| Summer 2008 |
Price,Glenna R.
06/23/2008 - 07/10/2008
Note: Special Schedule 01:00 PM - 05:00 PM
Art Workshop 006
Mondays, Tuesdays, Thursdays 1-5 PM
We will use the classic modernist approach of John Cage to explore chance as an artistic principle through which to create artist's books. Our focus will be on handmade books that incorporate text, imagery, and printed letterpress, within a larger field of mixed media. The goals of this course are: 1) using chance operations a la John Cage to relinquish control of our likes & dislikes, and our habits in the creative process; 2) to gain control in the finessing of various techniques applicable to artist's books; and 3) to develop a critical vocabulary for, and understanding of, conceptual issues inherent in the artist's book field.
As we periodically put ourselves in unexpected situations—drawing from our set of chance operations—we'll often work as an ensemble. Students will be encouraged to develop their own methods for including randomness within the creative process; examples of other such work will be shown and discussed. There will be extensive demonstrations of skills and techniques such as hand type composition, letterpress printing (inking, roller height, packing, registration, etc), monoprinting, collage with dry mount film, pochoir, paper manipulations, and other mixed media applications. We'll explore using pre-printed sheets as palimpsests. There will be opportunities to use Adobe Creative Suite for digital development of type and imagery that can be printed letterpress using photopolymer plates or laser. Visits to Special Collections and the instructor's studio will provide a wide array of examples to examine, and will facilitate our conversations about an artist's intention, concept, editorial approach, typography & design, sequence & flow, structure, use of media, etc.
Course readings will include Ellen Lupton, Thinking with Type, and selections from Kathan Brown, John Cage: Visual Art: To Sober and Quiet the Mind; Robert Bringhurst, The Elements of Typographic Style; and Jerome Rothenberg and Steven Clay, ed., A Book of the Book.
Following an introductory visual book exercise and small print project that will introduce hand type composition, letterpress printing, and use of randomness, students will focus exclusively on books. There will be one comprehensive book project incorporating letterpress printing and diverse media, an additional unique book exercise, and a short essay assignment to review a contemporary artist's book.
Enrollment is limited to 10 students.
Additional fee: $190
For the first class meeting students should have read Ellen Lupton's Thinking with Type.
A syllabus for this course is available at:
Course Syllabus
Robin Price (B.A. Pomona College) is an artist, letterpress printer, and publisher whose artists' books are collected and exhibited internationally. Recent exhibitions include "Metaphor Taking Shape: Poetry, Metaphor and the Book" at Yale University Beinecke Library, 2008 and "Sacred Text/Contemporary Form: Spiritual Traditions in the Digital Age" at Milwaukee Institute of Art and Design Gallery in 2007. Her most recent press book is titled 43, According to Robin Price, with Annotated Bibliography, a book that pays homage to other artist's books and involves the use of chance in determining the text. The University of Vermont held an exhibit of her work in November 2004, describing her "as a chameleon among book artists; no two of her books are alike. She moves easily from beautifully illustrated works of literature to purely conceptual books such as Slurring at Bottom."Click here for more information about Robin Price.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Studio | Level: GLSP | Credits: 3 | Enrollment Limit: 10 |
Optional Texts
Robert Bringhurst, THE ELEMENTS OF TYPOGRAPHIC STYLE (Hartley and Marks Publishers), Paperback
Kathan Brown, JOHN CAGE VISUAL ART: TO SOBER AND QUIET THE MIND (Crown Point Press), Hardcover
Jerome Rothenberg, BOOK, SPIRITUAL INSTRUMENT (Granary Books), Paperback
Jerome Rothenberg, A BOOK OF THE BOOK (Granary Books), Paperback
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
| Summer 2008 |
Waite,Peter
06/23/2008 - 08/01/2008
Monday & Wednesday 01:00 PM - 04:00 PM
Art Workshop 105
Middletown—with its riverfront setting, bridges, rail tracks, churches, cemeteries, industrial and historic buildings, campus architecture, classic main street, mini-malls, and gas stations—serves as a rich source of inspiration. Students will create a series of at least six drawings based on this unique small city. This body of work will address not only aesthetic concerns, but also ideas of public sentiment and ideology, e.g., university vs. town, Greek Revival vs. Super Stop 'n' Shop architecture. Students can expect to venture out with sketchbook and camera, their eyes peeled to purposefully seek architectural examples that embody poetic and ironic metaphor, history, and humor, as well as compositional perception of the aesthetic.
Students should expect to work on location, from drawings and from photo documentation (snap shots or digital camera); to use a variety of media (dry—charcoal, pencil, conte, pastels; and wet—ink washes, watercolor/acrylic washes); and to spend approximately $100 for materials.
Students will be required to participate in class, do field work, give presentations, participate in group critiques, and submit a portfolio for review.
Some previous drawing experience is preferred but not required.
Additional course fee: $15
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 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
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Studio | 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
| Summer 2008 |
Rudensky,Sasha; Seeley,J.
06/23/2008 - 07/10/2008
Monday-Thursday 09:00 AM - 12:00 PM
Zilkha Gallery 106
In this three-week intensive course students will refine their professional black and white darkroom techniques, while developing a personal aesthetic. Students will be asked to test their technical skills and develop their artistic voice while shooting a subject of their choice: landscape, portraiture, street photography, still life, etc. Though attention will be paid to creating technically sound negative and prints, the emphasis of the course will be on the development of a unique and cohesive body of images. Students are expected to have some prior photography experience, or permission of the instructors.
Students will work in the Zilkha lab, which features professional enlargers and high-quality lenses. The topics of study will include: exposure, printing, visualization, photographic design, idea generation, and editing. We will also offer one-on-one consultations with students outside of class. Approximately half of all class time will be spent in the darkroom, while the remaining time will consist of lectures, demonstrations, and most importantly, print critiques. There will be an additional optional printing session offered weekly.
The text will consist of handouts that will be available in class on a daily basis. No other text will be required.
A major component of the course is shooting done outside of class: students will be required to shoot a roll of film (36 exp) for each meeting. Film development and contact proofs will be done by the darkroom staff in time for class. The final portfolio will consist of 8-10 technically competent, visually strong, cohesive images.
For consistency, everyone will be required to shoot Kodak Tri-X 400 film and use Ilford Multi-Grade IV RC glossy paper. Because of the fast-paced nature of the class, students are required to attend every class meeting. This is a film-based class; digital equipment will not be acceptable. Students should have a working manual single lens reflex 35mm camera.
