Hampshire College

Introduction to Drawing
(HACU-0104)

This course will introduce students to the fundamentals of perceptual drawing and will familiarize students with material and technical issues in a variety of drawing mediums. Students will work from the still life, masterworks, the figure, and the landscape and will be encouraged to consider the process of editing and revising their work as a creative component of making drawings. We meet six hours a week and the course demands a minimum of six hours a week of outside work. This course is required for those arts concentrators wishing to do advanced work in drawing, painting, and sculpture. A lab fee will be required. EXP,PRJ,PRS,REA
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Introduction to Media Production
(HACU-0108)

This course is an introduction to the theory, history and practice of digital media production. Students will explore fundamentals of creative production in sound, photography, and video. An equal emphasis is placed on understanding the social, historical and aesthetic conditions that create meaning in a work of art. Students will be expected to demonstrate that they are learning not only how to make digital media, but how to engage with media critically and creatively. Motivations and trajectories from amateurs to activism to avant-garde will be explored through readings, viewings and assignments. There is a lab fee charged for the course. NOTE: Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster. EXP,PRJ,PRS,REA,WRI Lab Fee
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Media Production: Imaging Truth (or Reality and Other Inventions)
(HACU-0109)

How do we define truth in a world teeming with still and moving image? If our histories are defined by these images, is truth on its way to becoming an invention? How true is truth? This course will introduce students to interdisciplinary work in media production. As thinkers, we will read, look at, and investigate the connections between meaning and image, truth and fiction, reality and invention. As art makers, we will explore these intersections as we experiment with a variety of media including photography, video, text, and sound. You will begin to interpret, translate and/or invent or re-invent your personal truth(s), while being asked to consider new ways in which to visually articulate these ideas. Be prepared to read, think, experiment and expand the ways in which you think about art making. This class will prepare students for continued work in media and media production. There is a lab fee charged for this course. NOTE: Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster. REA, WRI, EXP, PRS.
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Pilates
(HACU-0111)

This course is designed around the basic Pilates principles as applied to a mat class. Other influences include yoga, applied anatomy, Feldenkrais, and dance. Exercise sequences will be designed to facilitate mobility as well as increased muscular control and strength, with the ultimate goal of finding joy and freedom in movement. Reading and writing assignments are designed to deepen students' experiences with the material presented in class. EXP
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Investigating Art
(HACU-0112)

This course will concentrate on contemporary exhibitions of art in the Five College Museums. We will visit a number of exhibitions and permanent collections, covering the art of a variety of times and places. This course will consider the historical context, critical analysis, and curatorial issues of the art on display, as well as exhibition design and museum architecture. The course will include class lectures and discussions, as well as weekly field trips to area museums. Occasional evening lectures and symposia by visiting artists, critics and curators are also required. This is a speaking and writing intensive course; students will be responsible for a creating a portfolio of progressively more rigorous exhibition reviews, critical art writing, and scholarly papers, as well as presentations and group reports. Thursdays will be a lecture/discussion at Hampshire, and Tuesdays we will meet in one of the Five College Museums.MCP, PRJ,PRS,REA, WRI
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Modern Dance II: Advanced Beginning Modern Dance
(HACU-0114)

Continuing exploration of the basic principles of dance movement: body alignment, coordination, strength, flexibility, and basic forms of locomotion. Emphasis will be placed on the development of technical skill in service of dynamic and spatial clarity. This class is for students with some previous dance experience. EXP
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Group Improvisation: Exploring Creative Dance
(HACU-0117)

Dance Pioneer Barbara Mettler said, "To create means to make up something new." In this course students will experience the elements of creative dance through a series of improvisations and directed exercises based on Mettler's unique approach to dance. This is an approach that challenges students to continuously find new ways to express themselves in movement while maintaining relationships to the other dancers. Based on the principle that dance is a human need, this work invites people of all ages and abilities to come together in movement and to make dance an element of their lives.EXP
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Introducing the Frankfurt School
(HACU-0118)

The critical theoretical work of 147The Frankfurt School148 has exercised considerable influence over the humanities and social sciences. The Frankfurt School146s systematic critique of mass culture - which provocatively links so many forms of modern life to totalitarianism 150 produces important and often radical social and political visions. This course will examine the key writings of Benjamin, Adorno, Horkheimer, and Marcuse in order to register the varied ways in which critical theory transforms the meaning and significance of modernity. In particular, we will examine how rethinking both historical experience and certain conceptions of rationality generates provocative and new conceptions of history, reason, nature, desire, and collectivity. As well, we will consider how the legacy of the early Frankfurt School has been carried by contemporary theorists, such as Habermas, Benhabib, Jay, and others. PRS, REA, WRI
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Ways of the Russian Novel
(HACU-0127)

Modernity. Quest for the Divine. Scandal. Madness. Erotic obsession. State surveillance. These are a sampling of the topics found in two major Russian novels: "The Idiot" (1868) by Fedor Dostoevskii and "Master and Margarita" by Mikhail Bulgakov (1929-1940). Close reading of these texts within their historical, social, and cultural contexts will allow us to pose the following questions: what are the defining features of the novel genre in its Russian manifestation? What is the trajectory of the genre's development from the "great Russian novel" in the 19th century to Bulgakov's "great underground Soviet novel"? In our analysis, we will implement various Western and Russian theories of the novel and discuss the validity and intentions of various film adaptations of these texts. Students are expected to produce short response papers, longer analytical papers, and oral presentations for the class. MCP,PRS, WRI
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Contemporary Latin American Literature: Subjects Without Scripts
(HACU-0145)

"Imperialism," writes Edward Said, "consolidated the mixture of cultures and identities on a global scale." Following Said, one could argue that "globalization" is the politics and economics of Imperialism on speed. Despite the persistence of long traditions, sustained habitations, national languages and cultural geographies, interference and contamination might be the only real alternatives to our contemporary complex incorporative economy and powerfully centralizing cultural apparatus. These alternatives might be profoundly unequal for debt is inevitable in culture as in any other field. Drawing on recent texts from around the globe and theoretical writings, this course thinks contra punctually about others and us. Writings by Lahiri, Hagedorn, Puig, Kincaid, Le Carre, and films such as Y tu mama tambien, Rang de Basanti, Maria Full of Grace, Babel will structure our discussions. MCP,REA,WRI
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Emergence of Modernism
(HACU-0153)

