Supplement Spring 2007- Added Courses
ANTH 292.01	ST: Narrative Lives	0.50 units, Sam Pack
Within Anthropology, the life history has long been recognized as an important vehicle for learning about how “culture” is experienced and created by individuals.  This seminar seeks to develop a better understanding of the research method known as life history and its attendant benefits and limitations in diverse social and cultural contexts.  Additional emphasis will address how categories of difference such as race, ethnicity, class gender, sexuality, age, religion, and geographic location are experienced and their relevance to personal identity.  Equally important, this is a “learning by doing” course as it will attempt to bridge theories of self-narrative with cultural anthropological research methods.  Students will experience first-hand the theoretical, methodological, and ethical issues involved in collecting life histories.  By undertaking individual projects, each student will learn to organize and conduct life history interviews, to record them, to transcribe them, to edit them, and to resent them in written form.  In the process, the goal is to explore the multiple stages involved in transforming a narrative form into an inscribed text.
ANTH 392.04	ST: Anthropology of Mass Media	0.50 units, Sam Pack
Never before in any period of history have so many people had access to so many mass mediated images.  Yet in spite of this proliferation, Anthropology has been a recent newcomer to the study of mass media production, distribution, and consumption as situated human activities.  Uniquely suited to enter this discourse, an anthropological approach to mass media transcends the limitations of traditional media scholarship by paying closer attention to the broader social and political contexts in which they are embedded.  This course endeavors to develop anthropological understanding of contemporary forms of cultural communication and reception by analyzing the flow of media images across national borders, and particular emphasis is given to the local impact of media culture in different parts of the world.  Students will examine the role of mass media in forging national and ethnic identities, body images, sexuality and gender, and experiences of war and violence.
ARHS 231.00	Modern Art III: Art since 1945	0.50 units, Denise Hinnant
ARHS 392.00	ST: Art of the 1920’s	0.50 units, John Tain
This seminar will examine a period when, in the wake of the Great War, artists and writers were intensely concerned with rebuilding a new society through a new art. We will look at works by artists such as Pablo Picasso, Max Ernst, Claude Cahun, and Man Ray, and read texts by André Breton, Georges Bataille, and Rosalind Krauss, among others. Paris will serve as our base of study, though there will be forays to other cities such as Petrograd and New York. Students should already have had some coursework in art history, or twentieth-century literature or history, which will prepare them for the final project—designing a proposal for an exhibition of art from this period. Please note that this course will be in part co-taught with Professor G. C. Waldrep’s English 392 course. Enrollment requires permission of the instructor.
ARTS 230.00	Figure Drawing	0.50 units, Read Baldwin
ENGL 104.05	Narrating the Nation	0.50 units, Ivonne Garcia
Nations are collectives of people, and writers often narrate their nations and themselves through a variety of genres (plays, short stories, memoirs, novels, and films) as part of, or as excluded from, the larger group. This class explores how national identities are created through narratives from Shakespeare's Julius Caesar (1599) to Harriet Jacobs' Incidents in the Life of a Slave Girl (1861) to the film "Independence Day" (1996). We will search for the similarities and differences among the written and visual texts we examine, looking for the larger constants and most intriguing divergences as we consider different national groups, genres, and time periods.  Enrollment limited.
ENGL 104.06	Inhuman Narrators	0.50 units, Erika Boeckeler
What would you say if you had been turned into a donkey or a cow but couldn’t tell anyone? Have you ever wondered about the proper way to address a fine wine, or a skull? This course examines the strange utterances of objects, animals, and of ghosts from the grave, as well as the strange things live narrators say to them. What can these voices tell us about the kinds of expectations that both we and historical cultures have for communication, for gender, about the interiority of animals, and about the status of things in the world? What can we learn about the limitations of language by studying inhuman voices? We will trace various authors’ imaginings of the Inhuman Other through a wide variety of texts, from the classical period (e.g. Apuleius, Ovid) to medieval allegorical works (Geoffrey Chaucer and the Persian Farid al-Din Attar), to Renaissance poetry and drama (e.g. Herrick, Donne, Herbert, Barnfield, Shakespeare), ending with a contemporary novel by Orhan Pamuk. We will also put into practice some of the narrative strategies we learn about in our own writings. Enrollment limited.