Students will be charged a $275 lab fee to cover chemicals and lab operation. This includes all film development and contact proofs. Out of pocket expenses, which include film, paper, and mat board costs should average approximately $150. Any students who are pregnant or who have known allergies to photographic chemistry should not register for this course.
Sasha Rudensky (B.A. Wesleyan University) is visiting instructor of art. She is a 2004 Mortimer-Hays Brandeis Fellow, and her exhibits include "Transformations" (Face Art Studio, Deep River, CT, November 2005), "New Color Works" (Elder Gallery, Lincoln, NE, March 2006) and group shows at the Fish Tank Gallery and the Brecht Forum in New York City. Click here for more information about Sasha Rudensky.
J. Seeley (B.A. SUNY Buffalo; M.F.A. Rhode Island School of Design) is professor of art and author of High Contrast (Focal Press, 1992). His photography has been featured in more than 60 exhibitions, is collected by the Museum of Modern Art, the International Museum of Photography, Eastman House, and many academic museums. Click here for more information about J.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Studio | Level: GLSP | Credits: 3 | Enrollment Limit: 11 |
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Shinohara,Keiji
06/23/2008 - 07/10/2008
Note: Special Schedule -
Art Workshop 006
M-W, 6-9 PM and Saturday, 10 AM-1 PM
The monotype print is a free form of printmaking more akin to painting than to the traditional woodcut or etched print. It is also a process in which the artist encounters fewer technical difficulties than in other traditional printmaking methods. Students in this course will create images using engraving techniques on woodblocks and plexiglass, found flat objects such as leaves, and will print with watercolor and water-based and oil-based inks, using the equipment in Wesleyan University's printmaking studio. Students may choose the images they wish to print; the instructor will help students develop image-making technique and compositional skill.
Students will make a series of prints using 4-5 techniques, and will be graded on weekly assignments, a mid-term critique session, and a final project created from their best work in each technique.
Paintbrushes, paper, ink, and printing blocks will be supplied. Students should have previous image-making (drawing/painting) experience, but no previous printmaking experience is necessary. Due to the use of chemicals, students with chemical sensitivities or who are pregnant should avoid this course. Open studio hours will be Saturdays, 1-5 p.m.
Enrollment is limited to 12 students.
Additional fee: $250
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.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Studio | Level: GLSP | Credits: 3 | Enrollment Limit: 12 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Oteiza,Marcela
06/23/2008 - 08/01/2008
Tuesday & Thursday 05:30 PM - 08:00 PM
Theater Studios/Design 115
The discipline of performance is essentially a collaborative one, where the intersection between text, actor, and visual setting creates a different world. How to bring this world to life and how to transform written words into images is a central part of theater, particularly in the tradition of visual theater where the aim of creating a visual world dictates how scenography, costumes, and performer interact. Transforming text is a hands-on introduction to design and creation of visual performance.
In this course, we will explore, deconstruct and reinvent text by utilizing tools from design and visual arts. Through practical assignments, we will train our visual imagination as well as develop an aesthetic literacy and knowledge of different performance elements, thus re-contextualizing contemporary performance as a "performative event." Our main objectives for this course include understanding the creative process, learning how to transform the individual vision from text to a visual object, gaining practical experience by creating projects, articulating personal aesthetics, tastes, and passions, and obtaining the basic skills for peer criticism and collaboration.
Texts for this course include Michael Huxley and Noel Witts, The Twentieth Century Performance Reader; Allan Kaprow, Essays on the Blurring of Art and Life; Hans van Maanen, et al., Theatrical Events: Borders-Dynamics-Frames.
Course assignments are designed as independent projects and focus on specific aspects, such as object design, garment design, and environmental design. Each assignment will be researched, rendered, and presented to the class individually through each step of the process (text, research-stage, concept-development, visual-image, technical-feasibility, and execution).
Marcela Oteiza Silva (B.F.A., University of Chile; M.F.A., California Institute of the Arts) is adjunct assistant professor of theater and the scenic designer in residence. She is a multidisciplinary visual artist whose work has taken a variety of forms including design for the theater, installation performances, and mixed media. Some of her collaborative and multidisciplinary projects have been: Family Portrait (photo-performance with eXpuestos group, City of Panama, 2004); Wandering Rocks (video performance for James Joyce One Hundred Year Anniversary Celebration, Dublin, 2004); Heart Piece by Heiner Muller (Grant awarded performance at California Institute of the Arts, 2001); and One Year Ago Today (Grant awarded Installation Performance Based on The three Sisters by Chekov, California Institute of the Arts 2000). View Marcela Oteiza's profile at http://www.geocities.com/marcelaoteiza
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Performance | Level: GLSP | Credits: 3 | Enrollment Limit: 12 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Collins,Stephen Edward
06/23/2008 - 08/01/2008
Monday & Wednesday 06:00 PM - 09:00 PM
CFS 124
The short is a way for a beginning screenwriter to examine all the issues of film storytelling on a small scale before they get lost in the narrative complexity of a feature film script. It is different form than the feature and many beginners make the mistake of trying to make a compressed feature instead of trying to understand the short on its own terms. We will embrace the restrictions of the short form (limited time, locations, and characters) and use it as a way to focus solely on what makes a story feel complete.
The first half of the class will focus on lectures, covering how to control and alternate the flow of information to engage an audience, how to shift your thinking to a visual medium, the principles of three act film structure, how to put conflict into action, and proper screenplay format. The second half of the class is focused on the student work. Each student works to complete a 12-page screenplay and take it through three revisions. Students will read and critique each other's work. The goal of the class is for everyone to deepen their understanding about what is unique about screenwriting as opposed to other creative writing forms, and then use that knowledge to create personal cinematic work.
There will be an eclectic viewing of clips from successful and not so successful shorts. Purchasing Final Draft writing software is recommended but not required. Although not a course in the documentary short, the principles of screen storytelling apply such that a student interested in documentary would also benefit from the course. All experience levels are welcome.
Purchasing Final Draft writing software is recommended but not required.
Although not a course in the documentary short, the principles of screen storytelling apply such that a student interested in documentary would also benefit from the course. All experience levels are welcome.
Enrollment is limited to 14 students.