This course will focus on several European artistic movements, which formed a bridge between the naturalist tendencies of late nineteenth-century art and the development of abstraction in the early twentieth century. Beginning with the Impressionists (Monet, Renoir, Degas) and ending with Cubism (Picasso, Braque, Gris), this course will examine the stylistic, thematic and philosophical bases of each movement as a means of developing a vocabulary and analytical skills for the discussion of visual representation. Documents from the period along with recent criticism will introduce students to various art historical "positions." Students will be expected to give presentations on objects in local museums and to write several papers. MCP,PRJ,REA,WRI
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Introduction to Philosophy
(HACU-0154)

What is the relationship between the mind and body? How does that relationship determine what we mean by knowledge, experience, personal identity, and even ethics and politics? This course examines the mind-body relationship in its quirks and turns. We will begin with Plato and Descartes, two determined deniers of the body. What philosophical horizons are opened by this denial of the body? And where are the limits to our self-understanding when we deny the body? In response to this latter question, we will read critics of the mind-body distinction, including Nietzsche, DuBois, Merleau-Ponty, Fanon, Irigaray, and others. These critics insist on the centrality of the body in our experience, identity, and relations of knowing, claiming as well that demands of history and culture (concerning race and gender, in particular) are largely addressed to our embodied being. The recovery of the body embraces particularity in place of universality. Does this recovery lose sight of a universal human characteristic, the disembodied mind? Or is the disembodied mind a myth and so no real loss? How, then, should we conceive this relationship of mind and body? MCP,PRS,REA,WRI
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Introduction to Film Studies: History and Theory, 1895-1960
(HACU-0155)

This course is designed to introduce students to key issues in film studies, focusing on the history of American cinema from 1895 to 1960. We will pay particular attention to the "golden age" of Hollywood, with forays into other national cinemas by way of comparison and critique. Screenings will range from actualities and trick films, to the early narrative features of D. W. Griffith, Cecil B. DeMille, and Lois Weber, to the development of genres including film noir (Double Indemnity, The Big Sleep), the woman's film of the 1940s (Mildred Pierce, Stella Dallas), the western (High Noon, Duel in the Sun) and the suspense film (Rear Window, North by Northwest, Psycho). Several short papers and in-class discussions will address how to interpret film on the formal/stylistic level (sequence analysis, close reading, visual language) as well as in the context of major trends and figures in film theory. PRS,REA,WRI
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The English Bible
(HACU-0161)

The English Romantic, William Blake, characterized the Bible as "the Great Code of Art," an observation that finds repeated illustration throughout the Western literary tradition from medieval mystery plays to the latest fiction of Toni Morrison. By the same token, biblical stories form the bedrock of the scriptural traditions of Christians, Muslims, and Jews the world over. What are these stories that have so captivated readers for over 2000 years? Why has the Bible had such an immense religious and imaginative appeal? This course introduces students to the full range of biblical literature from the stories of Genesis to the life and times of Jesus of Nazareth. While the course emphasizes literary features of the Bible as it has been rendered in English, we will also consider important religious, moral, and theological implications. Among the biblical texts considered will be the foundational stories of Genesis and Exodus; the books of Joshua, Judges, and Ruth; the stories of David and Kings; the Book of Job and the Song of Solomon; the prophets Isaiah and Ezekiel; New Testament gospels; Acts of the Apostles; and the Book of Revelation. PRJ,PRS,REA,WRI
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U.S. Literature Since 1960
(HACU-0164)

Though our focus will be on more recent literature of the United States, we will explore contemporary literature historically. That is to say, we will investigate literary trends over the past 40 years in order to help us define what is and is not unique to our historical moment, so that we may become more effective actors within it. Reading contemporary literature historically involves examining how particular American writers responded to and participated in socio-cultural phenomena during the last half century. To this end, we will consider how the mass consumer society enabled by postwar Keynesian economics, the social upheavals of the 1960s, the demographic shifts following the 1965 Immigration Reform Act, and 9/11 are all linked to issues of postmodernity, globalization, and identity within literary works. Authors will likely include Alice Walker, Gish Jen, David Sedaris, Don Delillo, Toni Morrison, Alan Gurganus, E.L. Doctorow, and Sandra Cisneros.MCP, REA. WRI
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American Balladry
(HACU-0167)

This course will focus on song composition with an emphasis on the American ballad tradition. We will study the works of past masters of this tradition; additionally, we will examine other styles of composition, including rock, blues, "shape note" music and more. This is a composition course with much individual attention. Students should have taken Musical Beginnings or possess background in music performance, chords, or/and writing. REA, EXP, PRS, PRJ
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The Politics of Popular Culture
(HACU-0183)

This course examines the fraught intersection of politics and popular culture. In this class, we ask: What is popular culture? How does it differ from other kinds of cultural expressions? How does popular culture connect to other aspects of social, economic and political experience? What differences, if any, are there between "high" and "low" culture? Is consuming pop culture products a form of political action? How do explicit political themes both enrich and detract from consumption? What economic imperatives drive popular culture production? What are the relationships between commerce, politics, and art? How does popular culture act as a vehicle for the appropriation or exploitation of other cultures? Particular attention will be paid to: the racialized construction of masculinity and femininity in popular culture; the appropriation of racial and gender identities; the role of global capitalism and the market in the production of popular culture. MCP, PRS, REA, WRI
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Yiddish Literature and Culture
(HACU-0191)

Yiddish was the language of European Jewry for nearly 1,000 years, which produced a rich legacy of folklore, legend, music, drama, poetry, fiction, and film. Recently in the United States and elsewhere we have seen an effort to recuperate, recover, and even re-define this "lost world:" in the resurgence of Eastern European "klezmer" music, in the creation of the National Yiddish Book Center, in Yiddish courses on college campuses, and in "Queer Yiddish." This interdisciplinary course will introduce students to the broad and rich range of Yiddish cultural production, concentrating on literature, drama, and film. We will dip into Yiddish folklore and popular culture, performance and theatre, modernism and radicalism, kitsch and high art, and reflect upon the complicated emotions of mourning, memory, sentimentality, nostalgia, political resistance, fantasy, and desire that fuel today?s Yiddish revival. No knowledge of Yiddish language is required. MCP,PRJ,PRS,REA,WRI
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Ancient Ireland
(HACU-0193)

