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Humanities Department Area Studies Concentrations (ASC) The Humanities Department at the Eastman School now offers Area Studies Concentrations to students who complete a minimum of three Eastman courses with a grade of B+ or higher in one of the following concentrations (with advisors): ASC in German Studies (Professor Steingröver- [email protected]) ASC in Italian Studies (Professor Bellina- [email protected]) ASC in French Studies (Professor Scheie- [email protected]) ASC in Theater and Performance (Professor Scheie- [email protected]) ASC in Literature (Professor Uselmann- [email protected]) ASC in Film Studies (Professor Baldo- [email protected]) ASC in Art History (Professor Durkin- [email protected]) ASC in History (Professor Pedersen- [email protected]) ASC in Politics (Professor Mackin- [email protected]) ASC in History and Politics (Professor Mackin- [email protected] and Professor Pedersen- [email protected]) ASC in Languages of the Repertoire (Professor Curren- [email protected]) Students interested in obtaining an ASC or learning more about the program should contact the faculty advisor for the respective concentration or speak with the Humanities department chair. Student is responsible for submitting a signed ASC Approval Form to the Registrar’s Office. Completed ASCs will appear on student transcripts. It’s not too late for Seniors to ASC—It’s not too early for Freshmen to ASC!
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Jul 06, 2018

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Page 1: Humanities Department Area Studies Concentrations (ASC) · Humanities Department Area Studies Concentrations ... We will study the golden age of expressionist cinema during the ...

Humanities Department Area Studies Concentrations (ASC)

The Humanities Department at the Eastman School now offers Area Studies Concentrations to students who complete a minimum of three Eastman courses with a grade of B+ or higher in one of the following concentrations (with advisors):

• ASC in German Studies (Professor Steingröver- [email protected])

• ASC in Italian Studies (Professor Bellina- [email protected])

• ASC in French Studies (Professor Scheie- [email protected])

• ASC in Theater and Performance (Professor Scheie- [email protected])

• ASC in Literature (Professor Uselmann- [email protected])

• ASC in Film Studies (Professor Baldo- [email protected])

• ASC in Art History (Professor Durkin- [email protected])

• ASC in History (Professor Pedersen- [email protected])

• ASC in Politics (Professor Mackin- [email protected])

• ASC in History and Politics (Professor Mackin- [email protected] and Professor Pedersen- [email protected])

• ASC in Languages of the Repertoire (Professor Curren- [email protected])

Students interested in obtaining an ASC or learning more about the program should contact the faculty advisor for the respective concentration or speak with the Humanities department chair. Student is responsible for submitting a signed ASC Approval Form to the Registrar’s Office. Completed ASCs will appear on student transcripts.

It’s not too late for Seniors to ASC—It’s not too early for Freshmen to ASC!

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ASC in GERMAN STUDIES (Advisor: Professor Steingröver) Successful completion of this concentration of at least three courses with a grade of B+ or better certifies a level of proficiency in the German language at the level of 202 or higher, combined with additional study of the history, society, and artistic culture of Germany and/or other parts of the German-speaking world. GER 202: Intermediate German This fourth semester German course continues the study of the German language on a more complex level. Elementary grammatical structures will be briefly reviewed but the goal of this course is to move students from drills and textbook study to free expression in German. Students finish the course by reading a drama or novel in German. GER 221: Advanced German: Exploring Berlin This course is designed to improve language skills of students with at least four semesters of college German. By focusing on the history and culture of Germany’s capital Berlin, students will read a variety of sources about Berlin’s architecture, history, literature, and the arts. Students will learn to analyze literary and non-literary sources, as well as films in German and are required to compose significant papers in German. The focus will be on 20th century topics. GER 222: Advanced German: German Romantic Poetry This advanced German class introduces students to major works of German literature from the period between 1780 and 1830. In addition to reading poetry by Goethe, Schiller, Brentano, Eichendorff, Tieck, Hölderlin, Heine, Novalis, and Mörike, we will study prose and dramatic works by Kleist, Lessing, Schiller, Goethe, and Hoffmann as well as philosophical writings by Schlegel, and Kant. Students should have completed four semesters of college German. Course language is German. GER 223: German Through Film This course is an advanced German course that is designed to increase students’ ability to speak and write in German, as well as improve reading and listening comprehension. Grammar will be reviewed only as it applies to students’ writing or reading. The course will offer an overview of German film history – or it may focus on a particular period and/ or genre. Course language is German. GER 225: Introduction to German Film This course provides an overview of cinematic production in Germany from the 1920s to the present. We will study the golden age of expressionist cinema during the Weimar inter-war years, Nazi cinema, East and West German films as well as examples of post unification cinema. We will study the films as artifacts as well as historical sources that reflect the rapid political and social changes of German society during the 20th century. We will view films by Robert Wiene Fritz Lang, Veit Harlan, Ernst Lubitsch, Leni Riefenstahl, Wolfgang Staudte, Frank Beyer, Wim Wenders, Werner Herzog, Rainer Maria Fassbinder, Helma Sanders Brahms, Doris Dörrie, and Angelina Maccarone among others. Films are in German with English subtitles, all readings and discussion will be in English. No previous knowledge of German or German culture necessary. Cross-listed as FS 225.

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GER 226: German Film After 1945 This course offers an overview of German film after WWII, i.e. the formation of two German national cinemas. In the East, the state run studio DEFA dominated all film production while the West established a complex system of state and privately sponsored film funding. Students will compare East and West German films, and learn about their respective historical and cultural context. Students will also study how German unification was reflected in East and West German films, and how unified Germany reorganized its film production system. Cross-listed as FS 226. GER 271: Brecht This course will introduce students to the works of Bertolt Brecht (1898-1956). As an influential playwright, prolific poet, philosopher and political thinker, Brecht has had a lasting impact on generations of writers. His work was directly affected by and responded to the political events of his time: World Wars 1 & 2, exile, and the building of socialist East Germany. We will consider his ideas on socialism, art and politics, art and pedagogy, high and low culture among others. The course will conclude with a few examples of more recent artists, who applied Brechtian concepts in their own works. GER 276: Kafka Born in Prague of German-Jewish descent, Franz Kafka was one of the most daring and experimental storytellers of the modern period. Many regard him as the first existentialist writer. In this course we will read one of his novels—The Trial—as well as shorter works such as his parables and paradoxes, short stories, and excerpts from his letters and diaries. Although all of his novels remained unfinished and unpublished at the time of his death, he would become one of the most influential figures in all of twentieth-century literature. His works would continue to shape those of later authors such as Samuel Beckett, Jorge Luis Borges, Italo Calvino, Thomas Bernhard, and Paul Auster, whose works we will read this semester. All readings and discussions will be in English, although students who wish to read some or all of the works in German will be encouraged to do so. Cross-listed as ENG 276. GER 281/282: Various Topics in German Studies Topics vary from year to year. May be repeated under different course titles for credit.