Stephen Collins (B.A. Wesleyan University, M.F.A. University of Texas, Austin) is visiting assistant professor of film studies. He wrote, directed, and edited the feature Gretchen, which Watchmaker Films acquired in 2007 for theatrical distribution. His films have won awards from the Los Angeles Film Festival, Boston Independent Film Festival, South by Southwest Film Festival, Cinematexas Film Festival, and many more.
ENROLLMENT INFORMATION
Open to Auditors: No
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
| Summer 2008 |
Greene,Anne F.
06/23/2008 - 08/01/2008
Monday & Wednesday 05:30 PM - 08:00 PM
Downey 100
In this course we will experiment with voice and tone, helping you find a range of ways to become a lively, engaging presence on the page. We begin by examining memoirs, mainly to see how the narrators become trustworthy or (deliberately) unreliable as observers. Sidestepping the debate about whether writers lie, we will focus on your choices when you write: will you speak as an immediate, personal presence in your piece or will you choose to write from a more distant perspective? In what ways do such choices mark your piece as a memoir, personal essay, or short story?
Course readings demonstrate the uses of the personal narrator in a broader range of essays, life histories, and short stories. We will read selections from several editions of Best American Short Stories, Phillip Lopate's The Art of the Personal Essay, and memoirs by Annie Dillard, Joan Didion, Vivian Gornick, Robert Stone, and others.
Writing exercises will offer students a choice of personal essays, memoir, and/or short fiction. Students are also welcome to bring ongoing projects and substitute them for the course assignments. Both new and experienced writers are welcome.
Anne Greene (B.A. Harvard 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
Open to Auditors: No
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
| Summer 2008 |
Jarnot,Lisa
06/23/2008 - 07/10/2008
Monday-Thursday 06:00 PM - 09:00 PM
Public Affairs Center 136
This workshop examines a selection of poems from the ancient to the contemporary, noticing differences in the way they work. We will explore a number of approaches and practices for working with poems as a reader and a writer. The aim is to enter the territory of the poem in a way that is active, contemplative, and evocative. We'll ask questions such as What is poetry? What are the basic elements of a poem? And What is the technical vocabulary necessary to the critique of a poem?
We'll read poems by Sappho, Robert Frost, Wallace Stevens, Frank O'Hara, Susan Howe, Bernadette Mayer, Robert Hayden, and others.
We'll write poems in response to the work that we read.
A syllabus for this course is available at:
Course Syllabus
Lisa Jarnot (B.A. SUNY Buffalo; M.F.A. in creative writing, Brown University) is author of three books of poems: Some Other Kind of Mission (Burning Deck Press, 1996), Ring of Fire (Zoland Books, 2001 and Salt Publishers, 2003), and Black Dog Songs (Flood Editions, 2003). Her biography of the San Francisco poet Robert Duncan is forthcoming from University of California Press. She teaches at Long Island University, Bard College, and in Brooklyn College's MFA in creative writing program.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Mark McMorris, THE CAFE AT LIGHT (Roof), Paperback
Lorine Niedecker, THE GRANITE PAIL (Gnomon), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Karamcheti,Indira
06/23/2008 - 08/01/2008
Tuesday & Thursday 09:30 AM - 12:00 PM
285 Court Street
Alfred Nobel (1833-1896) is the subject of an enormous irony: a fortune made in explosives funds the world's most prestigious award for peace, for "fraternity between nations." His will provides that his considerable estate award prizes in five areas: physics, chemistry, medicine, literature, as well as for work promoting world peace (economics was added later as a prize category). Since 1901, these prizes have become the most prestigious international recognition of achievement, and they have been earned by a broadly international register of scientists, activists, and authors. Nobel's will explicitly states a desire to transcend national boundaries. He writes that the prizes should be distributed to "those who, during the preceding year, shall have conferred the greatest benefit on mankind," and that it is his "express wish that in awarding the prizes no consideration whatever shall be given to the nationality of the candidates, but that the most worthy shall receive the prize, whether he is Scandinavian or not." The prizes for literature have followed Nobel's desire for international distribution, having been given to 104 persons from all continents for writing that is recognized as "the most outstanding work in an ideal direction." Seemingly, Nobel has an implicit belief in a universal humanity and in the possibility of progress towards the harmonious co-existence of different people.
As with all important texts, the problem since 1901 has been one of interpretation. What exactly are the criteria for establishing the "greatest benefit [to] mankind," or the greatest worthiness? How is "the most outstanding" to be gauged and what are the terms of its evaluation? In terms of the award for literature, what does exactly does "an ideal direction" mean? Professor Kjell Espmark, member of the Swedish Academy, writes in The Nobel Prize in Literature, A Study of the Criteria behind the Choices, that, "Indeed, the history of the Literature Prize is in some way a series of attempts to interpret an imprecisely worded will."
Keeping in mind Alfred Nobel's desire for a prize that recognizes a genuinely human achievement that transcends human differences, and recognizing that we don't really know what such an achievement might be, our class will analyze one selected text from each of the ten most recent winners of the Nobel Prize for Literature. A capsule description of the three most recent reveals their global provenance and their monumental themes. Doris Lessing, the 2007 winner, born in Iran, longtime resident of South Africa, now in the United Kingdom, has long been recognized for a global perspective that critiques racism, colonialism, and especially the place and role of woman in a landscape riven by the unequal distribution of power. Turkey's Orhan Pamuk examines a world, located as it is at the intersection of Europe and the Middle East, that has historically been the site of the volatile mix of cultures, languages, and commerce. Harold Pinter, raised in World War II's war-torn London, is best known for plays that dramatize a world where the individual moves darkly between others' unknown motives and a menacing politics.
Since they and the other winners of the Nobel Prize for literature write about and are from places as diverse as South Africa, Turkey, Germany, Austria, Portugal, and the United Kingdom, what about these works achieves that standard of being the "most outstanding" internationally? We will examine the individual works in order to understand their own internal cultural, intellectual, and aesthetic dynamics. And we will also read them in relation to two kinds of contexts: first, the microcontext of the Nobel Prize itself. What does the Committee see in them that answers the terms of Alfred Nobel's will? Second, what are the broader socio-historical, political, and cultural contexts within which the work is produced, read, and in which the prize is awarded? In this way, the opportunity to read and enjoy some of the works recognized as the "best" will simultaneously allow us the chance to interrogate the desire for a universal humanity and a universal value.
