poses questions of the traditional role of woman in religious belief and practice, and like Anita Desai's novel Fire on the Mountain, questions the nature of women's power in society, asking what it might mean to be a woman in a nonwestern society and to be "modern."
Students will be responsible for six response papers (1-2 pages each), one class facilitation, two essays (3-4 pages each), and a final paper or project (5-6 pages).
Course tuition: $2022.
Enrollment is limited to 18. This course is open to auditors.
Indira Karamcheti B.A., M.A., Ph.D. University of California, Santa Barbara) is associate professor of English and American Studies. Her teaching and research interests include postcolonial literature and theory, the literature of the South Asian diaspora, and the writing of ethnic and racial minorities in the U.S. She has written on such authors as Salman Rushdie, Anita Desai, Simone Schwarz-Bart, and Aime Cesaire. Click here for more information about Indira Karamcheti.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Greene,Anne F.
01/25/2010 - 05/07/2010
Monday 07:00 PM - 09:30 PM
Downey 100
This course offers discussion of a range of prose styles, from fiction and nonfiction works, and invites students to try short or long pieces that suit their own interests. No previous writing experience is required. Readings are drawn from writers whose voice and phrasing are distinctive. The syllabus will include essays, memoirs, short stories, and novels, among them works by Gertrude Stein, Ha Jin, Robert Stone, Annie Dillard, and Jamaica Kincaid.
Students will choose to complete either short weekly exercises or one long project. Students who enter the course with pieces in progress are welcome to continue this work in place of the regular assignments.
Course tuition: $2022.
Enrollment is limited to 18 students. This course is not open to auditors.
Anne Greene (B.A. Radcliffe College, M.A. Brandeis University) is adjunct professor of English, director of writing programs, and director of the Wesleyan Writers Conference. She was awarded the 2006 Binswanger prize for excellence in teaching. Click here for more information about Anne Greene.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Hughes,Gertrude Reif
01/23/2010 - 02/13/2010
Note: Special Schedule 09:00 AM - 05:00 PM
Zilkha Gallery 106
Special Schedule: Saturdays and Sundays, January 23, 24, and February 6, 7, and 13
This immersion course is designed for students who enjoy reading poetry and/or writing it and who want to give both analytic and creative attention to this area of literary study.
Imagination, Inspiration, Intuition: We all have them in a more or less dormant state. How can we awaken them, nurture them, work with them? By writing our own poems and reading samples from canonical American poet--Whitman to Lucille Clifton, Emerson to Wallace Stevens and Langston Hughes, Dickinson to Hilda Doolittle Gwendolyn Brooks, and Adrienne Rich--our goal will be to engage, deepen, and harmonize our own versions of the human capacities for creative activity.
Classes will have a daily lecture by the instructor, followed by journaling and discussion. You are not expected to prepare readings for these lectures. Each day you will perform writing exercises, both collaborative and individual. We will also work in small groups daily, offering collegial feedback on each other's writing and further discussion of course themes. All class members are required to do a presentation. More detailed instructions will be available after January 7. A final project will consist of a substantial portfolio of each student's writing--poems and/or prose items. The contents will be written in class time, edited in small groups, perfected at home. Due about 10 days after the end of the course, the portfolio should be pertinent to our course and demonstrate your mastery.
Course tuition: $2022.
Enrollment is limited to 18 students. This class is not open to auditors.
A syllabus for this course is available at:
HUMS 632
Gertrude Hughes (BA Mount Holyoke College; MAT Wesleyan University; PHD Yale University; MAA Wesleyan University) is Professor of English, Emerita.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Weiner,Stephanie Kuduk
01/25/2010 - 05/07/2010
Thursday 06:00 PM - 08:30 PM
Downey 100
This course offers an introduction to modern British literature and culture, with an emphasis on the ways in which literary form responds to and shapes the movements of history. We begin with the emergence in the late 18th century of two new literary forms with substantial debts to the Enlightenment--the novel and Romantic poetry--and trace the development of these genres in the hands of later writers, from George Eliot's panoramic depiction of a small city at a moment of profound historical, social, and economic transformation to Thomas Hardy's portrait of a single young woman whose story is at once utterly individual and reflective of human experience; from Robert Browning's repudiation of Romantic confession to Oscar Wilde's definition of art as artifice, or "lying." Central themes include changing concepts of personhood; the relation between science, nature, and faith; the politics of class and gender; the tension between the language of everyday life and the language of literature; and the role of art in a rapidly changing, chaotic, and often exhilarating modern world.