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ASC in ITALIAN STUDIES (Advisor: Professor Bellina) Successful completion of this concentration of at least three courses with a grade of B+ or better certifies a level of proficiency in the Italian language at the level of 202 or higher, combined with additional study of the history, society, and artistic culture of Italy and/or other parts of the Italian-speaking world. IT 101 & IT 102 : Elementary Italian I & II This two-semester sequence is an introduction to Italian language with an emphasis on all four skills—speaking, reading, writing, listening comprehension—for students with no previous knowledge of the language. The course will focus on building a basic vocabulary, grammar structures and syntax. Students with prior study of Italian must contact the instructor for a placement test. IT 101G & IT 102G: Elementary Italian I & II Review Same two-semester sequence as IT 101 and IT 102 with a separate “G” designation for graduate students who may take it for one credit. IT 201 & IT 202: Intermediate Italian I & II This is a two-semester sequence that reinforces and systematizes Italian grammar and syntax. The courses aim at an intensive review of elementary grammatical structures and the study of grammar exceptions, at lexical enrichment through special uses of language, and at the improvement of speaking and writing ability. Students will be exposed to a variety of genres (literature, poetry, comics, films, newsreels, documentaries, music blogs) to better grasp language through cultural material. Prerequisite: IT 102 or equivalent. IT 201G & IT 202G: Intermediate Italian I & II Review Same two-semester sequence as IT 201 and IT 202 with a separate “G” designation for graduate students who may take it for one credit. IT 221: Italian Conversation and Composition Advanced Italian course designed to improve students speaking and writing skills. The course aims at an intense review of Italian grammar, syntax, and vocabulary through a full immersion journey in contemporary Italian culture in Italy and in the US. Students will develop their language and writing skills while reading blogs, newspapers articles, novels, watching Italian TV shows and documentaries, travelling through the Italian peninsula and the US with journalist Beppe Severgnini’s video journal and online material. Students should have completed two or more semesters of college level Italian courses. IT 223: Italian through Theater Advanced Italian course designed to improve and consolidate students' ability to speak and write in Italian, as well as increase listening and reading comprehension through the Italian theater and its characters, from la commedia dell’arte up to contemporary theater. Grammar and vocabulary will be reviewed in relation to the topics of the plays analyzed in class. The course offers an overview of commedia dell’arte, 19th and 20th century Italian theater up to contemporary teatro di narrazione. The course will include the final staging of a short play. The course will be taught in Italian.

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IT 224: Italian through Cinema Advanced Italian course designed to improve and consolidate students' ability to speak and write in Italian, as well as increase listening and reading comprehension. Grammar and vocabulary will be reviewed in relation to the topic of the movies analyzed in class. The course offers an overview of contemporary Italian cinema or it may focus on a particular period and / or genre. The course will be taught in Italian and will include video assignments. IT 231/FS 231: Introduction to Italian Cinema I (in English) Course designed to provide an overview of Italian cinema from the ear (1914) by Giovanni Pastrone, to the present. The course will explore early Italian cinema from the 1910s -1930s, Fascist cinema, Neorealism, and Italian auteurs from the 1960s to the beginning of the twenty-first century to examine the role played by cinema in building Italian history and culture. We will examine, among others, films by Giovanni Pastrone, Carmine Gallone, Roberto de Sica, Vittorio De Sica, Luchino Visconti, Federico Fellini, Pier Paolo Pasolini, Ettore Scola, Ermanno Olmi, Marco Bellocchio, Gianni Amelio, Marco Tullio Giordana. Films will be in Italian with English subtitles. All readings and class discussions will be in English. No previous knowledge of Italian language/culture is necessary. IT 232/FS 232: Italian Neorealism: Cinema and Culture (in English) How did films like Rome Open City, Paisà, or Bicycle Thieves move the world with iconic images of 1945 Italy's liberation? How was the attempt to portray ordinary people's lives in Rome so successful to change the history of Cinema? How were Neorealist directors able to invent a new artistic language to capture reality? In this course we analyze the evolution of the Italian Neorealist movement in cinema and culture though its major directors (Rossellini, De Sica, Fellini, Visconti) and the writers that defined its spirit (Calvino, Vittorini, Silone, Zavattini). IT 233: Italian Theater (in Italian) The course explores the history of Italian Theater from the 1500s to the present. It starts from the analysis of the most successful authors of contemprorary “teatro di narrazione” and focuses on the practice of theater as socio-cultural commentary on Italian history. From there, it moves Dario Fo’s Mistero Buffo, tracing down its orgins in Carlo Goldoni and the commedia dell’arte tradition, to Luigi Pirandello’s theater and the Neapolitan tradition with Eduardo De Filippo and Eduardo Scarpetta. It examines 19th century theater (Giovanni Verga and Versim) up to 16th century theater (Niccolò Machiavelli and Pietro Aretino). IT 234/FS 234: Theories of Adaptation: Literature, Cinema, and Opera (in English) In this course we will be studying how Italian legendary cinema and opera directors such as Roberto Rossellini, Luchino Visconti, Federico Fellini, Franco Zefirelli, Liliana Cavani, and Ermanno Olmi have adapted into film, theater production, and ballet literary masterpieces that span from Petronius’s Satyricon and Shakespeare’s Romeo and Juliet, to Boito’s Senso, and to Verga’s Cavalleria Rusticana. We will also analyze how they have adapted into cinema historical events such as the 16th wars between the Guelphs and the Ghibellines and witch hunting in Europe, paying particular attention to how they have used opera music, particularly Verdi’s music.

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IT 235: Viva V.E.R.D.I! The Birth of Italy through Literature, Opera, & Popular Culture (in English) The course explores how music and literature fostered the creation of the Italian myth starting from the 1815-1820 Italian insurrections that led to Risorgimento, the unification process through which Italy became a modern united country in 1861. We will examine how opera, operetta, popular songs, and literature had such a key role in this process that Giuseppe Verdi’s last name epitomized through the popular revolutionary motto Viva VERDI! the acronym standing for Viva Vittorio Emanuele Re D’Italia (Long Live Victor Emmanuel King of Italy!). IT 282/FS 282: Modern Italy: Cities and Landscapes through Cinema, Music, Literature (in English) How have Italy’s diversified cities and regions shaped the Italians from the 1850s up to present day? How have the Italians interacted with them? This course focuses on how Italian history and geography has crafted Italian culture, music, and cinema, giving Italy its unique character on the European scene. We will examine how some well-known musicians (Verdi, Puccini, Mascagni), filmmakers (Visconti, Fellini, Olmi, Garrone, Sorrentino) writers (Verga, Manzoni, Serao, Calvino, Ferrante, Saviano), photographers, and artists have represented cities like Rome, Florence, Naples, Venice, and Milan and regions like Sicily, the Po Valley and Tuscany in relation to their rich historical, cultural, social and culinary traditions.

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ASC in FRENCH STUDIES (Advisor: Professor Scheie) Successful completion of this concentration of at least three courses with a grade of B+ or better certifies a level of proficiency in the French language at the level of 202 or higher, combined with additional study of the history, society, and artistic culture of France and/or other parts of the French-speaking world. The French Studies concentration has a three-course minimum distributed across two components: I. French language study:

The student will take at least one course taught in French at the 202 (fourth-semester) level or higher. Some possibilities include: FR 202: Intermediate French Students will work on proficiency in speaking and writing through the study of French culture and texts. Prerequisite: French 201 or equivalent. FR 211, 212: Survey of French Literature Reading and discussion of French literary texts of a selected period, movement, or genre. Additional emphasis on developing a broad critical vocabulary in discussion and on perfecting written expression in short papers. All coursework done in French. Prerequisite: FR 201 or equivalent or permission of the instructor. May be repeated under different subject for credit. FR 221: Advanced French: le cinéma français Taught in French. In this advanced French course, designed for students in their 5th or 6th semester of college-level study, students will watch, discuss, and write about important films in the history of French cinema. Beginning with the first screening of a film in Paris in 1895, we will study films of Georges Méliès, Jean Renoir, the French “new wave,” and contemporary cinema. A review of French grammar accompanies the study of film. Prerequisite: FR 112 or permission of instructor. Cross- listed as FS 221

II. Electives in French studies: The student will take at least two additional courses that place a primary focus on French and/or Francophone history, society, and artistic culture. Some possibilities include: FR 231: French Theater of the Repertoire (in translation) A survey of French theater works that has inspired operatic adaptations. Emphasis on the historical and literary movements that produced these texts. Taught in English. FR 211, 212: Survey of French Literature Reading and discussion of French literary texts of a selected period, movement, or genre. Additional emphasis on developing a broad critical vocabulary in discussion and on perfecting written expression in short papers. All coursework done in French. Prerequisite: FR 201 or equivalent or permission of the instructor. May be repeated under different subject for credit.