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 United States. Her publications include Professing the Postcolonial (Blackwell, forthcoming) and The Collected Plays of Aime Cesaire (Avebury, forthcoming). Click here for more information about Indira Karamcheti.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Gunter Grass, THE TIN DRUM (Knopf), Paperback
Elfriede Jelinek, THE PIANO TEACHER (Serpent's Tail), Paperback
Imre Kertesz, KADDISH FOR A CHILD NOT BORN (Knopf), Paperback
Doris Lessing, THE GOLDEN NOTEBOOK (Harper Collins), Paperback
V.S. Naipaul, A HOUSE FOR MR. BISWAS (Vintage), Paperback
Orhan Pamuk, MY NAME IS RED (Knopf), Paperback
Harold Pinter, THE HOMECOMING (Grove/Atlantic), Paperback
Jose Saramago, BALTASAR AND BLIMUNDA (Harcourt Trade), Paperback
Gao Xingjian, SOUL MOUNTAIN (Harper Collins), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Pemberton,Gayle
06/16/2008 - 06/20/2008
Monday-Friday 09:00 AM - 05:00 PM
This course examines in depth the ways in which notions of race have been created, made standard, and expanded in mainstream pre-Hollywood and Hollywood movies. Our quest will begin with the year 1915 and proceed to the 1970s. We will examine films made in five different years, looking at a range of expressions of race, including the depictions of African Americans, American Indians, Anglo-Americans, and others, including Italians, Jews, the Irish, and Latin Americans from various countries. We will focus our inquiry on why certain stereotypes have remained so cherished and what they reveal about the identity of the United States.
Major readings include Gina Marchetti, Romance and the "Yellow Peril": Race, Sex and Discursive Strategies in Hollywood Fiction; James Snead, White Screens/Black Images; Ed Guerrero, Framing Blackness: The African American Image in Film; Robert Sklar, Movie-Made America. Films to be viewed include The Birth of a Nation, Holiday, Gone with the Wind, Hallelujah, and Sayonara.
Students will be expected to keep a journal devoted to commentary about the films viewed, lead a discussion about a film, one short paper (5-8 pp), and a longer paper (15+ pp).
Gayle Pemberton (B.A. University of Michigan; M.A., Ph.D. Harvard University) is professor of African American studies, American studies, and English. She is a former Ford Foundation, W.E.B. DuBois Institute, and John Simon Guggenheim Memorial Foundation fellow, and author of The Hottest Water in Chicago: Notes of a Native Daughter. Her most recent book, The Road to Gravure: Black Women and American Cinema, is forthcoming from Norton. Click here for more information about Gayle Pemberton.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 30 | Enrollment Limit: 18 |
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Kleinberg,Ethan
06/16/2008 - 06/20/2008
Monday-Friday 09:00 AM - 05:00 PM
Butterfield C314
Using death as the subject of study, this course will explore the limits or representation, that is, the practice of communicating abstract ideas, visions, or arguments through concrete or recognizable forms. Death, which is ultimately unknowable, is nonetheless made "known" through images, discourse, and doctrine. Indeed, what is the concept of the "ghost" but an attempt to represent someone who is dead in the recognizable form of the body that once was alive. The ghost, who appears and disappears and is not bound by the laws of time or space, is largely present in its absence. By exploring texts by such authors as Plato, Shakespeare, Poe, Woolf, and Levinas; and studying historical events such as the "black death" and the Shoah, we will attempt to understand the discourses and limits of representation. Thus our reading of Plato will focus on the ways his argument verges on defining death but is never definite. Similarly we will explore the attempt to represent death via metaphor and allegory as in the work of Shakespeare and Poe. This will lead us to explore the possibility of allowing death to remain radically "other" and thus unrepresentable as in the work of Heidegger and Levinas.
Authors to be read will include Martin Heidegger, Emmanuel Levinas, Edgar Allan Poe, Plato, William Shakespeare, and Virginia Woolf. We will also view films, works of art, and listen to musical performances.
Students will be graded on an in class presentation, one final paper due at the end of the term, and class participation.
Ethan Kleinberg (B.A., University of California, Berkeley; M.A., Ph.D., University of California, Los Angeles) is associate professor of history and letters, and director of the College of Letters. Click here for more information about Ethan Kleinberg.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Maurice Blanchot, THE MOST HIGH (University of Nebraska Press), Paperback
Plato, PHAEDO (Oxford University Press), Paperback
Edgar Allan Poe, COMPLETE TALES AND POEMS (Castle Books), Hardcover
William Shakespeare, MACBETH (Folger), Paperback
Virginia Woolf, MRS. DALLOWAY (Harvest Books), Paperback
Optional Text:
Martin Heidegger, BEING AND TIME (Harper One), Hardcover
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Conn,Robert T.
06/23/2008 - 08/01/2008
Tuesday & Thursday 06:00 PM - 08:30 PM
Public Affairs Center 422
Latin American writers from the early twentieth century forward have regarded the short story as a vehicle through which to make their mark and engage the great cultural issues of the day. Jorge Luis Borges and Julio Cortazar, two of Latin America's most well-known literary figures, dedicated their careers almost exclusively to the genre. In this course, as we consider the privileged status of the short story in Latin American letters, we will examine the ways in which writers have used the genre to comment on important aspects of modernization both within and outside their respective countries. Some of those aspects will concern the Mexican Revolution, bourgeois and mass culture, nationalism, globalization, as well as immigration to Europe and the United States.
We will read works by the following authors: Horacio Quiroga (Uruguayan), Carlos Fuentes (Mexican), Rosario Castellanos (Mexican), Juan Rulfo (Mexican), Jorge Luis Borges (Argentine), Julio Cortazar (Argentine), Gabriel Garcia Marquez (Colombian), Julia Alvarez (Puerto Rican), Isabel Allende (Chilean), Roberto Bolano (Chilean).
Three 4-5 page papers in addition to one final paper of 10-15 pages. All assignments will involve close reading of texts and contextualization.
Robert Conn (B.A., Dartmouth College, Ph.D. Princeton University) is associate professor of Romance languages and literatures and author of The Politics of Philology: Alfonso Reyes and the Invention of the Latin American Literary Tradition (Bucknell University Press, 2002).Click here for more information about Robert Conn.