An introduction to the archaeology, myth, history, art, literature, and religion of ancient Ireland: 4000 BCE to 1200 CE, from the earliest megalithic monuments to the Norman conquest. Consideration will be given, then, to these distinct periods: Pre-Celtic (Neolithic and Bronze Ages--4000 BCE-700 BCE); Pre-Christian Celtic (Late Bronze & Iron Ages--700 BCE-400 CE); and Early Christian Celtic (Irish Golden Ages and Medieval--700-1200 CE). The emphasis throughout will be on the study of primary material, whether artifacts or documents. Readings will include: selections from the Mythological, Ulster, and Finn Cycles; The Voyage of St. Brendan; The History and Topography of Ireland by Giraldus Cambrensis; the writings of Patrick; and selections from early Irish hagiography. PRJ,REA,WRI
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(In) Determinable Space
(HACU-0205)

This studio architecture course will be design investigation of a particular theme in, or approach to, architecture and the built environment (details TBD and change per semester). In this course, students will develop and apply traditional and contemporary architectural skills (sketches, plans, elevations, models, computer diagramming, and various modes of digital representation (TBD) to inter-disciplinary and socially pertinent design problems. Creative and indexical study and analysis will be used to generate and foster a broad range of concepts and language necessary to identify and define spaces. The objective of the course is to solve a cross-section of simple and complex architectural issues involving site, construction, inhabitation, function, form and space through rigorous, open-ended, and creative design work. There are no prerequisites for this Five College Architectural Studies course--though one semester of design is recommended. The specific topic and lab fee TBD. Enrollment will be determined after the first class meeting..
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Jazz:Tradition and Evolution
(HACU-0207)

In the span of about one hundred years, jazz has emerged from its African American cultural birthplace to become lauded worldwide as a vital and uniquely accessible form of high musical art. This course will trace the development of jazz, with examination of the historically and musically significant styles, key artistic contributors, and social/cultural contexts; We will also look at jazz?s simultaneous roles as a tradition that is critically aware of its history (and undergoing a degree of contested canonizing), and as an approach to making music in real-time through applying improvisational practices to materials from diverse musical traditions. The course will seek to foster informed appreciation of what is arguably America?s first distinctive art form. This course satisfies the Division I distribution requirement. EXP, MCP
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Video I: Unheard Voices, Heard
(HACU-0209)

This course examines social and artistic aspects of video, exploring video as a medium, particularly as it is utilized by women, people of color, lesbians and gays, grassroots activists, as well as other peoples who are under and/or misrepresented by mainstream media. Students will learn about the history of video technology, and how certain developments within it made video an accessible and powerful tool for self-expression and political intervention. The course will look at various genres such as documentary, agit prop, experimental and video essays among other video practices. Teamwork is essential to video production. Students are expected to share responsibilities as cinematographers, lighting and sound technicians, scriptwriters, and editors to complete their projects. Class activities include screening of independent videos, several video projects and writing assignments, in-class presentations and critics and group discussion of selected screenings and readings. Emphasis is put on both theoretic knowledge and hands on skills such as camera work, sound, lighting and non-linear editing. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own film, tape, processing and supplies. There are weekly evening screenings or workshops, which students must attend. Prerequisite courses include a 100-level course in media arts (Introduction to Media Arts, Introduction to Media).NOTE: Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
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Film Workshop I
(HACU-0210)

This course teaches the basic skills of film production including cinematography, editing, lighting, and sound recording. Students will complete a series of individual and collaborative 16mm filmmaking assignments as well as a final individual project. Digital video and nonlinear editing will also be introduced. Weekly screenings and critical readings will introduce students to a wide range of approaches to the moving image. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own film, tape, processing and supplies. Prerequisite courses include a 100-level course in media arts (Introduction to Media, Introduction to Digital Photography & New Media or equivalent) and must be completed before registering for this course.NOTE: Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
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Still Photography I: Digital Photography
(HACU-0211)

This course explores the intersections of digital and traditional photographic imaging in terms of technique, critical theory, history and aesthetics. Experimentation with photo-electronic imaging will be practiced and discussed within the context of contemporary art and digital culture. The theoretical backdrop will include issues of representation, mechanization, and authenticity. Historical influences such as 20th century photomontage, documentary photography, layered narrative constructions with image and text, and scientific imaging practices, will be covered in readings and slide talks in order to provide context for assignments, and to further discussions in our regular in-class critiques of student work. Project-oriented studio assignments will allow plenty of time to develop personal content while advancing Photoshop skills. Students will produce printed hard copy, as well as on-screen presentations of images. Prerequisites A 100 level course in Media Arts (Introduction to Media Arts - photo, film or video), Art History, Photographic History or its equivalent.. NOTE: Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
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Autobiographies, Literacy, and Book Culture in Early Modern Europe (1500-1800)
(HACU-0212)

This course examines several types of writing about the self (autobiographies, memoires, letters) in the context of rising literacy rates and the print revolution. We will read how courtesans, Rabbis, artisans, mystics, women scientists, artists, house-wives, heretics, sailors, slaves, and presumed criminals reflected about their lives, imagined the cosmos, narrated catastrophes, encountered God, told of their lovers, described their family management, or defended themselves in court. In addition, we will study writing and reading habits of the past, and get hands-on experience with Early Modern books by visiting various rare book collections in the valley. This course satisfies Division I distribution requirements. PRJ, PRS, REA, WRI
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Guitar Ensemble
(HACU-0220)

This performance class will provide an opportunity for guitarists to create and perform music together in ensembles ranging from four to fourteen. We will develop repertoire from diverse musical styles such as classical, jazz, folk, blues, and others. Students will compose and arrange music for guitar; all students will perform in an end-of-the-semester concert. This is a primarily acoustic (unamplified) ensemble with potential for occasional use of electric guitar. Each student must own an acoustic guitar; all students will have occasional responsibilities as percussionists. The course is open to two or three bass players/electric bassists who will be selected by audition. Requirements for this course include a solid foundation of guitar skills (knowledge of chords and barre chords, scales/fingerboard study, basic reading and music theory). Members of the class will be selected via audition at the first meeting; please come prepared to play a piece of your choice. This course satisfies the Division I distribution requirement. EXP, PRJ
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Syncretism, Domestication and Contention: Introduction to Chinese Religions
(HACU-0222)