ENGL 232.00	Renaissance Poetry:  42 Ways to Read a Renaissance Poem	0.50 units, Erika Boeckeler
This study of the Renaissance poem opens up a delicate world of intensely structured language.  We will develop strategies of micro- and macro- reading for understanding how sparks of meaning lattice across a poem to create a whole effect: we will see how a single letter can change everything, how much a single word can  do, a single line, a stanza within a poem, an entire sonnet within a series of sonnets.  We will explore ways poems draw us into their worlds by transforming us into the “I” of the lyric speaker, by articulating our own emotions in a beautiful and intricate arrangement of words designed to amplify or soothe.  In the light of early modern poetic studies as well as contemporary methodologies (e.g. George Puttenham, Roman Jakobson), this course examines the major Renaissance poetic movements and poetics of the sixteenth and early seventeenth centuries, including the works of sonneteers, popular ballad writers, the Cavalier Poets, the Metaphysical Poets, and others.  Enrollment limited for sophomores; permission of the instructor required for first-year students.
ENGL 292.01	ST: Beyond Borders: Literatures of the Americas	0.50 units, Ivonne Garcia
This course examines the literatures of the Americas through the critical lenses of contact zone, border, and transnational theories. From Laura Esquivel's Malinche to Juan Rulfo's Pedro Páramo to Rudolfo Anaya's Bless Me, Ultima to Esmeralda Santiago's America's Dream this class explores the clashes between races, cultures, genders, classes, nationalities, and worldviews that characterize this richly creative region, both in the hemispheric and U.S. sense of "America." By examining mostly novels but also poetry, including the love poems of Pablo Neruda, we will seek a better understanding of this richly creative and fascinating area of literary study. Enrollment limited for sophomores.  Permission of the instructor required for first-year students.
ENGL 292.02	ST: The Poetry of Fiction	0.50 units, Daniel Anderson
This course will explore the ways in which prose fiction behaves, at times, like poetry. In our discussions we will consider how the short stories of Flannery O’Connor and Ernest Hemingway, and novels by Zora Neale Hurston (Their Eyes Were Watching God), William Faulkner (The Sound and the Fury), and Robert Penn Warren (All the King’s Men) owe a substantial debt to the economy, language, sensibility, and even rhythms we often associate with the lyric poem. Some of the poets we will examine include Chaucer, Robert Frost, Paul Laurence Dunbar, D.H. Lawrence, E. A. Robinson, Dylan Thomas, Rita Dove, and Derek Walcott to name a few. Enrollment limited for sophomores.  Permission of the instructor required for first-year students.
ENGL 292.03	ST: Intermediate Poetry Writing: The Lyric Sequence	0.50 units, GC Waldrep
A poetry workshop with an emphasis on lyric sequencing--that is, building larger lyric structures through creation, accretion, accumulation, and/or juxtaposition.  We will open with Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" and move through writers as diverse as Walt Whitman, Fernando Pessoa, Louise Glück, Charles Simic, John McPhee, Robert Penn Warren, Anne Carson, Aime Cesaire, Raul Zurita, and C.D. Wright.  Approximately half of the class time will be taken with exploring the readings and the other half spent workshopping students' original creative work.  At the close of the semester, each student will be expected to turn in an original and extended lyric sequence of his or her own, developed in consultation with the instructor.  Permission of the instructor required.
ENGL 292.04	ST: Representations of House and Home in Postcolonial Women’s Writing	0.50 units, Kathleen Fernando
The home has been represented as a common site of contest and struggle in colonial and postcolonial fiction.  In this course, we will attempt to understand how women writers from South Asia, the Caribbean and Africa represent and negotiate the image of the house and home in terms of their social history.  Our concern will be to investigate how, through representations of the home, women writers elaborate their positions on nation, gender, race, and class; and how they contribute towards either hegemonic, or emergent, counter-hegemonic national imaginaries.  Towards this end, our textual analysis will consist of querying the form and content of these textual representations, as well as interrogating the archives women writers draw on, in the production of these imaginaries.  Enrollment limited for sophomores; permission of the instructor required for first-year students.