ENROLLMENT INFORMATION
Open to Auditors: Yes
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
| Summer 2008 |
Mulvey,Irene
06/23/2008 - 08/01/2008
Tuesday & Thursday 09:30 AM - 12:00 PM
Science Tower 137
This course will cover all the topics in Differential Calculus in all their detail: limit, continuity, derivative, differentiation rules, implicit differentiation, extreme values, Mean Value Theorem, curve-sketching, and optimization. Also, all the topics in Integral Calculus in all their detail: area under a curve, definite integral, The Fundamental Theorem of Calculus, some transcendental functions (exponential, natural logarithm), techniques of integration, and applications of the Integral Calculus.
We will supplement the course with historical readings on the discovery/invention of Calculus, and explore how the TI-83 graphing calculator has transformed the way we teach Calculus.
Students will submit solved homework problems at every class. Final grades will be based on the graded homework.
Students are required to have a graphing calculator (TI-83 or higher).
Irene Mulvey (B.A., Stonehill College; Ph.D., Wesleyan University) is professor of mathematics at Fairfield University. Her recent publications include "Symbolic Representation for a Class of Unimodal Cycles," Topology and Its Applications (2002), and "Multi-modal Cycles with Linear Map Having Exactly One Fixed Point," International Journal of Mathematics and Mathematical Sciences (2001). Click here for more information about Irene Mulvey.
ENROLLMENT INFORMATION
Open to Auditors: Yes
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
| Summer 2008 |
Fieldsteel,Adam
06/23/2008 - 08/01/2008
Tuesday & Thursday 01:00 PM - 03:30 PM
Science Tower 137
We will present a wide variety of topics from elementary mathematics, chosen for their striking beauty, but also for their bearing on issues of considerable importance. Some of the topics to be discussed are: the decomposition of integers into prime factors, the distribution of the prime numbers, countable and uncountable sets, combinatorial topology and geometry, irrational and transcendental numbers, constructions with straight-edge and compass and their limitations, geometric properties of curves and surfaces, and the isoperimetric inequality.
"Elementary" here means having few mathematical prerequisites. Our discussions will show that elementary arguments can yield startling and profound results. In addition, we will discuss problems which can be formulated in elementary terms, but whose only known solutions are quite sophisticated, and others for which no solution has yet been found.
The course is an attempt to enable students to experience mathematics as a creative enterprise by using examples of imaginative discoveries in mathematics, and by giving them a chance to explore subjects on their own.
The source for most of the course material is a book, an enchanting masterpiece of exposition, called The Enjoyment of Mathematics, which was written first in the 1920s by two distinguished mathematicians, Hans Rademacher and Otto Toeplitz, and which remains absolutely fresh and lively.
Grades will be based on written work, which will be regularly assigned throughout the term.
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
Open to Auditors: Yes
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
| Summer 2008 |
Naegele,Janice R; Lombroso,Paul
06/23/2008 - 08/01/2008
Tuesday & Thursday 06:00 PM - 08:30 PM
Science Tower 121
Neuroscience is a discipline that seeks to understand how the brain and nervous system works to control behavior and emotions. It is a highly interdisciplinary field that draws from psychology, biology, philosophy, molecular biology, and psychiatry. This course introduces key concepts in understanding the basic organization of the brain, neuronal communication, neurotransmitters, and signal transduction. We then discuss current ideas about how the nervous system controls behaviors ranging from visual perception, the stress response, how we move, learning and memory, and how the brain develops. We highlight nervous system disorders including: developmental disorders, anxiety disorders, learning disorders, Alzheimer's disease, epilepsy, and other neurological conditions.
Readings will come from Scientific American, Discover, and New Yorker Magazine, as well as from Brain Facts: A Primer on the Brain and Nervous System; Purves and Lotto, Why We See What We Do; and Sapolsky, The Trouble with Testosterone and Why Zebras Don't Get Ulcers.
Course requirements include class participation, written assignments, an exam, and a final project.
Janice Naegele (B.A., Mount Holyoke College; Ph.D., Massachusetts Institute of Technology) is professor and chair of biology, and professor of neuroscience and behavior. Current work in the Naegele Lab focuses on the link between cell death, neurogenesis, and DNA repair in the developing and adult cerebral cortex and hippocampus. Recent publications include (with Choi, Lin, Lee, Kurup, Cho, Lombroso, and Obrietan) Status epilepticus-induced somatostatinergic hilar interneuron degeneration is regulated by striatal enriched protein tyrosine phosphatase (Journal of Neuroscience, 2007), Neuroprotective strategies to avert seizure-induced neurodegeneration in epilepsy (Epilepsia, 2007), and (with Navarro-Quiroga, Hernandez-Valdes, and Lin) Postnatal cellular contributions of the hippocampus subventricular zone to the dentate gyrus, corpus callosum, fimbria, and cerebral cortex (Journal of Comparative Neurology, 2006). Click here for more information about Janice Naegele.
Paul Lombroso (B.A., Harvard College; M.D., Albert Einstein School of Medicine) is Elizabeth Mear and House Jameson Professor for the Child Study Center at Yale University, School of Medicine. He is a molecular biologist and child psychiatrist whose recent publications include (with Paul, Nairn, and Wang) NMDA-mediated activation of the protein tyrosine phosphatase, STEP, regulates the duration of ERK signaling (Nature Neuroscience, 2003), and (with Karasawa, Yokokura, and Kitajewski) Frizzled-9 is activated by Wnt-2 and functions in Wnt/b-catenin signalling (Journal of Biological Chemistry, 2002).
ENROLLMENT INFORMATION
Open to Auditors: Yes
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
| Summer 2008 |
Hammerson,Geoffrey
08/04/2008 - 08/08/2008
Monday-Friday 08:00 AM - 04:00 PM
Science Tower 137
Amphibians and reptiles are two different groups of vertebrates, as different from each other as birds are from mammals. Nevertheless, for historical and practical reasons they are often studied together. Early naturalists did not see the difference between amphibians and reptiles as particularly important and treated them as a single group. Modern biologists recognize the fundamental differences between these groups but often continue to study them together because research methods are quite similar. The assertion that amphibians and reptiles are two different groups is actually an oversimplification. Recent interpretations of vertebrate evolution have led some systematists to classify birds as reptiles or to separate turtles and crocodilians as distinct from reptiles. For the purposes of this course we will adopt the traditional taxonomy and classify salamanders, frogs, and caecilians as amphibians and include turtles, crocodilians, lizards, worm lizards, and snakes as reptiles.