Instead of presupposing religions as neatly defined and self-contained wholes, this course examines the religions of China in a variety of historical and cultural relationships. Along with the study of "Three Teachings" (Confucianism, Daoism and Buddhism), it will introduce Chinese cosmology, the veneration of ancestors, religious festivals, the view of the afterlife and sacred mountains. We will also question readily used scholarly categories of Chinese religions such as elite vs. popular religions, monastic vs. lay practices, "sinified" vs. "pure" Buddhism and Daoist philosophy vs. Daoist religion.
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Controversies in U.S. Economic and Social History
(HACU-0230)

This course addresses the development of the United States economy and society from the colonial period to the present. Focusing on the development of capitalism, it provides students with an introduction to economic and historical analysis. Students study the interrelationship among society, economy and the state, the transformation of agriculture, and the response of workers to capitalism. Issues of gender, race, class, and ethnicity figure prominently in this course. This is designed to be a core course for students concentrating in economics, politics, and history. Students work on developing research skills in economics and historical methodologies. Classes have a lecture/discussion format. Students are expected to attend class regularly, lead occasional discussions, and write several papers including responses to films, a mid-term take home exam and a final research paper.This course satisfies the Division I Distribution Requirement. MCP,PRJ,REA,WRI
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Black Beauty: Concert Dance in the Africanist Grain
(HACU-0232)

Black Beauty: Concert Dance in the Africanist Grain Aesthetics in dance, and especially the terms of "beauty" as they might relate to African American artistry, remain extremely difficult to discuss. How can aesthetic theory be engaged in relation to African American dance practice? What sorts of aesthetic imperatives surround African American dance and how does black performance make sense of these imperatives?" Who names the quality of performance, or who determines that a performance may be accurately recognized as "black? More than this, how can African American dance participate on its own terms in a discourse of "beauty?" This courses focuses on the work of four African American choreographers, Donald Byrd (b. 1949), Ulysses Dove (1947- 1996), Bebe Miller (1950 - ), and Abdel Salaam (b. 1949). Through our work, we will uncover critical possibilities aligning dance performance with particular aesthetic theory relevant to its documentation and interpretation. This course satisfies the Division I distribution requirement. REA,WRI,PRS,MCP
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Listening and Hearing: Interpersonal Process and the Humanistic Tradition
(HACU-0233)

With the onslaught of new communications technologies, virtual reality, and the rapid pace of contemporary life, the capacity for listening to and hearing an 147other148 has become more difficult. In this class, drawing on the work of humanistic psychology and psychoanalysis, we will focus on the experience of listening and hearing in a dyadic, relational context. Through the use of role plays, video analysis and selected readings from Rogers, Maslow, Bion, Mitchell and others, this course will explore the experiential aspects of observation, interviewing and presence in human understanding. Through the identification of implicit narrativity, metaphor and language games, students will learn about their preconceptions, biases, and overall strengths and weaknesses when listening to others. This course will be primarily experiential and focus on the development of critical-reflexive listening skills. Coursework will also include selected readings about the process of psychotherapy through the lenses of humanistic, psychoanalytic and narrative theories of psychotherapy, as well as written analyses of individual and group role plays through the use of video.
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Odd Women: Gender, Class, And Victorian Culture
(HACU-0235)

In this course, we will analyze a number of female "types" found in Victorian fiction, poetry, and criticism -- the governess, the fallen woman, the shopgirl, and the 'new woman', to name just a few -- who figure centrally in debates over marriage, work, and the changing position of women in nineteenth-century Britain. Although our reading will range from the late 1840s to the beginning of the twentieth century, we will focus primarily on two historical periods, the 1850s-1860s and the 1890s, during which the "woman question" was hotly debated in the press and in fiction. Topics for discussion will include the convergence of gender, sexuality and politics in late-Victorian feminist and socialist reform movements; the role of class in defining female experience; and women's conflicted participation in British imperialism. Students will be encouraged to conduct primary research on nineteenth-century women's history in local archives in conjunction with course papers and divisional work. This course satisfies the Division I requirement. PRS,REA,WRI
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The Other America: Reading America Through the Lens of Multi-Cultural Literature
(HACU-0236)

With a nation as diverse as America, diverse perspectives are bound to play a significant role in shaping the national identity, if the existence of such an identity is even possible. This course will consider how writers have engaged the concept of national identity, all the while ensuring that their individual cultural identities are not lost in the mix. Throughout the semester, we will not only engage literature by writers who have recently arrived to this "nation of immigrants," but also writers whose families have lived in America for generations, but nevertheless maintain important connections to the original "homeland" of their ancestors. How do these writers engage concepts such as "The American Dream" and the many other ideals that supposedly form the foundation of the American social, political, and economic structure? As we consider the short fiction, poetry, and novels produced by these writers, we will attempt to answer these questions, with the understanding that we cannot come to terms with America without first recognizing the significance of the way the nation has been represented by the many people who call it theirs. This course meets Division I Distribution requirements. REA, WRI, PRS, MCP
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Fictions of Childhood
(HACU-0237)

On one level this will be a seminar on literature written for school-aged children, including some basic introduction to major genres and selected writers of texts written in English for a child audience, and exploring particularly the question of the child as reader/ auditor and the figure of the child as stranger or outsider. However, we will also look at fictions written for adults that let us raise questions about the representation of children and childhood in the late nineteenth and, particularly the twentieth centuries. Specific themes may include: children and fantasy; childhood and memory or (forbidden) knowledge; the relation of child and adult worlds; the experience of violence and sexuality and the shifting representation of racial and cultural difference. Final projects will ask students to pursue these questions, and others of their choice, in texts published since 2001. The class may include the opportunity for community-based experience, involving an additional time commitment (contact instructor in January). Students should have college-level background in studying literary texts. Background in psychology, history, cultural studies, or education is desirable but not required.
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Reading (With) Borges
(HACU-0238)

This course is devoted to the writings of the Argentine Jorge Luis Borges, one of the best and most important fiction writers of the last century. Famous for his erudite fictions that speculate on time, history, knowledge, identity, reality, and the imagination, Borges taught us to think literature. He also delighted in spoofing erudition, in the conspiratorial wink against the purveyors of Culture. This playful side has its shadow, for much of his writing revolves around violence?iniquity, to cite one of his early titles. We will explore this duality of seriousness and fun selectively in his stories, poems and essays. Film adaptations of his writings will be screened outside of class. Students with a working knowledge of Argentine will be encouraged to read the original texts.
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The Jazz Improvisation Orchestra
(HACU-0239)