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FR 221: Advanced French: le cinéma français Taught in French. In this advanced French course, designed for students in their 5th or 6th semester of college-level study, students will watch, discuss, and write about important films in the history of French cinema. Beginning with the first screening of a film in Paris in 1895, we will study films of Georges Méliès, Jean Renoir, the French “new wave,” and contemporary cinema. A review of French grammar accompanies the study of film. Prerequisite: French 112 or permission of instructor. Cross- listed as FS 221 . HIS 222: Modern France Alternately friends and rivals, modern France and the United States have had a complicated relationship ever since both nations were born in revolution at the end of the eighteenth century. This course will seek to understand France on its own terms by considering a series of formative events such as the Revolution of 1848, the Franco-Prussian War and the Paris Commune, the Dreyfus Affair and the birth of the intellectual, the very different experiences of World Wars I and II, the post-colonial conflicts in Algeria and Vietnam, the near-revolution of May 1968, and current French and American arguments over French foreign and domestic policy. HIS 272: Existentialism: Sartre, De Beauvoir, and Camus Existentialism is a school of philosophy that stresses individual choice even in the face of overwhelming world circumstances. This course will focus on three particularly important French figures, all writers who tried to put academic philosophy into action by their decisions in personal life and political behavior: Jean-Paul Sartre (1905-1980), Simone de Beauvoir (1908-1986), and Albert Camus (1913-1960). In addition to studying their philosophical work, we will also look at their participation in the Resistance to German occupation during World War II, their responses to the Cold War, their criticisms of the Algerian War and the Vietnam War, and their contributions to twentieth-century socialist and feminist movements. Readings include plays, novels, philosophical essays, and political criticism. Taught in English. Cross-listed as FR 272, PHL 272, WST 272. HIS 281: Romanticism & Revolution Beethoven's obsession with Napoleon, Berlioz' obsession with the guillotine, Hugo's obsession with crime, punishment, poverty, and injustice… This course studies how and why revolutionary romantic composers, painters, novelists, poets, and political activists told so many stories of great men, beautiful women, their highest highs, and their lowest lows. We will focus on works by figures such as Beethoven, Berlioz, Delacroix, Géricault, Hugo, Sand, Tristan, and Turner. HIS 282: Stravinsky’s Paris Inspired by the recent centennial of the Paris premier of the Rite of Spring, this course focuses on Stravinsky’s relationship with the City of Light by reading his memoirs, exploring his compositions, watching the ballets they inspired, studying the work of the other artists he interacted with, thinking about the impact of major historical events such as the First World War, the Russian Revolution, the Great Depression, and the outbreak of the Second World War, and considering Stravinsky’s multiple contributions to European and American cultural life in his day and in ours. HIS 281/282: The Ballets Russes

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This course explores the history of creative collaborations in the arts by focusing on the example of the Ballets Russes, the pioneering Russian dance troupe that combined works by modern composers such as Claude Debussy, Eric Satie, and Igor Stravinsky; modern choreographers such as Georges Balanchine and Vaslav Nijinsky; avant-garde artists such as Natalya Goncharova, Marie Laurencin, Henri Matisse, Joan Miró, and Pablo Picasso; experimental literary figures such as Jean Cocteau and André Gide; and iconic fashion designers such as Coco Chanel.

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ASC in THEATER AND PERFORMANCE (Advisor: Professor Scheie) Completion of this concentration certifies that a student has taken a minimum of three courses with primary focus on theater, dramatic literature, and/or performance. Students must complete each qualifying course with a grade of B+ or better. Courses currently offered that qualify for this concentration include: ENG 205: The Elizabethan Shakespeare An intensive study of plays and poetry from the first half of Shakespeare’s career. Besides getting to know Shakespeare’s characters intimately, we will study the place of his plays within one of the most vibrant cultures in all of history, Elizabethan England. As tools to help us understand the plays, we will discuss the importance of pageantry and spectacle in Elizabethan politics; the place of the stage in social struggles; the subordination (and insubordination) of women; the nature of the family; Elizabethan holidays; ghosts, fairies, and other popular superstitions; anti-semitism in Shakespeare’s London; religious conflict during the Tudor period; attacks on the theatres by middle-class Puritans; and significant events in Queen Elizabeth’s long and fruitful reign that are reflected in Shakespeare’s plays. When a good film version is available (or two or more contrasting versions), we will watch excerpts from the plays on film. Throughout the semester, we will approach the plays as entertainments to be performed as well as texts to be read. We will examine the structure of Elizabethan theatres and consider problems and advantages of staging plays in those theatres. Our goal will be this: by the end of the semester, you will enjoy an easy familiarity with Shakespeare, so that you may revisit him often during your lives as a favorite author rather than an intimidating genius, and return to his plays as engaging and imaginative entertainments rather than calcified masterpieces. ENG 206: The Jacobean Shakespeare A continuation of English 205: an intensive study of plays from the second half of Shakespeare’s career, concentrating on the tragedies and romances. ENG 208: Shakespeare’s History Plays England’s threat of invasion by the Spanish Armada in 1587, followed by the Armada’s defeat in 1588 in a tempest that the English interpreted as miraculous and providential, produced a period of intense national crisis followed by one of great national pride and rejoicing. In the decade that followed the Armada’s destruction, plays about English history became very popular on London’s public stages. In his own lifetime, Shakespeare’s history plays were the most popular of all his plays. Our time has witnessed a steadily growing interest in these plays on the part of actors, scholars, and teachers of Shakespeare. Shakespeare’s history plays do not merely celebrate English nationhood in the wake of England’s great victory at sea; they also examine the meaning of recent English history for their time—and for subsequent times as well. They can be read profitably by any generation for their complex analysis of the varieties of leadership and heroism. Above all, they are wonderful examples of how a nation’s present helps to mold, and is in turn molded by, its sense of its own past. In this course we will study five plays by William Shakespeare and one by his contemporary, rival playwright Christopher Marlowe.

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ENG 254: Contemporary American Theater A survey of American theater and performance of the last few decades. Emphasis is placed on how different identities within American society (gendered, racial, and sexual identity) are represented on the stage. ENG 259/HUM 259: Performance Art Futurism, Dada, Surrealism, Cage’s 4’33”, Happenings, “Body Art,” Performance Art: over the last 100 years a new kind of performance has emerged. Provocative, sometimes absurd, and often radical, a broader definition of performance overflows traditional “Aristotelian” theater to question the boundaries between representation and reality, audience and stage, sense and non-sense, music and sound, and body and self. In this class we will depart from traditional theater to study significant performances of the last 100 years, and what their creators and critics said about them. Cross-listed as HUM 259. FR 231: French Theater of the Repertoire (in translation) A survey of French theater works that has inspired operatic adaptations. Emphasis on the historical and literary movements that produced these texts. Taught in English. GER 271: Brecht This course will introduce students to the works of Bertolt Brecht (1898-1956). As an influential playwright, prolific poet, philosopher and political thinker, Brecht has had a lasting impact on generations of writers. His work was directly affected by and responded to the political events of his time: World Wars 1 & 2, exile, and the building of socialist East Germany. We will consider his ideas on socialism, art and politics, art and pedagogy, high and low culture among others. The course will conclude with a few examples of more recent artists, who applied Brechtian concepts in their own works. HIS 281/282: The Ballets Russes This course explores the history of creative collaborations in the arts by focusing on the example of the Ballets Russes, the pioneering Russian dance troupe that combined works by modern composers such as Claude Debussy, Eric Satie, and Igor Stravinsky; modern choreographers such as Georges Balanchine and Vaslav Nijinsky; avant-garde artists such as Natalya Goncharova, Marie Laurencin, Henri Matisse, Joan Miró, and Pablo Picasso; experimental literary figures such as Jean Cocteau and André Gide; and iconic fashion designers such as Coco Chanel. IT 223: Italian through Theater (in Italian) Advanced Italian course designed to improve and consolidate students' ability to speak and write in Italian, as well as increase listening and reading comprehension through Italian theater and its characters, from la commedia dell’arte up to contemporary Italian theater icons. Grammar and vocabulary will be reviewed in relation to the topic of the plays and films analyzed in class. The course offers an overview of commedia dell’arte, 19th and 20th century Italian theater up to contemporary teatro di narrazione. The course will include the final staging of a short play. The course will be taught in Italian.