This course reviews the evolution, diversity, basic anatomy, physiological ecology, reproduction, life history, feeding ecology, spatial biology, and conservation of amphibians and reptiles. Our studies will involve morning field trips that allow hands-on study of local species and afternoon classroom sessions (illustrated lectures and discussion).
Course requirements include field trip reports, a take-home exam, and a short research paper or individual project.
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).
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Michael Klemens, AMPHIBIANS AND REPTILES IN CONNECTICUT: A CHECKLIST WITH NOTES ON STATUS, IDENTIFICATION, AND DISTRIBUTION (National Resources Center), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
O'Connell,Suzanne B.
08/11/2008 - 08/15/2008
Monday-Friday 09:00 AM - 05:00 PM
Science Tower 72
Earth's climate is not static. Even without human intervention, the climate has changed. In this course we will study the components and interactions of the climate system today. Then we will explore how changes in these components create different climate regimes and look at the ecosystem response to rapid climate changes recorded in Earth's history. The last day and a half will be spent examining the influence of increased greenhouse gases on today's climate and biosphere. What mitigation and adaptations are necessary to live in a warmer world with different water resources?
Students will have the opportunity to use an early version of the Goddard Institute of Space Studies (GISS) general circulation model (GCM) climate model, which is available free on the internet.
There will be one or two field trips, depending on weather and student interest.
The text for this course will be William Ruddiman's Earth's Climate, Past and Future. The second edition (2007) of this text is preferred, but the first edition (2001) is acceptable. For teachers, all figures in the second edition are available on line.
Evaluation will be based on class participation and completion of assignments.
Prior to the first class meeting, students are expected to read a popular climate book of his or her own choosing and come to class prepared to briefly discuss the book (e.g. The Two Mile Time Machine by Richard Alley). A list of possible titles will be available prior to enrollment.
Suzanne O'Connell (B.A. Oberlin College; M.S. SUNY Albany; Ph.D. Columbia University) is associate professor of earth and environmental sciences. Her research focuses on marine geology and continental margin sedimentology, with emphasis on areas in coastal Connecticut, the Caribbean, and Antarctica. The Association for Women Geoscientists named her the 2001 Outstanding Educator. She is the primary or contributing author of over 152 publications, with five in press, most recently: "Connecting urban students with their rivers generates interest and skills in the geosciences," published in the Journal of Geoscience Education. Click here for more information about Suzanne O'Connell.
ENROLLMENT INFORMATION
Open to Auditors: No
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
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Zeilinga de Boer,Jelle
06/30/2008 - 07/31/2008
Monday & Wednesday 12:00 PM - 04:30 PM
Science Tower 405
Connecticut's growth from a few clustered colonies to a vibrant state in the Union was triggered and facilitated by its geologic resources. Soils in the Central Valley attracted early settlers who turned Connecticut into New England's Bread Basket. Salisbury's iron ores, Bristol's copper, and Portland's brownstone provided resources that combined with energy from white-water and Yankee ingenuity made the state America's industrial incubator. Aside from these important resources an old lava flow was responsible for political bickering between Hartford and New Haven, and earthquakes set the tone for lively religious debates. This important role of geologic processes/events is rarely acknowledged and missing from most publications. The course will attempt to make the historic coverage more complete.
Readings will be from photocopied chapters from the book Stories in Stone.
Students will be required to keep a portfolio with short descriptions of the major features seen in the field on each field trip, and will write a final paper that concentrates on the geologic and historic aspects of one of the sites visited or a site of the student's interest.
No previous knowledge of geologic concepts is required. Students are required to have boots and a camera. The instructor will provide a small version of the Geologic Map of Connecticut.
The sequence of field trips is as follows:
In the beginning: Fusion and Breakup, Folds and Faults
The Native Environment: Soapstone
The Colonial Environment: Makemoodus
Settlers and Soils: Lake Hitchcock's Legacy
Geologic Treasures 1: Cobalt Gold and Middletown Silver
Geologic Treasures 2: Haddam Gemstones
Geologic Treasures 3: Old Newgate Copper
Geologic Treasures 4: Salisbury Iron Ores
Settlers and Stone: Portland's Arkose
The Metacomet Ridge: Political and Environmental Impact
Visitors from Space: Yale Museum
Jelle Zeilinga de Boer (B.S., Ph.D. University of Utrecht) is Harold T. Stearns professor of earth and environmental sciences, emeritus, and author, with Donald T. Sanders, of Earthquakes in Human History: The Far-reaching Effects of Seismic Disruptions (Princeton University Press, 2005) and Volcanoes in Human History: The Far-reaching Effects of Major Eruptions (Princeton University Press, 2002).
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Field Studies | 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
| Summer 2008 |
Gottschalk,Peter S.
06/23/2008 - 08/01/2008
Monday & Wednesday 09:30 AM - 12:00 PM
Public Affairs Center 104
The Age of Discovery not only coincided with the rise of European imperialism, it was abetted by it. The development of modern science —and of modernity itself —depended in part on the expansion of Western political and economic control across most of the globe and the majority of its inhabitants. Meanwhile, religion was integral to both the roots of European science and Western encounters of the rest of the world. This class will explore how the intersections of religion, science, and empire have formed a globalized world with examples of European engagement with the Americas, Middle East, and, particularly, India from the age of Columbus through to today.
Sources to be studied include Christopher Columbus, The Four Voyages; Juan Cole, Napoleon's Egypt: Invading the Middle East; Mohanda Gandhi, An Autobiography; Rudyard Kipling, Kim; Thomas Kuhn, The Structure of Scientific Revolutions; Timothy Mitchell, Colonising Egypt.
Students will be graded on class participation, one presentation, two short papers, and one longer paper (10-12 pp.).
Peter Gottschalk (BA College of the Holy Cross; MA University of Wisconsin-Madison; PHD University of Chicago) is associate professor of religion at Wesleyan University. His research and teaching concentrate on the confluence of religious cultures in South Asia , with a particular focus on Muslims and Hindus in contemporary rural India . His work investigates issues of identity, social memory, modernity, and epistemology. Among other works, he has written Beyond Hindu and Muslim: Multiple Identity in Narratives from Village India (2000), co-written Islamophobia: Making Muslims the Enemy (2007), and co-designed the interactive website "A Virtual Village" (2001). Click here for more information about Peter Gottschalk.