This is a performance-oriented class, culminating in a concert at the end of the semester. Each student will be challenged to develop his or her skills as an ensemble musician and as a soloist. We will use compositions and improvisational contexts from the whole history of jazz and American vernacular music, up to the great diversity of the present day. Along with performance, each student will do a study of an influential artist. This analysis will include musical transcriptions as well as a written component. The performance of original compositions and arrangements can be part of the class as well. The Hampshire Jazz Improvisation Orchestra is open to all instruments, including voice. Facility in reading music and a functional understanding of jazz harmony is required. Prerequisite: Tonal Theory I and Tonal Theory II or equivalent Five College music courses. An audition will be given during the first class session for those students new to the class.
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The Laboratory Atop the Graveyard: Research Seminar in 20th Century Europe
(HACU-0247)

The democratic welfare states that we take for granted are in fact the far from inevitable recent outgrowths of chaos and upheaval. Twentieth-century Europeans across the political spectrum had to come to terms with an age of the masses: political mass movements, mass production of commodities, mass media. Europeans drew new mental and physical boundaries among themselves and came to dominate the globe, even as they nearly destroyed themselves in wars of unprecedented destruction. The real victors were two rival systems of modernity: American consumer capitalism and Soviet communism. In 1989, it seemed clear that the former had triumphed. At the dawn of the twenty-first century, the future looks less clear. Although the age witnessed great violence and despair, it also brought forth great hopes and achievements in social thought, the arts, and technology, many of whose effects we are still pondering. Intended for Division II and III students.
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Aesthetics, Race, Nation
(HACU-0248)

This course investigates the ties between aesthetics, race and nation. Racial and national identities are aesthetic artifacts-in-process. Conversely, aesthetic productions underwrite experiences of the proper, the proprietary, the intimate, the home, the public, the workplace, the global, and other determinants of identity and difference. What is the role of taste, objects, spatiality, affect, imagination, and bodily contact in delimiting the irrevocably malleable boundaries of subjects and collectives? How do aesthetic forms both help to create difference and curtail it? How do love, hate, and violence coagulate into aesthetic forms by which we inhabit social positions, relationships, and a sense of possibility? Readings by major figures in the history of aesthetics will be conjoined with contemporary cultural/philosophical writings, artworks, and other productions across media and traditions. Students will write a final research project on a theoretical question in connection with a cultural artifact of their own choosing.
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Video Post Production Sketchbook
(HACU-0253)

This upper-level video course is an opportunity for students to build their skills in post-production techniques. More advanced skills in Final Cut Pro, After Effects and Soundtrack will be explored in a series of workshops and exercises. An ongoing engagement with viewings and critical texts will allow us to both master and challenge traditional practices in post-production. Pacing, continuity, compositing, color correction, sound mixing and special effects will be covered. Rather than focusing on a final project, students will generate a series of four to six short videos that experiment with form, style and substance. Students will also be expected to write short papers and conduct class presentations on relevant course materials. There is a lab fee charged for the course. Prerequisites: Video I or Film I. Instructor Permission Required.
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Film Workshop II: Frame by Frame
(HACU-0255)

This course is for students who have completed Film/Video Workshop I and are prepared to continue developing their own individual projects. While the film industry uses optical printing to create special effects and animation to make cartoons, this course instead, will emphasize work that uses these tools for expressive or exploratory purposes. The course will center on the use of the optical printer and the animation stand and will provide detailed instruction on planning and executing projects using these tools. The course assumes a basic knowledge of 16mm filmmaking and students are expected to independently extend their knowledge and mastery of basic production and post-production techniques. Films will be viewed in class presenting a variety of approaches to optical printing and animation as a medium for artists. Students will be expected to complete weekly exercises and a semester long independent project. While computers may be a part of a student's working process, this course does not cover computer animation and students will not be allowed to do computer animation projects for their semester project. Each student will be expected to research an artist and/or analyze a film, write a 5-8 page paper and make an oral presentation to the class. A $50 lab fee entitles students to use camera and recording equipment, transfer and editing facilities, plus video and computer production and post-production equipment. Students must purchase their own film and animation supplies and pay their own processing fees.Instructor permission required.
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Ancient Epic 2
(HACU-0256)

The aim of this course will be the comparative study of four ancient epics from India, Greece, Italy, and Ireland. The core readings will comprise: the Ramayana, the Odyssey, the Aeneid, and the Tain. Each text will be considered both in its own historical and cultural context and in the larger shared context of bronze age epic, myth, and literature.
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Installation Practices in Photography: Off the Wall and Into the Box
(HACU-0257)

This advanced course will expose students to installation practices and the concurrent conceptual dialogue that occurs as it relates to photo-based imagery. It will function on the assumption of your autonomy in carrying out individual projects, and in using the group to receive constructive criticism. During the semester, you will develop a cross-disciplinary approach to art making while using the photograph as its source. You will explore various ways in which to integrate the photograph with a variety of media including image projection (both still and moving), sound, and sculptural elements while considering the space they reside in. Through readings, film/video screenings, and critical discussion, you will examine how the use of interdisciplinary applications have affected and transformed photography in the late 20th and early 21st centuries. Though some process-based assignments will be given, the dynamics of the class will rely on your ability to produce work based on your own ideas. This is an Upper Level Div II course and will require periodic screening times outside of class. . There is a lab fee charged for this course. Instructor Permission.
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Tonal Theory Music II
(HACU-0265)

This class will continue the work done in Tonal Theory I. We will be studying part writing and voice leading, as well as continuing the process of understanding and using basic chromatic harmony. Within this study, we will begin to look at large scale forms and structures. Some composition assignments will be included along the way as we assimilate new theoretical knowledge. Topics and repertoire for study are drawn from European classical traditions as well as jazz, popular, and non-western musics. We will continue to use "Theory for Today's Musician" by Ralph Turek as a basic text. Each student will also do a research paper, encompassing an analysis of a composition of an artist of their choice, and an historical and cultural overview of the composer's work. Prerequisite: Tonal Theory One or equivalent.
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New Jewish Identities in Post-World War II American Culture
(HACU-0268)