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IT 233: Italian Theater (in Italian) The course explores the history of Italian Theater from the 1500s to the present. It starts from the analysis of the most successful authors of contemprorary “teatro di narrazione” and focuses on the practice of theater as socio-cultural commentary on Italian history. From there, it moves Dario Fo’s Mistero Buffo, tracing down its orgins in Carlo Goldoni and the commedia dell’arte tradition, to Luigi Pirandello’s theater and the Neapolitan tradition with Eduardo De Filippo and Eduardo Scarpetta. It examines 19th century theater (Giovanni Verga and Versim) up to 16th century theater (Niccolò Machiavelli and Pietro Aretino).

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ASC in LITERATURE (Advisor: Professor Uselmann) ENG 151: Creative Writing Introduction to the creative writing process, with emphasis on poetry or short stories. Includes reading and discussion of student work. Specific focus may vary from semester to semester. May be taken (with permission) more than once if on a different topic. ENG 205: The Elizabethan Shakespeare An intensive study of plays and poetry from the first half of Shakespeare’s career. Besides getting to know Shakespeare’s characters intimately, we will study the place of his plays within one of the most vibrant cultures in all of history, Elizabethan England. As tools to help us understand the plays, we will discuss the importance of pageantry and spectacle in Elizabethan politics; the place of the stage in social struggles; the subordination (and insubordination) of women; the nature of the family; Elizabethan holidays; ghosts, fairies, and other popular superstitions; anti-semitism in Shakespeare’s London; religious conflict during the Tudor period; attacks on the theatres by middle-class Puritans; and significant events in Queen Elizabeth’s long and fruitful reign that are reflected in Shakespeare’s plays. When a good film version is available (or two or more contrasting versions), we will watch excerpts from the plays on film. Throughout the semester, we will approach the plays as entertainments to be performed as well as texts to be read. We will examine the structure of Elizabethan theatres and consider problems and advantages of staging plays in those theatres. Our goal will be this: by the end of the semester, you will enjoy an easy familiarity with Shakespeare, so that you may revisit him often during your lives as a favorite author rather than an intimidating genius, and return to his plays as engaging and imaginative entertainments rather than calcified masterpieces. ENG 206: The Jacobean Shakespeare A continuation of English 205: an intensive study of plays from the second half of Shakespeare's career, concentrating on the tragedies and romances. ENG 208: Shakespeare’s History Plays England’s threat of invasion by the Spanish Armada in 1587, followed by the Armada’s defeat in 1588 in a tempest that the English interpreted as miraculous and providential, produced a period of intense national crisis followed by one of great national pride and rejoicing. In the decade that followed the Armada’s destruction, plays about English history became very popular on London’s public stages. In his own lifetime, Shakespeare’s history plays were the most popular of all his plays. Our time has witnessed a steadily growing interest in these plays on the part of actors, scholars, and teachers of Shakespeare. Shakespeare’s history plays do not merely celebrate English nationhood in the wake of England’s great victory at sea; they also examine the meaning of recent English history for their time—and for subsequent times as well. They can be read profitably by any generation for their complex analysis of the varieties of leadership and heroism. Above all, they are wonderful examples of how a nation’s present helps to mold, and is in turn molded by, its sense of its own past. In this course we will study five plays by William Shakespeare and one by his contemporary, rival playwright Christopher Marlowe.

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ENG 242: Lyric Poetry A study of the major forms of lyric poetry, exploring poems from several historical periods (Renaissance, neo-classical, romantic, modern, and postmodern) and paying particular attention to modern and contemporary reinterpretations of traditional forms like the haiku, renga, ode, elegy, sonnet, ballad, sestina, pantoum, and villanelle. From time to time, we will remind ourselves of lyric poetry’s historical associations with music, and I will encourage students to explore musical settings of the poetry we read. ENG 247: Modern American Poetry We will devote the first weeks of the semester to late nineteenth-century poets Walt Whitman and Emily Dickinson, the founding parents of modern American poetry. Most of the semester will be devoted to the twentieth century, when an astounding variety and number of original poetic voices proliferated in America. We will study selected works of a wide range of poets, including Robert Frost, Ezra Pound, T. S. Eliot, Wallace Stevens, Edna St. Vincent Millay, e.e.cummings, Langston Hughes, and William Carlos Williams, among many others. ENG 248: Contemporary American Poetry In this course we will explore and map the rich and varied landscape of contemporary American poetry from the Second World War to the present. I have designed it to be a continuation of the course on “Modern American Poetry” offered last semester, though that course is not a prerequisite for the current one. This semester we will study intensively selected works of a wide range of poets, including A. R. Ammons, John Ashbery, Elizabeth Bishop, Gwendolyn Brooks, Robert Creeley, Rita Dove, Robert Lowell, James Merrill, W. S. Merwin, Frank O’Hara, Robert Pinsky, Sylvia Plath, Adrienne Rich, and Anne Sexton, among others. Our method will be the close study of selected poets and their work, not a broad survey of the field. Without losing sight—or sound—of our poets’ distinctive voices, we will identify major trends in American poetry over the past four decades. ENG 254: Contemporary American Theater A survey of American theater and performance of the last few decades. Emphasis is placed on how different identities within American society (gendered, racial, and sexual identity) are represented on the stage. ENG 259: Performance Art Futurism, Dada, Surrealism, Cage’s 4’33”, Happenings, “Body Art,” Performance Art: over the last 100 years a new kind of performance has emerged. Provocative, sometimes absurd, and often radical, a broader definition of performance overflows traditional "Aristotelian" theater to question the boundaries between representation and reality, audience and stage, sense and non-sense, music and sound, and body and self. In this class we will depart from traditional theater to study significant performances of the last 100 years, and what their creators and critics said about them. Cross-listed as HUM 259. ENG 263: The Short Story According to an old rabbinical saying, “God made people because he loves stories.” The richness and diversity of the world’s storytelling traditions reflects the variety of people—and peoples—in the world. “We are the stories we tell,” according to the title of a recent collection of stories by and about women. The craft of storytelling is nothing less than the primary way in which peoples and cultures shape and

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define themselves. This course offers a small but rich sampling of those stories: the literary short story as it developed over the past two centuries, with an emphasis on modern innovators such as Anton Chekhov, Charlotte Perkins Gilman, James Joyce, Ernest Hemingway, Virginia Woolf, Franz Kafka, and William Faulkner. Contemporary innovations and experiments in the short story form the coda of the course. Along the way, we will discuss the special features and capabilities of the short story: how it differs from other literary forms and what it can accomplish that its larger, obese cousin, the novel, cannot. ENG 266: Contemporary Fiction Introduction to late twentieth- and twenty-first century literature, concentrating on British, European, American, women's literature, black writers, science fiction, or Third World literature. ENG 274: Topics in the Novel Topics will vary. May be repeated under different subject for credit. ENG 275: Faulkner One might have expected modernism in American literature to originate in the great cities of the north. Instead it was to be a Southerner from a small town who did more than any other author to bring the modernist spirit of innovation and experimentation to American fiction. We will immerse ourselves in the work of the most original and powerful American fiction writer of the twentieth century, exploring the construction of racial and gender differences in America; issues of regional and national identity; competing constructions of American's past, particularly the Civil War and its aftermath; and the use and abuse of individual and collective memory. We will read several novels and short stories by our author. We will also briefly explore his career as a scriptwriter in Hollywood. ENG 276: Kafka Born in Prague of German-Jewish descent, Franz Kafka was one of the most daring and experimental storytellers of the modern period. A Jewish mystic to some commentators, the first existentialist writer to others, Kafka had the dubious distinction of having his writings suppressed under both Nazi and Communist regimes. In this course we will read one of his novels—The Trial—as well as shorter works such as his parables and paradoxes, short stories, and excerpts from his letters and diaries. Although all of his novels remained unfinished and unpublished at the time of his death, he would become one of the most influential figures in all of twentieth-century literature. A 1984 exhibit on Central European culture at the Georges Pompidou Centre in Paris christened the twentieth century as “Le Siècle de Kafka” (The Century of Kafka). His writings would continue to shape those of later authors such as Samuel Beckett, Jorge Luis Borges, Italo Calvino, Thomas Bernhard, and Paul Auster, whose works we will read in the second half of this semester. All readings and discussions will be in English, although students who wish to read some or all of the works in German will be encouraged to do so. Cross-listed as GER 276. ENG 278: Virginia Woolf and Her World A study of major fiction and selected nonfiction by one of the world's great modern writers and social thinkers, this course focuses on understanding Virginia Woolf’s writings in relation both to her life and to the social, cultural, political, and economic developments of her time, especially the impact of the two World Wars, the spread of modernism across the arts, the increasing popularity of psychoanalysis, and the rise of the modern women’s movement.