ENROLLMENT INFORMATION
Open to Auditors: Yes
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
| Summer 2008 |
Tucker,Jennifer
06/23/2008 - 08/01/2008
Tuesday & Thursday 01:30 PM - 04:30 PM
Public Affairs Center 422
Matthew Brady, the American photographer who persuaded the Federal government to support a visual record of the Civil War, described photography as the "eye of history." He was invoking history in a Thucydidean sense as a commemorative act, preserving an account of deeds which would otherwise be forgotten, laying up a record for the future. But the "discovery" of old photographs, and the widespread exploitation of them for actuality-effect--whether in illustration, television, museum displays or teaching packs--poses an entirely different question, one concerned with the meaning which a picture acquires retrospectively, in the course of its subsequent career, turning something which may have been taken for mundane purposes into a source of reflective excitement. The power of these pictures is the reverse of what they seem; we may think we are going to them for knowledge about the past, but it is the knowledge we bring to them which makes them historically significant, transforming a more or less chance residue into a precious icon.
Without a rudimentary critical method for understanding what an old photograph is, we are at the mercy of seeing photographs merely as history "as it was." This seminar explores the many different ways photographs can to be used to construct new historical narratives or to pursue different problematics. The course is organized around the theme of historical memory. Drawing on ten specific photographic examples from a variety of different historical episodes, we will examine how photographs shape the way that people experience and remember historic events. We also will discuss a variety of different ways of interpreting photographs as historical documents, including especially the use of genre analysis to help identify the imaginative complexes which structure photography's narratives. No prior knowledge of history of photography is assumed. In addition to the readings and discussions, this course will include group and individual research projects making extensive use of Wesleyan holdings of photographs. Students also have the option to develop a research paper around a historical photograph of interest to them.
A core text will be Vicki Goldberg's The Power of Photography: How Photographs Changed Our Lives. Other readings will include Susan Sontag, On Regarding the Pain of Others and On Photography; Raphael Samuel, Theatres of Memory; Geoffrey Batchen's recent study of photography and genocide; Terry Barrett, Criticizing Photographs: An Introduction to Understanding Images; Roland Barthes, Camera Lucida: Reflections on Photography; Walter Benjamin and Hannah Arendt (eds), Illuminations; and Denise Chong, The Girl in the Picture: The Story of Kim Phuc, the Photograph, and the Vietnam War.
Jennifer Tucker (B.A., Stanford University; M. Phil., Cambridge University; Ph.D. Johns Hopkins University) is associate professor of history, science in society, and feminist and gender studies. She has published numerous essays on science, photography, and historical interpretation and is the author of Nature Exposed: Photography as an Eye Witness in Victorian Science (Johns Hopkins University Press, 2005). In 2008 she is convening a multi-disciplinary workshop on "Photography and Historical Interpretation" for a special theme issue of the History and Theory journal. Among her current research projects is a monograph, Making Social Facts Visible: Photography, Medicine, and Humanitarian Campaigns in British Aid Organizations, 1880-1960. Click here for more information about Jennifer Tucker
ENROLLMENT INFORMATION
Open to Auditors: Yes
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
James Elkins, PHOTOGRAPHY THEORY (Routledge), Paperback
Vicki Goldberg, POWER OF PHOTOGRAPHY: HOW PHOTOGRAPHS CHANGED OUR LIVES (Abbeville Press), Paperback
Robert Hariman & John Lacaites, NO CAPTION NEEDED: ICONIC PHOTOGRAPHS, PUBLIC CULTURE, AND LIBERAL DEMOCRACY (University of Chicago Press), Paperback
Jacob Riis, HOW THE OTHER HALF LIVES (W.W. Norton), Paperback
Susan Sontag, REGARDING THE PAIN OF OTHERS (Picador), Paperback
David Levi Strauss, BETWEEN THE EYES: PHOTOGRAPHY AND POLITICS (Aperture), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Nussdorfer,Laurie; Adams,Nicholas
06/16/2008 - 06/20/2008
Monday-Friday 09:00 AM - 05:00 PM
Davison Art Center 100
The Eternal City has had many images and has been transformed many times since its legendary founding by Romulus and Remus. This course will present an overview of the history of the city of Rome in antiquity, the Middle Ages, the Renaissance, the Baroque period, and modern times. Co-taught by an historian and an historian of architecture the class will examine the ways that site, architecture, urbanism, and politics interacted to produce the city's changing meanings. The course will include extensive study of Rome's major architectural and urban monuments over time (e.g., Pantheon, St. Peters, the Capitoline hill) as well as discussions of the dynamic forms of Roman power, religious and secular.
In addition to visual evidence we will make use of literary and historical texts, documents, music, and film.
Course assignments include four short analytical papers that will be written exercises in class plus a research paper 8-10 pages in length, which will be due after the course concludes.
The main text for this course, Rome, Biography of a City by Christopher Hibbert (Penguin: 0-14-007078-8) is currently out of print in the United States, and will not be available for purchase at Broad Street Books. The text is, however, available used through Amazon.com (www.amazon.com) and through ABEbooks (www.abebooks.com). Students should order these used copies directly from either Amazon or ABE.
A syllabus for this course is available at:
Course Syllabus
Laurie Nussdorfer(B.A. Yale University; M. Sc. London School of Economics; Ph. D. Princeton University) is professor of history and letters. She has published numerous studies on the politics, urbanism, and culture of Baroque Rome, is completing the book Brokers of Public Trust: Notaries in Early Modern Rome, and is the author of Civic Politics in the Rome of Urban VIII (Princeton University Press, 1992). Click here for more information about Laurie Nussdorfer.
Nicholas Adams (A.B. Cornell University; M.A. and Ph.D., Institute of Fine Arts, New York University) is Mary Conover Mello Professor in the History of Architecture at Vassar College. He is the recipient of numerous grants most notably as a member of the School of Historical Studies at the Institute for Advanced Study, Princeton and was a fellow at the American Academy in Rome. His most recent publication is the first independently authored history of the architectural firm of Skidmore, Owings & Merrill, Skidmore, Owings & Merrill: the experiment since 1936 (Milan: Electa, 2006). He is currently writing a study of Gunnar Asplund's Law Court addition in Goteborg, Sweden. He serves on the editorial board of the Italian architectural magazine Casabella where he is a frequent contributor. He has served as editor of the Journal of the Society of Architectural Historians.Click here for more information about Nicholas Adams.