Jewish experience, identities, and culture changed dramatically in the U.S. after the Second World War. Today?s "new Jews" can be secular or spiritual, radical or neo-conservative, Zionist or anti-Zionist, fans of Woody Allen, klezmer, Seinfeld, Tony Kushner, or Heeb Magazine. Jews moved into the middle class, into the Ivy League, and into the center of American public life. At the same time, they shed Yiddish, much ritual observance, and began experimenting with new ways to define Jewishness. For some, it became a matter of political or intellectual commitment; for others, a matter of taste in comedy, food, and music; and for others, a "sensibility," or way of looking at the world. This course draws upon popular culture, film, television, literature, history, and sociology in exploring the new secular Jewish identities that emerge in the post-war era. We will explore such topics as: Jewishness and popular entertainment, Jewishness and political radicalism, Jewishness as rebellious non-conformism, Jewish ethnic and cultural revivals, Israel and American-Jewish identity, reformist spiritual movements, and a host of other surprising, "new-ish" Jewish phenomena. This course is ideal for those students interested in contemporary American culture as well as Jewish Studies and Religious Studies.
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Black Redicalism in the U.S. and Beyond, 1960s and 1970s
(HACU-0269)

Students in this course will engage in the study of the transition from Civil Rights liberalism to Black Power radicalism in the 1960s and 1970s. We will explore the history, ideas, voices and strategies African Americans employed in the struggle to secure rights and demand respect in the United States. While this course is centered on the struggles waged by Black people in the U.S., students will also grapple with the international events that influenced the radical politics of the period. This course will shape students' understanding of the Black Power vision of social justice and gauge its impact on the present day from the emergence of Black Studies departments to Hip-Hop culture.This course satisfies the Division I distribution requirement. REA, MCP, PRJ, PRS, WRI
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Photography, Memory and History
(HACU-0271)

Photography and memory are inextricably intertwined. Photographs give form to the past ? to our own personal histories as well as to national and world events. We will explore the complex ways in which photographs structure our private and public memories: grounding our work first in family photographs, we will then investigate the relationship of photography to history and the concept of "collective memory". Students will read widely, write critically, do archival research and complete visual projects. (This course does not provide access to photography facilities.) This course is appropriate for Division II and III students.
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Science in the Islamic World: From Almagest to the Islamic Bomb
(HACU-0275)

History of western science would be incomplete without the inclusion of Arab and Muslim contributions in the Middle-ages. In this course we will explore some of the reasons behind the outstanding growth of scientific reasoning in the Islamic world, including the motivation for translating Greek works and the role of religion in the early progress of science. While we are familiar with prominent Greek philosophers and scientific personalities of the post- Renaissance era, the lives of many Muslim scientists such as Al-Haytham (Alhazen), Ibn- Sina (Avicena), Ibn-Rushd (Averros) and their contributions remain largely unknown to many students. We will also explore the fascinating philosophical struggle between the rationalist and the traditionalist (orthodox) philosophers. The course will conclude with a look at the reasons for the later decline of scientific thinking in the Islamic world and the contemporary struggles to reconcile modern science with traditional religious systems. This course satisfies Division I distribution requirements. MCP, WRI
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Contemporary Australian & New Zealand Cinema
(HACU-0277)

From the Australian Film Renaissance of the 1970s represented by such directors as Peter Weir, Fred Shepisi and Gillian Armstrong to the "Lord of the Rings trilogy" and "Rabbit Proof Fence", Australian and New Zealand have made a unique impact on international cinema. In this course, we will examine the ways in which selected films (features, shorts and independent film) from both countries engage with issues and themes involving national identity, race, history, myth, landscape and the ability of two small film cultures to survive the economic and cultural dominance of Hollywood. Our weekly film screenings will be supplemented by a discussion of short stories, poems and a novel in order to situate Australian and New Zealand cinema within a broader cultural and political framework.
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Iranian Cinema Close Up
(HACU-0280)

Iran is home to one of the oldest civilizations in the world, going back over 3500 years. Image making is not a new concept for this ancient culture. Americans and the West tend to associate two conflicting sets of images with Iran: Ayatolla Khomeini and the hostage crisis, "Axis of Evil," Islamic fundamentalism, Shi'ia terrorists, and the revolution; or Persia, as the English imperialists called Iran, is imagined as mysterious and exotic: home of spiritual poetry, sensual music, the land of gardens, Rosewater, and Thousand and One Nights. Both of these constructions render Iran/Persia as alien and other, representing everything that "we" are not. Studying Iranian Cinema provides an opportunity to examine some of our own silent, "privileged" constructions of the Western identity. Cinema came to Iran not too much later than its first screenings by the Lumier Brothers in Europe. This course will look at the development of Iranian Cinema over the decades taking into account the many socio-political upheavals, imperialist interventions and their impact on this art form. We will be looking at silent and sound films spanning a period of over a hundred years. Class activities include screening of Farsi language fiction and documentary films; in-class presentations and group discussion of selected screenings and theory readings. Class writing assignments can be interpreted as short video/film projects with prior instructor agreement. Wherever required technical workshops will be provided outside of class for those students who want to turn their written assignments into films. Some written assignments will be required of all students.
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Writing the Self: Varieties of Memoirs and Autobiography
(HACU-0282)

In the last 20 years, there has been a remarkable transformation in the forms of autobiographical writing. "Personal writing" has infiltrated fiction, critical essays, philosophical treatises, ethnography, legal discourse, medical case studies, and political history. In this course, we will consider the varieties of contemporary memoirs and their relationship to earlier forms of confessional and testimonial writing. Political memoirs, spiritual memoirs, literary memoirs, psychoanalytical memoirs, memoirs of illness, recovery, and trauma will be discussed in relation to cultural and scientific theories of memory, its loss and recovery. Students will be expected to complete short analytical papers each week and to choose a final project that incorporates personal writing.
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Intermediate Painting: Form and Content
(HACU-0284)

This course will broaden students' knowledge of technical and material issues of oil painting. We will examine the connection between the form of a painting and its content. We will also consider how art history and social issues shape the work we produce. Students will paint perceptually from the still life, the figure, and the landscape and will be encouraged to develop a clear line of questioning in their work. Class meets six hours a week and the course demands a minimum of six hours a week of outside work. Students will be expected to complete several reading assignments that will be discussed in-class. This course is required for arts concentrators wishing to do advanced work in painting. A lab fee will be required. Prerequisite: Intro to Drawing and Intro to Painting. Instructor permission required.
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Advanced Drawing: Drawing as Gesture, Act and Statement
(HACU-0288)