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ENG 279: James Joyce An intensive study of two of Joyce's major works of narrative fiction - A Portrait of the Artist As a Young Man and Ulysses - as well as some of his poetry, critical writings, and letters. We also seek to situate the works in various historical contexts that shed light on Joyce's fiction, including the rise of modernism, Irish nationalism, Anglo-Irish relations, Joyce's musical background and its relation to his fiction, and Joyce's life. ENG 281, 282: Topics in Literature Topics vary from year to year. Recent topics focus on authors, periods, genre or themes such as drama, Romantic literature, or musicians in literature. May be repeated under different subject for credit. FR 211, 212: Survey of French Literature Reading and discussion of French literary texts of a selected period, movement, or genre. Additional emphasis on developing a broad critical vocabulary in discussion and on perfecting written expression in short papers. All coursework done in French. Prerequisites: FR 201 or equivalent or permission of the instructor. May be repeated under different subject for credit. FR 221: Advanced French: le cinéma français Taught in French. In this advanced French course, designed for students in their 5th or 6th semester of college-level study, students will watch, discuss, and write about important films in the history of French cinema. We will study films of Georges Méliès, Jean Renoir, the French “new wave,” and contemporary cinema. A review of French grammar accompanies the study of film. Prerequisite: French 112 or permission of instructor. Cross-listed as FS 221. FR 231: French Theater of the Repertoire (in translation) A survey of French theater works that has inspired operatic adaptations. Emphasis on the historical and literary movements that produced these texts. Taught in English. FR 281, 282: Topics in French Literature Topics vary from year to year. May be repeated under different subject for credit. GER 222: Advanced German: German Romantic Poetry This advanced German class introduces students to major works of German literature from the period between 1780 and 1830. In addition to reading poetry by Goethe, Schiller, Brentano, Eichendorff, Tieck, Hölderlin, Heine, Novalis, and Mörike, we will study prose and dramatic works by Kleist, Lessing, Schiller, Goethe, and Hoffmann as well as philosophical writings by Schlegel, and Kant. Students should have completed four semesters of college German. Course language is German. GER 271: Brecht This course will introduce students to the works of Bertolt Brecht (1898-1956). As an influential playwright, prolific poet, philosopher and political thinker, Brecht has had a lasting impact on generations of writers. His work was directly affected by and responded to the political events of his time: World Wars 1 & 2, exile, and the building of socialist East Germany. We will consider his ideas on socialism, art and politics, art and pedagogy, high and low culture among others. The course will

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conclude with a few examples of more recent artists, who applied Brechtian concepts in their own works.

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ASC in FILM STUDIES (Advisor: Professor Baldo) FS 251: Hollywood Film This introductory course on Hollywood film from the silent era to the present will emphasize formal analysis and the cultural history of American film and the film industry. Students will learn basic terms of film criticism as well as how to write essays about films. We will also explore questions of how social, economic, and political factors have driven the development of film as a popular art form. Pursuing the history of movies in America will take us through the early history of movie culture; the development and collapse of the studio system; the causes, effects, and eventual demise of the production code; the advent of color and sound; the red scare and HUAC; Hollywood’s responses to the Second World War; the effects of competition with television on the movie industry; the collapse of the studio system; and the rise of independent cinema. We will also focus on major genres (including screwball comedy, film noir, and the western) and directors, including Chaplin, von Sternberg, Welles, Hitchcock, Wilder, Polanski, Altman, and Lee. FS 210: European Art Cinema An examination of the wide array of styles and movements in Western European cinema that had a profound influence on American filmmakers after the Second World War. We will study individual films and directors—for example, Ingmar Bergman, Vittorio de Sica, Federico Fellini, and Luis Bunuel—in the contexts of broader artistic movements and the historical events that influenced them. No previous study of film is required. FS 221: Advanced French: le cinéma français Taught in French. In this advanced French course, designed for students in their 5th or 6th semester of college-level study, students will watch, discuss, and write about important films in the history of French cinema. Beginning with the first screening of a film in Paris in 1895, we will study films of Georges Méliès, Jean Renoir, the French “new wave,” and contemporary cinema. A review of French grammar accompanies the study of film. Prerequisite: French 112 or permission of instructor. Cross-listed as FR 221. FS 225: Introduction to German Film This course provides an overview of cinematic production in Germany from the 1920s to the present. We will study the golden age of expressionist cinema during the Weimar inter-war years, Nazi cinema, East and West German films as well as examples of post unification cinema. The course will study the films as artifacts as well as historical sources that reflect the rapid political and social changes of German society during the 20th century. We will view films by Robert Wiene Fritz Lang, Veit Harlan, Ernst Lubitsch, Leni Riefenstahl, Wolfgang Staudte, Frank Beyer, Wim Wenders, Werner Herzog, Rainer Maria Fassbinder, Helma Sanders Brahms, Doris Dörrie and Angelina Maccarone among others. Films are in German with English subtitles, all readings and discussion will be in English. No previous knowledge of German or German culture necessary. Cross-listed as GER 225. FS 226: German Film After 1945 This course offers an overview of German film after WWII, i.e. the formation of two German national cinemas. In the East, the state run studio DEFA dominated all film production while the West established a complex system of state and privately sponsored film funding. Students will compare East

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and West German films, and learn about their respective historical and cultural context. Students will also study how German unification was reflected in East and West German films, and how unified Germany reorganized its film production system. Cross-listed as GER 226. FS 243: Avant-garde Film: History & Practice This course is as experimental as its topic: avant-garde film. We will divide our time equally between studying the history of experimental film from its beginnings in the 1920s to the present and learning how to produce our own films in response. No previous knowledge or skills are required but students should be curious about art film, and interested in learning how to express themselves visually. FS 250: Studies in Film Genres An exploration of one or more major film genres. Topics will vary, and may include the study of the Hollywood studio system, the “classical” Hollywood style, and recent developments in genre theory. May be repeated if on a different topic. FS 252: The Hollywood Western Between the beginnings of cinema and the collapse of the studio system in the 1960s, Hollywood produced vast numbers of westerns: the history of the western is, to some extent, that of Hollywood itself. The western is also for many scholars and spectators the quintessential film genre, yet at the same time its variety and evolution challenge attempts to establish a single formula, structure, or ideology that would characterize the genre. In this course we will study how the portrayal of landscape, gender, nationalism, and race (the “Indian question”) are shaped by the history of Hollywood itself from the origins of cinema to contemporary films. FS 254: Documentary Film This course explores the many facets of documentary filmmaking from its early beginnings as “actualities” in the 1910s through the romanticized ethnographic views of “Nanook of the North”(1922), propaganda films of the 1940s, cinéma vérité of the 1960s to current popular films such as “An Inconvenient Truth.” Directors studied include Flaherty, Vertov, Riefenstahl, Morris, Herzog, Moore, Gore and Melitopolous. FS 260: Cinema Auteurs Directors who manage to put their unique stamp on films are often called “auteurs.” The study of a major director (or directors) in film history, and how they were able to find an individual voice in a medium that is generally collaborative. Topics might include an investigation of “auteur theory”. May be repeated if on a different topic. FS 262: Films of Alfred Hitchcock The films of Alfred Hitchcock are among those that can hold our fascination after many viewings. Dan Auiler, author of a book on the making of Vertigo, has written, “As I’ve experienced with Shakespeare, Hitchcock’s work reflects something of the viewer so that the film appears to change when watched from a different age.” Whether you’ve seen virtually all of Hitchcock films before or whether you’ve only heard of the famous director, I hope the films we watch and discuss this semester will hold your interest for a lifetime and prompt a sustained interest in film history. We will view and study fourteen of Hitchcock’s films in the context of the life and times of their director. We will consider his early work