Readings for this course will include Jane Austen, Emma; George Eliot, MiddleMarch; Thomas Hardy, Tess of the D'Urbervilles; poems by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Percy Shelley, Alfred Tennyson, Matthew Arnold, Robert Browning, Christina Rossetti, Gerard Manley Hopkins, Oscar Wilde, and others; works by David Hume, John Locke, Samuel Johnson, Charles Dickens, and Walter Pater.
Grades will be based on ten very short response papers and a final essay.
Course tuition: $2022.
Enrollment is limited to 18 students. This class is open to auditors.
For the first class meeting, students should have read the readings assigned for the first class meeting, which are listed on the class syllabus.
A syllabus for this course is available at:
HUMS 634
Stephanie Weiner (B.A., University of Minnesota; Ph.D., Stanford University) is associate professor of English. Her recent publications include Republican Politics and English Poetry, 1789-1874 (Palgrave Macmillan, 2005), and the forthcoming "The Aesthetes' John Clare," English Literature in Transition (Fall 2008). Click here for more information about Stephanie Weiner.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
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Copyright Wesleyan University, Middletown, Connecticut, 06459
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ENROLLMENT INFORMATION
Consent of Instructor Required:
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Format: | Level: GLSP | Credits: | Enrollment Limit: |
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Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Fieldsteel,Adam
01/25/2010 - 05/07/2010
Wednesday 06:00 PM - 08:30 PM
Science Tower 137
The notion of "problem solving" as a subject in and of itself is not new. It has attracted attention from various points of view. The distinguished mathematician George Polya wrote several well-known books on the subject. His most famous is probably How to Solve It, which discusses general strategies for solving mathematical problems. The aim of the book is to make the student (or mathematician) conscious of systematic approaches to various types of problems. The analysis of problem solving applies not only to mathematics, but to any field where logical analysis and ingenuity is called for.
Polya wrote several other books on the same subject, which contain more mathematics, and which are a source of many problems that illustrate his ideas. These are the two-volume Mathematical Discovery and the two-volume Mathematics and Plausible Reasoning, especially the first volume of the latter, entitled Induction and Analogy of Mathematics. These books consider issues that extend beyond mathematics, but my intention is to focus on mathematical problem solving, and to use particular types of problems as motivation to introduce ideas from specific mathematical subjects, such as combinatorics, number theory, probability, difference equations, and geometry.
While the mathematical work of all students and mathematicians inevitably involves problem solving, there is a form of this activity that is particularly entertaining. This is the problem solving that is called for in competitive exams and puzzles. There are two very good new books that discuss such problems in a systematic way. Each is more than a compendium of problems or a training plan, but is informed by the same general desire to think about problem solving itself as an intellectual activity that is worthy of study.
Class time will be divided between lecture and discussion, with actual problem solving done individually and in groups. Students will be expected to give correct and carefully written solutions to problems and participate in class discussions.
No mathematical prerequisite is needed beyond a solid foundation of high-school level mathematics.
Course tuition: $2022.
Enrollment is limited to 18. This course is open to auditors.
Adam Fieldsteel (A.B. Brown University; Ph.D. University of California, Berkeley) is professor of mathematics. His research focuses on ergodic theory and topological dynamics, and his recent publications include: (with A. Blokh), "Sets that force recurrence," Proceedings of the American Mathematical Society (2002); (with K. Dajani), "Equipartition of interval partitions and an application to number theory," Proceedings of the American Mathematical Society (2001); (with R. Hasfura), "Dyadic equivalence to completely positive entropy," Transactions of the American Mathematical Society (1998). Click here for more information about Adam Fieldsteel.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Collins,Karen L.
01/25/2010 - 05/07/2010
Thursday 07:00 PM - 09:30 PM
Science Tower 137
A graph is a set, called a vertex set, along with a collection of unordered pairs of vertices, called edges. Because the definition of a graph is so simple, graphs can be used to model many real life situations. For instance, given a local airline service between several cities, one could ask for the shortest path (or lowest cost route) between two particular cities. We can represent this as a graph by assigning a vertex to each city, and an edge between two vertices if the corresponding cities have a direct flight between them. Each edge can be given a weight, which could be the distance between the cities, or the cost of the flight between them. Given two particular cities, Dijkstra discovered an elegant algorithm to determine the shortest (or least expensive) path between them. Graphs are used to model many such situations, including network systems, assignments of personnel, job sequencing, and storage planning.