Drawing is arguably the most direct of artistic practices as well as the most universally utilized by a vast array of artistic disciplines, practices and traditions. Its breath ranges from the most utilitarian of purposes to the most esoteric and it is employed in acts of making that run the gamut from documentive to performative. This class will explore the possible full and complex role that drawing can play in each student?s artistic practice. Through a series of assignments students will be challenged to question their concept of and approach to drawing, with the aim of discovering new means and purposes of integrating a "drawing practice" into the exploration of their individual artistic interests and concerns. In critiques and discussions centered on artists presentations and readings, we will continually readdress the primary relationship between the formal and the conceptual in artwork. This is a course intended for Division III and upper level Division II arts concentrators. Prerequisite: A filed Division II contract, Drawing I or IA's "Foundation in Drawing and Visual Media", and at least two 200 level studio classes completed in good standing. Please be prepared to bring your evaluations and or transcripts for these courses to the first class.
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Mystics and Texts
(HACU-0289)

No issue in the comparative history of religion dramatizes the challenges of cross-cultural study of religious phenomena more than what is referred to as "the problem of mysticism." Is the mystic a kind of lone ranger of the soul whose experience reveals and confirms the transcendental unity of all religions, or are the experiences of mystics entirely predetermined by a the mystics' respective contexts of history, tradition, language, and culture? What is the relation between the mystic's "interior" experiences and what he or she writes about them? In this course we will undertake a comparative study of "mystical" and scriptural texts representing Neoplatonic, Christian, Hindu, and Buddhist traditions within the framework of modern and contemporary critical contributions to the history, psychology, and philosophy of mysticism. Among the mystics and texts considered are: Plotinus, The Cloud of Unknowing, Julian of Norwich, Teresa of Avila, selected Upanishads, the Bhagavad Gita, Mirabai, Ramakrishna, Milarepa, and Dogen. Prerequisite: at least one course in the study of religion or philosophy.
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Utopia: Visionary Art, Architecture and Theory
(HACU-0291)

This course is an examination of utopian plans in modern architecture and art, including the works of Claude-Nicolas Ledoux, William Morris, Ebenezer Howard, Bruno Taut, Frank Lloyd Wright, Walter Gropius, Le Corbusier, El Lissitzky, Kandinsky, Buckminster Fuller, Coop Himmelblau, and others. This class will consider the expression of utopia in architectural drawings, buildings, and plans in relationship with other art forms (painting, sculpture, the decorative arts, etc.) The course will consider the role of history in utopian schemes--how different projections about life in the future are also harsh criticisms of the present, which often rely upon real or imagined views of social organizations in times past. The course begins with an examination of significant literary utopias, including the books by Sir Thomas More, Edward Bellamy, and William Morris. Different philosophies and approaches to utopian design will be studied, as in the theories of Jean Jacques Rousseau, Pktr Kropotkin, Ernst Bloch, Karl Mannheim and Lewis Mumford. This class will also examine the critically important relationship between theory and practice, by looking at the successes and failures of actual attempts at utopian communities, and will conclude with a discussion of contemporary sensations of dystopia and chaos, and consider whether utopian imagining is possible for the 21st century.
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Feminist Philosophy and Performance-based Media
(HACU-0292)

This is an advanced production/theory class for philosophy and film/video students. Through readings, screenings, and discussion we will question the visual and performative epistemologies of a range of filmmakers in the context of feminist philosophical writings by among others, Kristeva, Irigaray, Spivak, Braidotti, Butler, Lugones, and Ahmed. We will consider the works of Mona Hatoum, Ximena Cuevas, Apichatpong Weerasethakul, Florence Ayisi, Kim Longinotto and Marguerite Duras among others, and examine the diverse performative strategies these video and filmmakers use to confront questions of gender, race, class, sexuality and transnationality. We will examine how these films cut across performative codes in moves that question the act and meaning of performance in relation to media; how they reflect the artists' drive to create visual and physical languages that embody the questions and ideas that inspire them; and how these films speak with and/or against the feminisms envisaged in the philosophical literature. Students will complete a paper, two short collaborative videos and one longer performance-based project on film or video. Prerequisites: Video I, Film I, or another 100 or 200 level production/theory class or a 100 or 200 level class in philosophy, Literature, feminist theory, or postcolonial theory. Instructor permission required.
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Arts Concentrators Division II Seminar: An Exploration of the Relationship Between Form, Content, and Meaning in Artistic Work
(HACU-0294)

This class will be structured around a series of assignments designed to be adapted to each students? particular artistic concerns and interests. The objective of the course is to create an environment where, along with addressing questions related to their own Division II concentration, students will be challenged to step outside of their current path of inquiry in order to return to it with fresh artistic perspectives. In critiques of students? artistic work and discussions centered around artists presentations and theoretical readings we will continually readdress the primary relationship between the formal and the conceptual in artwork across disciplines. Through our discussions and readings we will be exploring the meaning of an evolving and pluralistic definition of art and artistic practice. Some of the authors we will read include Barths, Brecht, McEvilly, and Phelan. Students will also have the chance to develop their ability to write and speak clearly about their own artworks.Prerequisite: This coure is open to students with a filed Division II contract in any visual or interdisciplinary artistic field.
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Symbolists and Decadents
(HACU-0296)

Building on the "breviary of decadence," J.K. Huysmans' Against the Grain, this course will examine the period of the turn-of-the-century, which witnessed two major trends in the arts: a sense of the decadence that coincided with the turn-of-the-century and a social and artistic rejuvenation associated with that same event. We will explore this dual notion of the fin-de-siecle in the visual and literary arts. Documents from the period along with more recent art historical and literary criticism will introduce students to the thematic, philosophical, and stylistic bases that formed these arts as a way to develop a vocabulary and the necessary analytical skills to discuss visual and verbal representation. Among the artists and writers to be included are Moreau, Redon, Munch, Khnopff, Rops, Horta, Klimt, Brooks, Somov, Benois, Bauer, Dobuzhinsky, Mucha, Beardsley, Denis, Baudelaire, Mallarme, Rodenbach, Huysmans, Rachilde, Wilde, Blok, Akhmatova, Gippius, and Diagilev.Prerequisite: Division II students.
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Division II Independent Projects Seminar in Film, Video, Photography, and Installation
(HACU-0299)