ENGL 392.01	ST: Continental Divide	0.50 units, Daniel Anderson
Should poetry make sense of the world for its readers? Should it aspire, above all else, to create a “verbal earthly paradise?” Or should it accomplish both? This course will consider some of the aesthetic divisions that began to take shape in American poetry in the early 20^th century. We will start by reading Shakespeare’s The Tempest along with W.H. Auden’s essay on “Robert Frost” in which he observes, alluding to Shakespeare’s characters Prospero and Ariel, that every poem must navigate the rivalry between truth and beauty. The reading list will include poetry selections from Robert Frost, Ezra Pound, W.H. Auden, Sylvia Plath, Richard Wilbur, Robert Lowell, Elizabeth Bishop, and Howard Nemerov among others. Permission of the instructor is required.
ENGL 392.02	ST: Dada & Surrealism	0.50 units, GC Waldrep
“As beautiful as the chance encounter of an umbrella and a sewing machine upon an operating table.” This course will provide a critical and practical introduction to the worlds of Dada and Surrealism, the two interrelated artistic movements whose presence defined the avant-garde in Western art and literature during the first half of the 20^th century. We will open with a few precursors to these movements, survey the history of Dada and Surrealism from 1915 through the 1930s, and then attempt to chart some of the lines of Surrealist descent in the poetry and visual art of the late twentieth century. Authors covered will include Alfred Jarry, Tristan Tzara, André Breton, Antonin Artaud, and Aimé Césaire; visual artists will include Ernst, Duchamp, Dali, Magritte, Remedios Varo, and Joseph Cornell. We will also briefly explore Surrealist film. The class will occasionally meet in plenary session with ARHS 392 (French Art of the 1920s). Students will be required to produce both creative and critical work over the course of the term. Permission of the instructor required.
ENGL 392.03	ST: Dealing w/ Contemporary “America”: The Indigenous American Novel	0.50 units, S. Oritz
The purpose of this upper division Indigenous literature course is to read and study the contemporary Indigenous (Native) American novel, and to consider the questions: What is the Indigenous American novel? What does the novel say about contemporary American life? What is portrayed in the novel with regards to American history, culture, society, and ethics. What makes an Indigenous American novel Indigenous? Permission of the instructor required.
MUSC 392.01	ST: Issues of Globalization	0.50 units, Maria Mendonca
This course examines the key issues and concepts behind the notion of music globalization. Using several case studies, the emphasis will be on investigating the ways in which music travels, as this includes mediation, migration (including diaspora) affinity, the adoption and transformation  of material culture (such as musical instruments). The focus will be on how music - or the idea of music -   becomes enmeshed in new cultural contexts, as this includes regional musical affiliations and supercultural ideologies, its development guided by the motivations and interests of those drawn to perform and support it.
SOCY 292.02	ST: Transnational Social Movements	0.50 units, Jennifer Johnson
Especially since the civil rights, student and anti-war movements of the 1950s and 1960s in the United States, sociologists have studied how individuals mobilize collectively and self-consciously to promote social change at a national level.  Building on this tradition, this course examines a recent wave of protest movements that self-consciously organize across national borders.  Under what circumstances and with what chances of success do national movements form alliances that cross borders?  Is it true that globalization has generated new resources and strategic opportunities for the rise of transnational movements?  In an age of accelerated globalization, do national borders still contain movements in any significant way?  We will address these questions and others using case studies of contemporary environmental, anti-sweatshop, indigenous rights, and religious movements. Pre-Requisite:  Foundation Course in Sociology
CANCELLED COURSES, SPRING 2007
ANTH 324.00	Biocultural Adaptations	Kimmarie Murphy
ARHS 235.00	Art of China	Sarah Blick
ARHS 230.00	Modern Art II	John Tain
ARHS 492.00	ST: Impressionism and Post-impressionism	John Tain
DANC 107.00	Beginning Jazz Dance