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in Germany and England before moving on to his long career in Hollywood and his attempts to interpret his newly adopted country cinematically. The changing cultural contexts of his films—for example, American isolationism, the Second World War, postwar America, the Cold War, changing images of American domesticity, and the culture of psychoanalysis—will form more than a painted Hollywood set or colorful backdrop for our investigations: they will provide many of the clues for interpreting and understanding the deeper mysteries of Hitchcock’s films. This course does not presuppose any previous study of film analysis or film history. FS 270: Silent Cinema A survey of film before 1929, from the first films ever made to the Jazz Singer. In addition to studying the diverse purposes of early film (attraction, narrative, documentary) we will also explore how these films were programmed and exhibited, including the live musical accompaniments (for silent film was never truly silent). FS 281, 282: Topics in Film Studies Topics vary from year to year. May be repeated under different subject for credit. IT 224/FS 224: Italian through Cinema Advanced Italian course designed to improve and consolidate students' ability to speak and write in Italian, as well as increase listening and reading comprehension. Grammar and vocabulary will be reviewed in relation to the topic of the movies analyzed in class. The course offers an overview of contemporary Italian cinema or it may focus on a particular period and / or genre. The course will be taught in Italian and will include video assignments. IT 231/FS 231: Introduction to Italian Cinema I (in English) Course designed to provide an overview of Italian cinema from the ear (1914) by Giovanni Pastrone, to the present. The course will explore early Italian cinema from the 1910s -1930s, Fascist cinema, Neorealism, and Italian auteurs from the 1960s to the beginning of the twenty-first century to examine the role played by cinema in building Italian history and culture. We will examine, among others, films by Giovanni Pastrone, Carmine Gallone, Roberto de Sica, Vittorio De Sica, Luchino Visconti, Federico Fellini, Pier Paolo Pasolini, Ettore Scola, Ermanno Olmi, Marco Bellocchio, Gianni Amelio, Marco Tullio Giordana. Films will be in Italian with English subtitles. All readings and class discussions will be in English. No previous knowledge of Italian language/culture is necessary. IT 232/FS 232: Italian Neorealism: Cinema and Culture (in English) How did films like Rome Open City, Paisà, or Bicycle Thieves move the world with iconic images of 1945 Italy's liberation? How was the attempt to portray ordinary people's lives in Rome so successful to change the history of Cinema? How were Neorealist directors able to invent a new artistic language to capture reality? In this course we analyze the evolution of the Italian Neorealist movement in cinema and culture though its major directors (Rossellini, De Sica, Fellini, Visconti) and the writers that defined its spirit (Calvino, Vittorini, Silone, Zavattini).

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ASC in ART HISTORY (Advisor: Professor Durkin) This concentration recognizes students who show their interest and expertise in art history and in history as documented through visual art by completing a combination of three Art History courses at the 200 level or above with a grade of B+ or better. In certain cases, a student may apply to use an allied course in History, Performance Art, or one of the other arts as one of the three courses for this cluster – but the completed ASC in Art History must always include at least two Art History courses in the final ASC total of three. Possible Art History courses include: AH 213: History of Western Art The visual arts - across an ever-widening variety of media - testify to the universal human urge to create and communicate in shared pictorial languages. This fast-paced course introduces the basics of art appreciation and examines the dynamic development of art in Europe and the US from its roots in the Renaissance to the present. As we explore the changes in visual art, we will cross-reference the broader cultural context of different styles by considering contemporary history, literature and music. AH 281/282 : Romantic Art: Visions, Dreams & Nightmares Visual art in the Romantic era encompasses works which celebrate the most elevated dreams and hopes for humanity, as well as those which explore as the terrifying depths of the darkest corners in the human soul. In this course we will examine the powerful metaphor of nature, the concepts of the hero and anti-hero, the rising importance of nationalism and the image of the artist as an independent rebel in both Europe and the United States. AH 281/282 : Paths to Modernism: Art in Europe and America 1886-1918 Changes rocked the art world in the decades surrounding the turn of the 20th century as artists explored many different paths towards visual abstraction. This course will focus on the complex interrelationship of different dynamic movements which challenged and ultimately forever changed the definition of art and modernity, and their relationship to culture in Europe and the United States. AH 201/202: Aspects of American Art Is there art that is uniquely American? When and why did American artists consciously chose paths different from their European contemporaries? How has art been used to shape public opinion and taste in the United States? We will consider these issues and more by examining American art and architecture from 1750 - late 20th century. Some particularly good allied courses for the ASC in Art History include: ENG 259/HUM 259: Performance Art Futurism, Dada, Surrealism, Cage’s 4’33”, Happenings, “Body Art,” Performance Art: over the last 100 years a new kind of performance has emerged. Provocative, sometimes absurd, and often radical, a broader definition of performance overflows traditional “Aristotelian” theater to question the boundaries between representation and reality, audience and stage, sense and non-sense, music and sound, and body and self. In this class we will depart from traditional theater to study significant performances of the last 100 years, and what their creators and critics said about them.

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HIS 230/WST 230: Men, Women, and War This course explores the military and civilian war experiences of men and women across Europe and the United States before, during, and after the First and Second World Wars. In addition to the usual history books, we will also take advantage of movies, memoirs, novels, poetry, painting, sculpture, and a variety of other creative art forms both to assess the original impact of these events in the past and to talk about how we should remember them now. HIS 281: Romanticism and Revolution Beethoven's obsession with Napoleon, Berlioz' obsession with the guillotine, Hugo's obsession with crime, punishment, poverty, and injustice… This course studies how and why revolutionary romantic composers, painters, novelists, poets, and political activists told so many stories of great men, beautiful women, their highest highs, and their lowest lows. We will focus on works by figures such as Beethoven, Berlioz, Delacroix, Géricault, Hugo, Sand, Tristan, and Turner. HIS 281: Culture and Crisis What do psychoanalyst Sigmund Freud, novelist Virginia Woolf, and composer Dmitri Shostakovich all have in common? They all experienced the combined crises of the First World War and the Russian Revolution, and they all responded by creating individual arguments and artworks that continue to speak to us today. This course will focus on the complexities of their time as a way of thinking about the complexities of ours. HIS 282: Stravinsky’s Paris Inspired by the recent centennial of the Paris premier of the Rite of Spring, this course focuses on Stravinsky’s relationship with the City of Light by reading his memoirs, exploring his compositions, watching the ballets they inspired, studying the work of the other artists he interacted with, thinking about the impact of major historical events such as the First World War, the Russian Revolution, the Great Depression, and the outbreak of the Second World War, and considering Stravinsky’s multiple contributions to European and American cultural life in his day and in ours. HIS 281/282: Debussy’s France This course explores modern French political, cultural, and intellectual history through a focus on the life, world, and work of Claude Debussy and the artistic circles that surrounded him. Special topics will include French foreign and domestic politics from the Franco-Prussian War to World War I, the construction and appeal of the Eiffel Tower and the international world’s fairs of 1889 and 1900, French debates over the import of foreign works by figures such as German composer Richard Wagner and Scandinavian playwright Hendrik Ibsen, and the French invention and eventual international influence of modernist art by painters such as Edouard Manet and Claude Monet, impressionist music by composers such as Claude Debussy and Maurice Ravel, symbolist poetry by writers such as Stéphane Mallarmé and Paul Verlaine, and naturalist novels by figures such as Emile Zola. HIS 281/282: The Ballets Russes This course explores the history of creative collaborations in the arts by focusing on the example of the Ballets Russes, the pioneering Russian dance troupe that combined works by modern composers such as Claude Debussy, Eric Satie, and Igor Stravinsky; modern choreographers such as Georges Balanchine and Vaslav Nijinsky; avant-garde artists such as Natalya Goncharova, Marie Laurencin, Henri Matisse, Joan

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Miró, and Pablo Picasso; experimental literary figures such as Jean Cocteau and André Gide; and iconic fashion designers such as Coco Chanel.