This course will provide an opportunity for Division II students in film/video, photography and related media that wish to pursue their own work, creating at least one completed new project for inclusion in the Division II portfolio. Each student will be required to present his/her work to the group several times during the semester. The members of the workshop will provide critical, technical and crew support for one another. Team projects are supported as long as each participant has a distinct and responsible role in the making of that work. Technical workshops will be offered where necessary. However, prior to joining the workshop, students must have some level of mastery over his/her medium as well as course evaluations in prerequisite areas. We will unpack the conceptual process of creating and realizing new works. Readings, screenings and museum/gallery visits, which address the specific problems faced by class members in developing the works-in-progress, will contribute to the overall experience of the workshop. All of these activities including active verbal contributions to all sessions are required of each student under the guiding principle that tracking each other's intellectual and creative process will help each person develop their respective project. A lab fee of $50 covers the use of Hampshire?s equipment plus film/video rentals. This course provides a structured context in which to do independent work at the Division II-level. Prerequisites: evaluations from at least two courses in a related discipline.
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Milton in Seventeenth Century Context: Authority, Exploration, Choice
(HACU-0301)

Focused by a semester-long reading of Milton's epic poem, Paradise Lost, this seminar will think about some of the major intellectual and social controversies--philosophic, political, religious, scientific, familial/sexual, economic--that roiled the middle decades of the Seventeenth century in England and the new North American colonies, as well as on the Continent. We will read Milton alongside a selection of texts by, among others, Bacon, Hobbes, Descartes, Shakespeare, Donne, Elizabeth Carey, Oliver Cromwell, Amelia Lanyer, Eleanor Davies and various Ranters and Levelers. Sometimes described as the beginning of the modern world, this period saw in England: an attack on the legitimacy of monarch and Church, violent Civil War, changes in family structure and a small explosion in writing by women, the imaginative as well as practical impact of the discoveries of Galileo, Newton and Harvey, increased encounters with non-European peoples, along with the articulation of ideas of overseas expansion, trade, and manifest destiny--topics we may explore as we work out way through Milton's poem, reading it also with close attention to its language and structures. This upper-level seminar is designed for students with college-level background in literature, history, philosophy or related fields.
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Theory Three
(HACU-0322)

This seminar is designed for Division III and upper-level Division II students whose projects or concentrations have a theoretical component. Students in literature, conceptual or installation art, film, gender criticism, or critical theory who would like to develop an aspect of their final project or a Division II capstone paper are especially welcome. Students will have the opportunity in this course to shape our syllabus and reading lists. Prerequisite: Previous courses in postmodern literary theory, feminist theory, aesthetics, film history, or critical theory. Instructor permission required.
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When East Meets West and Vice Versa: Buddhism During the Colonial Period
(HACU-0323)

Did you know that the popular image of Buddhism in the West has its roots in Asian reinterpretation of and Western fascination with Buddhism during the nineteenth- and early twentieth-century? Before its introduction to the West, particularly to the US, Buddhism became "prepackaged" as a rational, humanistic, ritual-free religion of direct Enlightenment experience as the result of Asian encounter with the West. This course will explore the history of Westerners' discovery of Buddhism as well as modernizing efforts made in various parts of Asia during the colonial period. Emphasis will be on the cases of Sri Lankan, Japanese and Tibetan Buddhism. In addition, the rhetoric of scientifically compatible Buddhism, the influence of German philosophy and Christian missionaries, Buddhism's rise to the World Religions and the "secondary" Orientalism among Asians will be closely examined. This course is designed to appeal to students interested in modern Asian history, Buddhism, and/or religion and modernity.
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Seminar in Music, Culture, and Ethnography
(HACU-0326)

This integrative seminar is designed for Division III students who are working on any aspect of ethnography, music, and other types of cultural production. Readings in cultural theory and issues specific to ethnographic work (the emic/etic divide, notions of authenticity, etc) will offer students theoretical frameworks from which to locate their research from their Division III projects. Additional reading assignments will be student selected. Students will read and critique each other?s Division III work and will prepare class presentations of their research throughout the semester. Instructor permission required.
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Gender, Race, and Sexuality in the Digital Age
(HACU-0327)

This seminar will explore the interface of technology with gender and race, how the concepts of gender, race, and sexuality are embodied in technologies, and conversely, how technologies shape our notions of gender, race, and sexuality. It will examine how contemporary products -- such as film, video games, science fiction, plastic surgery, blogs, and biotechnologies -- reflect and mediate long-standing but ever-shifting anxieties about race, gender, and sexuality. The course will consider the following questions: How do cybertechnologies enter into our personal, social, and work lives? Do these technologies offer new perspectives on cultural difference? How does cyberspace reinscribe or rewrite gender, racial, and sexual dichotomies? Does it open up room for alternative identities, cultures, and communities? Does it offer the possibility of transcending the sociocultural limits of the body? Finally, what are the political implications of these digital technologies? Instructor Permission Required.
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Scientific Foundations of Dance II
(HACU-0342)

This course introduces selected topics in human physiology and biomechanics and explores their applications to dance. Broadening our view of the interconnectedness of all physiological functions in the body, we will look at how the chemistry in the body affects: muscles, bones, joints, injuries, energy, mood, strength, overall health and performance, and effectiveness of training. Experiential in-class exercises will be utilized to integrate lecture material on a kinesthetic level. Students will be encouraged to understand scientific concepts and to build confidence in knowledge of their own bodies. Topics include basic physiological concepts, the nervous system, muscle physiology, nutrition, and biomechanics.Prerequisite: Scientific Foundations of Dance I.
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Gender Race and Class
(HACU-0355)

This course will examine the social structures and ideologies of gender, race, and class. For instance, when we consider the situation of battered women, we see that all women confront gendered social structures and prejudice. Yet, the experiences of those women and their options vary depending on their race and class. Through the use of examples as the one above, drawn from both history and public policy, we will work to hone our critical skills in analyzing gender, race, and class in American society. This course is designed for advanced Division II and Division III students. Students will have the opportunity to develop comprehensive research projects and to present their own work for class discussion.
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Film/Photography/Video Studies Seminar
(HACU-0399)

This course is open to film, photography and video concentrators in Division III and others by consent of the instructor. The class will attempt to integrate the procedural and formal concentration requirements of the College with the creative work produced by each student. It will offer a forum for meaningful criticism, exchange, and exposure to each other. In addition, various specific kinds of group experience will be offered, including lectures and critiques by guest artists and professionals and workshops in advanced techniques. The course will include discussions of post- graduate options and survival skills including tips on fundraising, exhibition and distribution, and graduate school applications. There will be a $50 lab fee. Enrollment is limited to Division III concentrators; contracts must have been filed prior to enrollment. All others must have permission of the instructor.
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Independent Study - Philosophy (HACU 200-3)
(HACU-200)

Independent study in Philosophy
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