This course will begin with basic concepts of graphs, and continue with trees, connectivity, matchings, planar graphs and coloring. Each new concept will lead to a new application. There will be regular homework problems, and at the end of the class, each student will give a short presentation about a graph theory problem.
The text for this course will be Graph Theory with Applications by J. A. Bondy and U. S. R. Murty (this book is available free online).
Grades will be based on regular problem sets and one or two class presentations.
Students do not need any specific background other than high school mathematics, but should review the concepts of functions, algorithms and induction.
Course tuition: $2022.
Enrollment is limited to 18 students.
This course is open to auditors.
Karen Collins (B.A., Smith College; M.A., Wesleyan University; Ph.D., MIT) is professor of mathematics. Click here for more information about Karen Collins.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Garrett,Noel
01/16/2010 - 01/31/2010
Note: Special Schedule 09:00 AM - 05:00 PM
Public Affairs Center 422
Special Schedule: Saturday - Monday, January 16-18; Saturday & Sunday, January 30-31
Is "madness" as old as humankind? In ancient writings, we find no descriptions of an insanity that arises in adolescence, causes hallucinations and delusions, and eventually goes away, but often recurs—the hallmark of the symptoms of the schizophrenia spectrum disorders—the "psychoses." Are we using contemporary standards and descriptions that would fit modern diagnoses?
Historical observations provide no ancient description of schizophrenia spectrum disorders. However, the Father of Medicine, Hippocrates (460-377 B.B.), described other forms of madness such as the "sacred disease" (epilepsy), mania, and melancholia (depression). Attributed to the brain, as opposed to possession by the gods, Hippocrates believed madness was due to "abnormal moisture" of the brain. Once adequately described clinically in 1809, the disease seems to have become visible all over the Western world.
Many theories to explain "madness" have evolved through time. Three remain prominent today, and are more commonly known as the biopsychosocial model: (i) the stress-induction theory, (ii) the social-cultural theory, and (iii) the biological-disease theory.
This course is designed to address early accounts of psychosis and to analyze historical views of insanity and its treatment as the origins of modern considerations in mental disorders. The course is comprised of three units 1) an understanding of "madness" through time, 2) current views and approaches to treatment, and 3) personal accounts of survivors and families.
Sources to be studied include Torrey, E.F., Surviving Schizophrenia: A Manual for Families, Consumers, and Providers; Gottesman, Irving I., Schizophrenia Genesis: The Origins of Madness; Deveson, A., Tell me I'm here: One family's experience of Schizophrenia; and Maddux, J.E., & Winstead, B.A., Psychopathology: Foundations for a contemporary perspective. A course packet will also be available, which will include first-person accounts and clinical case studies of survivors and families, as well as source articles and other clinical materials providing historical views.
Grades will be based on three short response-style papers, and a long-form, final research paper, as well as class participation.
Course tuition: $2022.
Enrollment is limited to 18 students. This course is not open to auditors.
A syllabus for this course is available at:
SCIE 624
Noel Garrett (B.S., Duquesne University; M.A., D.Phil, The New School for Social Research) is dean for the class of 2011.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
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glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Hammerson,Geoffrey
04/19/2010 - 04/23/2010
Note: Special Schedule 09:00 AM - 05:00 PM
Science Tower 137
Special Schedule: One-week immersion, April 19-23 (Monday-Friday) 9 am to 5 pm
In this field course, we focus on ecological relationships and life history events characteristic of early spring, a time when winter quiescence gives way to a period of intense growth and activity in plants and animals. Some of the organisms and phenomena to be observed and discussed include: early spring flora, patterns of plant growth and flowering, life histories of spring-flying butterflies and other insects, bird migration and breeding behavior, and the ecology of vernal pools. Emphasis is on increasing our understanding of nature through first-hand field experience.
Course requirements include an individual field project, oral presentation, and field notebook.
Course tuition: $2022.
Enrollment is limited to 18. This course is not open to auditors.
Geoffrey Hammerson (B.S. University of California, Berkeley; Ph.D. University of Colorado, Boulder) is research zoologist at NatureServe and is author of more than 60 publications, most recently, Connecticut Wildlife: Biodiversity, Natural History, and Conservation (University Press of New England, 2004). Click here to read an article about Geoff and his GLSP courses.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
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Format: Field Studies | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Poulos,Helen Mills
01/25/2010 - 05/07/2010
Wednesday 06:00 PM - 08:30 PM
Science Tower 139
Earth is a system, composed of multiple components and inter-connected processes. The major components of the Earth are the geosphere (the solid earth), the hydrosphere (oceans, glaciers & ice sheets, rivers, lakes, and groundwater), and the atmosphere, all of which interact with the biosphere. No component of this system can be studied in isolation of the others. And, a change in any element of the system has an impact through all components. This course offers an interdisciplinary introduction to the principles of climate, ecosystems, and biogeochemistry that interact with anthropogenic changes in the environment. Our discussions will include global change prediction and the scientific bases for global change assessments and policy measures. We will explore global change through the lens of biological systems in this course by reviewing the science of global change, its past trends, future projections and biological consequences.