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ASC in HISTORY (Advisor: Professor Pedersen) This concentration recognizes students who show their interest and expertise in history by completing a combination of three courses in History at the 200 level or above with a grade of B+ or better. In certain cases, a student may apply to use a course in Art History as one of the three courses for this cluster – but the completed ASC in History must always include at least two History courses in the final ASC total of three. Possible courses include: HIS 220: Comparative Revolutions What makes a revolution? Why does it start? How does it end? What difference does it make? This course answers these questions by comparing three great revolutionary periods: the American Revolution through the Civil War, the French Revolution through the Revolutions of 1848, and the Russian Revolution through the fall of the Berlin Wall, the end of the Cold War, and the collapse of the Soviet Union. It also discusses contemporary events such as the Arab Spring, the Umbrella Revolution in Hong Kong, and the Revolution of Honor in the Ukraine. HIS 222: Modern France Alternately friends and rivals, modern France and the United States have had a complicated relationship ever since both nations were born in revolution at the end of the eighteenth century. This course will seek to understand France on its own terms by considering a series of formative events such as the Revolution of 1848, the Franco-Prussian War and the Paris Commune, the Dreyfus Affair and the birth of the intellectual, the very different experiences of World Wars I and II, the post-colonial conflicts in Algeria and Vietnam, the near-revolution of May 1968, and current French and American arguments over French foreign and domestic policy. HIS 230: Men, Women, and War This course explores the military and civilian war experiences of men and women across Europe and the United States before, during, and after the First and Second World Wars. In addition to the usual history books, we will also take advantage of movies, memoirs, novels, poetry, painting, sculpture, and a variety of other creative art forms both to assess the original impact of these events in the past and to talk about how we should remember them now. Cross-listed as WST 230. HIS 232: International Human Rights What does it mean to be human? What different kinds of rights might be part of different people's working definitions? How should we act on any or all of those different definitions today? This course will look at both (a) the historical development of conflicting theories of human rights and (b) more contemporary debates about their ideal extent, their practical exercise, and the preferred means of their necessary enforcement. Cross-listed as WST 232. HIS 272: Existentialism: Sartre, De Beauvoir, and Camus Existentialism is a school of philosophy that stresses individual choice even in the face of overwhelming world circumstances. This course will focus on three particularly important French figures, all writers

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who tried to put academic philosophy into action by their decisions in personal life and political behavior: Jean-Paul Sartre (1905-1980), Simone de Beauvoir (1908-1986), and Albert Camus (1913-1960). In addition to studying their philosophical work, we will also look at their participation in the Resistance to German occupation during World War II, their responses to the Cold War, their criticisms of the Algerian War and the Vietnam War, and their contributions to twentieth-century socialist and feminist movements. Readings include plays, novels, philosophical essays, and political criticism. Cross-listed as FR272 and PHL 272. HIS 274: Hannah Arendt This course studies the life, world, and work of Hannah Arendt (1906-1975), one of the most important political philosophers of the twentieth century, with a special focus on her interpretations of the American, French, and Russian Revolutions, the Second World War, the Holocaust, and the international political, social, and cultural events of 1968. Cross-listed as PSC 274. HIS 281: Romanticism and Revolution Beethoven's obsession with Napoleon, Berlioz' obsession with the guillotine, Hugo's obsession with crime, punishment, poverty, and injustice… This course studies how and why revolutionary romantic composers, painters, novelists, poets, and political activists told so many stories of great men, beautiful women, their highest highs, and their lowest lows. We will focus on works by figures such as Beethoven, Berlioz, Delacroix, Géricault, Hugo, Sand, Tristan, and Turner. HIS 281: Culture and Crisis What do psychoanalyst Sigmund Freud, novelist Virginia Woolf, and composer Dmitri Shostakovich all have in common? They all experienced the combined crises of the First World War and the Russian Revolution, and they all responded by creating individual arguments and artworks that continue to speak to us today. This course will focus on the complexities of their time as a way of thinking about the complexities of ours. HIS 282: Stravinsky’s Paris Inspired by the recent centennial of the Paris premier of the Rite of Spring, this course focuses on Stravinsky’s relationship with the City of Light by reading his memoirs, exploring his compositions, watching the ballets they inspired, studying the work of the other artists he interacted with, thinking about the impact of major historical events such as the First World War, the Russian Revolution, the Great Depression, and the outbreak of the Second World War, and considering Stravinsky’s multiple contributions to European and American cultural life in his day and in ours. HIS 281/282: Debussy’s France This course explores modern French political, cultural, and intellectual history through a focus on the life, world, and work of Claude Debussy and the artistic circles that surrounded him. Special topics will include French foreign and domestic politics from the Franco-Prussian War to World War I, the construction and appeal of the Eiffel Tower and the international world’s fairs of 1889 and 1900, French debates over the import of foreign works by figures such as German composer Richard Wagner and Scandinavian playwright Hendrik Ibsen, and the French invention and eventual international influence of modernist art by painters such as Edouard Manet and Claude Monet, impressionist music

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by composers such as Claude Debussy and Maurice Ravel, symbolist poetry by writers such as Stéphane Mallarmé and Paul Verlaine, and naturalist novels by figures such as Emile Zola. HIS 281/282: The Ballets Russes This course explores the history of creative collaborations in the arts by focusing on the example of the Ballets Russes, the pioneering Russian dance troupe that combined works by modern composers such as Claude Debussy, Eric Satie, and Igor Stravinsky; modern choreographers such as Georges Balanchine and Vaslav Nijinsky; avant-garde artists such as Natalya Goncharova, Marie Laurencin, Henri Matisse, Joan Miró, and Pablo Picasso; experimental literary figures such as Jean Cocteau and André Gide; and iconic fashion designers such as Coco Chanel. Potential additional courses include: AH 213: History of Western Art The visual arts - across an ever-widening variety of media - testify to the universal human urge to create and communicate in shared pictorial languages. This fast-paced course introduces the basics of art appreciation and examines the dynamic development of art in Europe and the US from its roots in the Renaissance to the present. As we explore the changes in visual art, we will cross-reference the broader cultural context of different styles by considering contemporary history, literature and music. AH 281/282: Romantic Art: Visions, Dreams & Nightmares. Visual art in the Romantic era encompasses works which celebrate the most elevated dreams and hopes for humanity, as well as those which explore as the terrifying depths of the darkest corners in the human soul. In this course we will examine the powerful metaphor of nature, the concepts of the hero and anti-hero, the rising importance of nationalism and the image of the artist as an independent rebel in both Europe and the United States. AH 281/282: Paths to Modernism: Art in Europe and America 1886-1918 Changes rocked the art world in the decades surrounding the turn of the 20th century as artists explored many different paths towards visual abstraction. This course will focus on the complex interrelationship of different dynamic movements which challenged and ultimately forever changed the definition of art and modernity, and their relationship to culture in Europe and the United States. AH 201/202: Aspects of American Art Is there art that is uniquely American? When and why did American artists consciously chose paths different from their European contemporaries? How has art been used to shape public opinion and taste in the United States? We will consider these issues and more by examining American art and architecture from 1750 - late 20th century.