ENROLLMENT INFORMATION
Open to Auditors: No
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Borden Painter, MUSSOLINI'S ROME (Palgrave/MacMillan), Paperback
John Stambaugh, THE ANCIENT ROMAN CITY (Johns Hopkins University Press), Paperback
Virgil, THE AENEID OF VIRGIL, translated by a. Mandelbaum (Bantam Classic), Paperback
John Wright, THE LIFE OF COLA DI RIENZO (PIMS), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
PLEASE NOTE: A course packet will be available from Pip Printing. Packets can be ordered on line at www.pipmid.com.
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Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Greene,Nathanael
06/23/2008 - 08/01/2008
Monday & Wednesday 09:00 AM - 11:30 AM
Public Affairs Center 421
We will study the history of Europe during a period of unprecedented conflict and nearly uninterrupted turmoil. Two world wars, revolutions, social and national antagonisms, ideological combat, racial hatreds, and extraordinary political leaders, such as Lenin, Stalin, Mussolini, Hitler, Churchill, and de Gaulle, did much to determine the destinies of Europeans during these three decades. Very close attention will be given to: the origins, conduct, and multiple consequences of both world wars; the Russian Revolution of 1917, International Communism, and the Soviet Union; the power and appeal of dictatorship under Italian Fascism and German Nazism; and the decline and crises of democracy in Britain, France, and Spain.
Our method is primarily social and political analysis, although we will give careful attention to economic and cultural issues and to insights offered by biographies of individual leaders.
Texts will include Stanley Payne, A History of Fascism; Sheila Fitzpatrick, The Russian Revolution; R. J. B. Bosworth, Mussolini, The Second Volume of Ian Kershaw, Hitler; and two eloquent and haunting commentaries: the first, George Orwell, The Homage to Catalonia, on the Spanish Civil War; the second, Marc Bloch, The Strange Defeat, on France's defeat in 1940. Documentary materials will be prepared and distributed by the instructor.
There will be two take-home examinations, the first due in the middle of the term, the second at its conclusion. This course is presented as an intensive survey, and there is no prerequisite.
A syllabus for this course is available at:
Course Syllabus
Nathanael Greene (B.A. Brown University; M.A., Ph.D. Harvard University) is professor of history. He is author of Crisis and Decline: The French Socialist Party in the Popular Front Era (Cornell University Press); From Versailles to Vichy: The Third French Republic, 1919-1940 (Crowell); and is editor of Fascism: An Anthology (Crowell); and European Socialism Since World War I (Quadrangle Books). Click here for more information about Nathanael Greene.
ENROLLMENT INFORMATION
Open to Auditors: Yes
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
James Joll, THE ORIGINS OF THE FIRST WORLD WAR (Longman), Paperback
Robert Paxton, THE ANATOMY OF FASCISM (Knopf), Paperback
A.J.P. Taylor, THE ORIGINS OF THE SECOND WORLD WAR (Simon & Schuster), Paperback
Eugen Weber, THE HOLLOW YEARS (W.W. Norton), Paperback
Optional Texts:
R.J.B. Bosworth, MUSSOLINI (Oxford University Press), Paperback
Ian Kershaw, HITLER: 1936-1945: NEMESIS (W.W. Norton), Paperback
George Orwell, HOMAGE TO CATALONIA (Harcourt), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459
| Summer 2008 |
Teter,Magda
06/23/2008 - 08/01/2008
Tuesday & Thursday 05:30 PM - 08:30 PM
Public Affairs Center 421
This course will focus on mutual attitudes and interaction between Jews, Christians, and Muslims in the premodern period. We will examine how each religious tradition constructed "the Other," trying to find answers to the following questions: What was the Jews' attitude toward non-Jews? How did Jews fare in Christian and Muslim traditions? We will also discuss the relationship between religious ideals present in sacred texts and prescriptive literature of each tradition and historical reality of everyday life: Were all the laws applied to daily intercourse?
We will read considerable sections of the Hebrew Bible, New Testament, the Qur'an, the Talmud, the Church fathers, and later works, including rabbinic response, polemical works, and legal documents.
Responses to readings will be expected as well as a research paper.
This course will not meet on Thursday, July 3rd, and a make-up meeting will be held on Tuesday, August 5th.
A syllabus for this course is available at:
Course Syllabus
Magda Teter (M.A., Warsaw University; M.A., M.Phil., Ph.D., Columbia University) is associate professor of history. As a scholar of Jewish history and of early modern religious and cultural history, she specializes in Jewish-Christian relations. Her book, Jews and Heretics in Catholic Poland: A Beleaguered Church in the Post Reformation Era, (Cambridge University Press, 2006), challenges the perception that the Catholic Church triumphed in Poland and demonstrates the superficiality of the re-Catholicization of the ruling elites, whose economic interests trumped their religious loyalties. She is currently working on a book that seeks to further the understanding of social dynamics of religious violence and coexistence between Jews and Christians in early modern Poland.Click here for more information about Magda Teter.
ENROLLMENT INFORMATION
Open to Auditors: Yes
Consent of Instructor Required: No
|
Format: Seminar | Level: GLSP | Credits: 3 | Enrollment Limit: 18 |
Harold Attridge, THE HARPERCOLLINS STUDY BIBLE (HarperOne), Hardcover
Robert Chazan, CHURCH, STATE, AND JEW IN THE MIDDLE AGES (Behrman House), Paperback
Shlomo Eidelberg, THE JEWS AND THE CRUSADERS (Ktav Publishing House), Paperback
Jacob Katz, EXCLUSIVENESS AND TOLERANCE (Behrman House), Paperback
Mary Rampolla, A POCKET GUIDE TO WRITING IN HISTORY (Bedford/St. Martin's), Paperback
Norman Stillman, JEWS OF ARAB LANDS (Jewish Publications Society), Paperback
Isadore Twersky, MAIMONIDES READER (Behrman House), Paperback
READING MATERIALS ARE AVAILABLE AT BROAD STREET BOOKS, 45 BROAD STREET, MIDDLETOWN, 860-685-7323 Order your books online
| Register for Courses |
Contact
glsinquire@wesleyan.edu to submit comments or suggestions.
Copyright Wesleyan University, Middletown, Connecticut, 06459