Classroom lectures and discussion will be centered on three broad questions: 1) How do we separate the impact of human activities from natural, background variations? 2) What are the most sensitive biological indicators of global change? 3) What are the pros and cons of ecological approaches to ameliorating the impact of anthropogenic global change?
Course requirements include weekly reading and critiques, class participation, a student-led discussion, and a final paper.
Course tuition: $2022.
Enrollment is limited to 18. This course is open to auditors.
A syllabus for this course is available at:
SCIE 637
Helen Poulos (B.A., B.S., Pepperdine University; M.S., Penn State; M.Phil, Yale University) is a postdoctoral teaching fellow, Mellon Environmental Studies Program. Click here for more information about Helen Poulos.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
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ENROLLMENT INFORMATION
Consent of Instructor Required:
|
Format: | Level: GLSP | Credits: | Enrollment Limit: |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
-
-
ENROLLMENT INFORMATION
Consent of Instructor Required:
|
Format: | Level: GLSP | Credits: | Enrollment Limit: |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Gallarotti,Giulio
01/25/2010 - 05/07/2010
Monday 06:00 PM - 08:30 PM
Public Affairs Center 422
While globalization and international organizations have currently integrated the world into networks of peace, ethnic and regional wars have driven nations and groups further apart. This coexistence of conflict and cooperation marks the evolution of the international system. This course represents an attempt to understand the foundations of this coexistence through an analysis of the central concepts, theories, and empirical findings in the study of international politics. The principal actors, structures, and processes of international relations will be analyzed in a theoretical and historical context. Major topics include: nationalism and the national interest, power, diplomacy, game theory and bargaining, the causes of foreign policy, nuclear weapons and international security, underdevelopment, globalization, international organizations, international resource management, the environment, trade, and transnational actors. As case studies, we will pay special attention to the Cuban Missile Crisis, Truman's decision to drop the A-bomb, and development in West Africa.
Readings include Robert Art and Robert Jervis, eds., International Politics (3rd edition); Bruce Russett and Harvey Starr, World Politics (4th edition); Michael Mandelbaum, The Nuclear Future; and Robert Kennedy, Thirteen Days.
Students will be responsible for class participation and three papers.
Course tuition: $2022.
Enrollment is limited to 18 students. This course is open to auditors.
A syllabus for this course is available at:
SOCS 633
Giulio Gallarotti (B.A. Hunter College; M.I.A., Ph.D. Columbia University) is professor of government. His research and teaching interests focus on international political economy, power relations, international monetary relations, international trade, international organization, and public choice. His publications include "Hegemons of a Lesser God: The Bank of France and Monetary Leadership Under the Classical Gold Standard" Review of International Political Economy (2005); The Power Curse: Influence and Illusion in World Politics (forthcoming from Lynne Rienner Press), and The Anatomy of an International Monetary Regime: The Classical Gold Standard 1880-1914 (Oxford University Press, 1995). Click here for more information about Giulio Gallarotti.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
-
-
ENROLLMENT INFORMATION
Consent of Instructor Required:
|
Format: | Level: GLSP | Credits: | Enrollment Limit: |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
-
-
ENROLLMENT INFORMATION
Consent of Instructor Required:
|
Format: | Level: GLSP | Credits: | Enrollment Limit: |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Eudell,Demetrius L.
01/25/2010 - 05/07/2010
Thursday 06:00 PM - 08:30 PM
Using a history-of-ideas approach, this course examines the major intellectual formulations defining the United States from the colonial to the progressive era. These include such ideas as exceptionalism, Puritanism, republicanism, race, manifest destiny, evangelical revivalism, Victorian domestic/gender roles, and social/moral reformism. The rupture (and later reconciliation) that emerged in the wake of the Civil War will also be examined. The course will attempt to illustrate the way in which the self-conception of the United States was initially instituted and reproduced and how such a model of identity has had tremendous triumphs as well as profoundly tragic consequences.