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ASC in POLITICS (Advisor: Professor Mackin) This concentration recognizes students who show their interest and expertise in politics by completing a combination of three courses in Political Science or related fields at the 200 level or above with a grade of B+ or better. Possible courses include: PSC 205: The Ancient Greeks Tragedy, Philosophy, and Politics: An examination of the major ideas in Ancient Greek political thought, from the early tragedians to Aristotle. Topics may include the theory and practice of democracy, justice, civil disobedience, conservatism, and the ideas of human inequality. Cross-listed as PHL 205 PSC 209: Power, Violence, and Virtue: Themes in early modern political thought This course examines some of the core themes and concepts in early modern political thought, from Machiavelli to Kant. Topics include the nature and origin of the state, the proper role of state violence, pluralism, the relationship between virtue and politics, and how one should evaluate the legitimacy of a political order. Cross-listed as PHL 209. PSC 210: Marx, Dostoevsky, Nietzsche, and Freud This course investigates some of the core thinkers in 19th century political thought. Topics may include the idea of historical progress, the role of reason and the “loss of the sacred” in modern life, and the relationship between universal principles (human rights, democracy) and the problematic aspects of modern life (capitalist exploitation, slavery, and colonialism, for instance). PSC 220: The Concept of Power This course introduces some of the main figures in social theory by way of an investigation of how they conceptualize political power. Readings may include Karl Marx, Max Weber, Hannah Arendt, and Michel Foucault. PSC 230: The Politics of Poverty This course explores the political conflicts that emerge over the phenomenon of poverty in American politics. Topics include the ways in which the figure of the poor is depicted and contested in political life, the theory and practice of the welfare state, and the various controversies over how to solve the problem of poverty. PSC 240: Democratic Theory This course investigates some of the key questions democratic practice: what is democracy and why is democracy such a valuable form of social organization? In exploring these questions, we will examine the meaning and value of the concepts of majority rule, the common good, individual rights, the need for homogeneity or diversity, and popular sovereignty. Readings may include Rousseau, Burke, Tocqueville, J.S. Mill, Carl Schmitt, and other more contemporary political thinkers.

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PHL 205: The Ancient Greeks: Tragedy, Philosophy, and Politics An examination of the major ideas in Ancient Greek political thought, from the early tragedians to Aristotle. Topics may include the theory and practice of democracy, justice, civil disobedience, conservatism, and the ideas of human inequality. Cross-listed as PSC 205. PHL 209: Power, Violence, and Virtue: Themes in early modern political thought This course examines some of the core themes and concepts in early modern political thought, from Machiavelli to Kant. Topics include the nature and origin of the state, the proper role of state violence, pluralism, the relationship between virtue and politics, and how one should evaluate the legitimacy of a political order. Cross-listed as PSC 209. PHL 281/282: Topics in Philosophy Topics vary from year to year. May be repeated under different course titles for credit.

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ASC in HISTORY AND POLITICS (Advisors: Professor Mackin and Professor Pedersen) This concentration recognizes students who complete a combination of three courses that focus on political theory, political history, and political practice. The concentration has three components: at least one course in History, at least one course in Political Science, and one additional course in History, Political Science, or an allied field with a focus on politics. I. At least one course in History:

HIS 220: Comparative Revolutions What makes a revolution? Why does it start? How does it end? What difference does it make? This course answers these questions by comparing three great revolutionary periods: the American Revolution through the Civil War, the French Revolution through the Revolutions of 1848, and the Russian Revolution through the fall of the Berlin Wall, the end of the Cold War, and the collapse of the Soviet Union. It also discusses contemporary events such as the Arab Spring, the Umbrella Revolution in Hong Kong, and the Revolution of Honor in the Ukraine. HIS 230: Men, Women, and War This course explores the military and civilian war experiences of men and women across Europe and the United States before, during, and after the First and Second World Wars. In addition to the usual history books, we will also take advantage of movies, memoirs, novels, poetry, painting, sculpture, and a variety of other creative art forms both to assess the original impact of these events in the past and to talk about how we should remember them now. Cross-listed as WST 230. HIS 232: International Human Rights What does it mean to be human? What different kinds of rights might be part of different people's working definitions? How should we act on any or all of those different definitions today? This course will look at both (a) the historical development of conflicting theories of human rights and (b) more contemporary debates about their ideal extent, their practical exercise, and the preferred means of their necessary enforcement. Cross-listed as WST 232 HIS 272: Existentialism: Sartre, De Beauvoir, and Camus Existentialism is a school of philosophy that stresses individual choice even in the face of overwhelming world circumstances. This course will focus on three particularly important French figures, all writers who tried to put academic philosophy into action by their decisions in personal life and political behavior: Jean-Paul Sartre (1905-1980), Simone de Beauvoir (1908-1986), and Albert Camus (1913-1960). In addition to studying their philosophical work, we will also look at their participation in the Resistance to German occupation during World War II, their responses to the Cold War, their criticisms of the Algerian War and the Vietnam War, and their contributions to twentieth-century socialist and feminist movements. Readings include plays, novels, philosophical essays, and political criticism. Cross-listed as FR 272 and PHL 272.

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HIS 274: Hannah Arendt This course studies the life, world, and work of Hannah Arendt (1906-1975), one of the most important political philosophers of the twentieth century, with a special focus on her interpretations of the American, French, and Russian Revolutions, the Second World War, the Holocaust, and the international political, social, and cultural events of 1968. Cross-listed as PSC 274. HIS 281: Romanticism & Revolution Beethoven's obsession with Napoleon, Berlioz' obsession with the guillotine, Hugo's obsession with crime, punishment, poverty, and injustice… This course studies how and why revolutionary romantic composers, painters, novelists, poets, and political activists told so many stories of great men, beautiful women, their highest highs, and their lowest lows. We will focus on works by figures such as Beethoven, Berlioz, Delacroix, Géricault, Hugo, Sand, Tristan, and Turner. II. At least one course in Political Science:

PSC 205: The Ancient Greeks: Tragedy, Philosophy, and Politics An examination of the major ideas in Ancient Greek political thought, from the early tragedians to Aristotle. Topics may include the theory and practice of democracy, justice, civil disobedience, conservatism, and the ideas of human inequality. Cross-listed as PHL 205 PSC 209: Power, Violence, and Virtue Themes in early modern political thought: This course examines some of the core themes and concepts in early modern political thought, from Machiavelli to Kant. Topics include the nature and origin of the state, the proper role of state violence, pluralism, the relationship between virtue and politics, and how one should evaluate the legitimacy of a political order. Cross-listed as PHL 209. PSC 210: Marx, Dostoevsky, Nietzsche, and Freud This course investigates some of the core thinkers in 19th century political thought. Topics may include the idea of historical progress, the role of reason and the “loss of the sacred” in modern life, and the relationship between universal principles (human rights, democracy) and the problematic aspects of modern life (capitalist exploitation, slavery, and colonialism, for instance). PSC 220: The Concept of Power This course introduces some of the main figures in social theory by way of an investigation of how they conceptualize political power. Readings may include Karl Marx, Max Weber, Hannah Arendt, and Michel Foucault. PSC 230: The Politics of Poverty This course explores the political conflicts that emerge over the phenomenon of poverty in American politics. Topics include the ways in which the figure of the poor is depicted and contested in political life, the theory and practice of the welfare state, and the various controversies over how to solve the problem of poverty.

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PSC 240: Democratic Theory This course investigates some of the key questions democratic practice: what is democracy and why is democracy such a valuable form of social organization? In exploring these questions, we will examine the meaning and value of the concepts of majority rule, the common good, individual rights, the need for homogeneity or diversity, and popular sovereignty. Readings may include Rousseau, Burke, Tocqueville, J.S. Mill, Carl Schmitt, and other more contemporary political thinkers. III. A third course in History, Political Science, or an allied field with a focus on politics In addition to the History and Political Science courses listed above, this could also include the following: FS 254: Documentary Film This course explores the many facets of documentary filmmaking from its early beginnings as “actualities” in the 1910s through the romanticized ethnographic views of “Nanook of the North” (1922), propaganda films of the 1940s, cinéma vérité of the 1960s to current popular films such as “An Inconvenient Truth.” Directors studied include Flaherty, Vertov, Riefenstahl, Morris, Herzog, Moore, Gore and Melitopolous.

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ASC in LANGUAGES OF THE REPERTOIRE (Advisor: Professor Curren) Completion of this concentration certifies language competency substantially beyond the minimum requirement of a Voice major.

• Students will pass courses in two languages (French, German, or Italian) at the 202 (fourth-semester) level or higher

• Students will pass a course in the third language at the 102 level or higher • Students will take a minimum of three language courses beyond the 102 level