Major readings for this course include Sacvan Bercovitch, The Puritan Origins of the American Self; Jack Greene, The Intellectual Construction of America: Exceptionalism and Identity; Reginald Horsman, Race and Manifest Destiny; Drew McCoy, The Elusive Republic; and Robert Wiebe, The Search for Order.
Course tuition: $2022.
Enrollment is limited to 18 students. This class is open to auditors.
Demetrius Eudell (B.A. Dartmouth College; M.A., Ph.D. Stanford University) is associate professor of history. He is author of The Political Languages of Emancipation in the British Caribbean and the U.S. South (University of North Carolina Press, 2002). Professor Eudell's research interests include the history and culture of the Americas, slavery, abolition, and emancipation. Click here for more information about Demetrius Eudell.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Ostor,Akos A.
01/25/2010 - 05/07/2010
Tuesday 06:00 PM - 09:00 PM
Public Affairs Center 421
Films from around the globe have captured our attention as compelling glimpses of other worlds. Masterworks of cinema, they are firmly anchored in their own societies and histories, yet they have a universal appeal. Are films from distant lands windows to other cultures? What is the relation between cinema and society? Can film esthetics (style and form) engage with anthropological knowledge to deliver cross-cultural understanding to the viewer?
Taking key films from East Europe, West Africa, South Asia, and Australia (regions where the instructor has extensive first hand experience) we shall study film production and consumption, social structure and cultural meaning, film esthetics and critical knowledge, and the possibilities for intercultural understanding.
Sources to be studied will include the films of Miklos Jancso, Marta Meszaros, Drijbil Mambety, Osmanu Sembene, Suleiman Cisse, Satyajit Ray, Aparna Sen, Rachel Perkins, and Tracy Moffat. Major readings will include Satyajit Ray: In Search of the Modern, Suranjan Ganguly; Australian Cinema After Mabo, Felicity Collins; Therese Davis Symbolic Narratives / African Cinema: Audiences, Theory and the Moving Image, June Givanni; and Cinema of the Other Europe, Dina Iordanova.
Grading will be based on class participation, written assignments, and a take-home project.
Course tuition: $2022.
Enrollment is limited to 18 students. This course is open to auditors.
A syllabus for this course is available at:
SOCS 642
Akos Ostor (B.A., M.A., University of Melbourne; Ph.D., University of Chicago) is professor of anthropology and film studies. Click here for more information about Akos Ostor.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 14 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Spring 2010 |
Finn,John E.
01/25/2010 - 05/07/2010
Wednesday 06:00 PM - 08:30 PM
Public Affairs Center 107
This course introduces students to a uniquely American, and to some ways of thinking, an especially naive, contribution to politics: The idea that we can make political practice conform to the written word. As some critics have said, the Constitution rests on the belief that saying a thing makes it so. Stripped to essentials, it is this assumption above all others that informs constitutional law. The undeniable implausibility of the claim, however, means that what we call constitutional law is really constitutional interpretation.
During the semester, we shall see that most of the serious issues in constitutional interpretation arise from conflicts between our commitment to two or more positive values. There are, for example, inevitable and recurrent conflicts (despite our attempts to ignore them), between the values of order and liberty. In Justice Frankfurter's words, these conflicts illustrate "what the Greeks thousands of years ago recognized as a tragic issue, namely the clash of rights, not the clash of wrongs." In this course, we examine these clashes by considering the broader philosophical and institutional problems of the American constitutional order. I hope to show that constitutional answers to problems concerning separation of powers, federalism, and individual liberties require a coherent and comprehensive understanding of the Constitution, and of the assumptions it makes about human nature and the proper ends of government.
Major readings for this course include Rossum & Tarr, American Constitutional Law Vol. II, and Rossiter, ed., The Federalist Papers. Recommended reading includes Schwartz, A History of the Supreme Court.
Students will be responsible for two short (4-6 pages) papers, a final examination and class participation.
Course tuition: $2022.
Enrollment is limited to 18 students. This class is open to auditors.
A syllabus for this course is available at:
SOCS 644
John Finn (B.A. Nasson College; J.D. Georgetown University; M.A., Ph.D Princeton University; Grande Diplome, French Culinary Institute) is professor of government. He is coauthor, with Kommers and Jacobsohn, of American Constitutional Law: Essays, Cases and Comparative Notes (Rowman, 2004); co-author with Donald P. Kommers of American Constitutional Law: Essays, Cases, and Comparative Notes (West/Wadsworth 1998), and is author of Constitutions in Crisis: Political Violence and the Rule of Law (Oxford University Press, 1991). Click here for more information about John Finn.
ENROLLMENT INFORMATION
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459