A study of what might be referred to as “classical American literature” or “The Age of Emerson.” The writers studied will be Emerson, Thoreau, Fuller, Hawthorne, Melville, Whitman, and Dickinson. Among the central questions asked are these: How successful were these writers in their efforts to create a distinctively American language and literature? What was their view of nature and of human nature? How did they dramatize social conflict? In what ways did they affirm or challenge traditional conceptions of gender? The course will pay close attention to the interactions of these writers with one another and will give particular emphasis to Emerson as the figure with whom the others had to come to terms.
Limited to 20 students. Spring semester. Professor Guttmann.
2023-24: Not offeredStudents, as part of the work of the course, each week will tutor or lead discussions among a small group of students at Holyoke High School. The readings for the course will be essays, poems, autobiographies, and stories in which education and teaching figure centrally. Among these will be materials that focus directly on Holyoke and on one or another of the ethnic groups which have shaped its history. Students will write weekly and variously: critical essays, journal entries, ethnographies, etc. Readings for the course will include works by Sylvia Ashton-Warner, James Baldwin, Judith Ortiz Cofer, John Dewey, Jonathan Kozol, Herbert Kohl, Sarah Lightfoot, John Stuart Mill, Abraham Rodriguez, Esmeralda Santiago, and Patricia Williams. Two class meetings per week plus an additional workshop hour and a weekly morning teaching assistantship to be scheduled in Holyoke.
Limited to 20 students. Fall semester: Professor Sánchez-Eppler. Spring semester: Visiting Professor Cayer.
2023-24: Not offeredThis introduction to literary theory will offer an interrogation of some of the assumed tensions between experiences generally described as real and those described as imaginary. Over the course of the semester we will consider the ways literature enlarges personal experience, even as we will also attend to what happens when art approaches the limits of representation. Some of our particular concerns will include learning how to draw relationships between texts and their social and historical moments; questioning our own acts of learning about others through books; and exploring the relationship between identity and literacy. This class will also include a service component in which some of the class’ theory will come into practice, with students in this course working as reading partners to high school students engaged with the same texts and questions in American urban, rural, and reservation schools. Priority will be given to students already involved with teaching and literacy programs.
Omitted 2009-10. Professor Parham.
2023-24: Not offeredLiving today in an era of rapid technological innovation, we tend to forget that print itself was once a new medium. The history of English and American literature since the Renaissance has been as much a response to the development of new material formats (scribal copying, printed play scripts, newspaper and serial publication, broadsides and ballads, “little magazines,” radio, film, TV) as it has been a succession of ideal literary forms (poems, plays, and novels). This course will survey literary works from the sixteenth to the twentieth century in relation to the history of emerging media. Texts may include Renaissance sonnet sequences, Jonson’s Bartholomew Fair, Defoe’s A Journal of the Plague Year, selections from Johnson’s The Rambler, Gay’s The Beggar’s Opera, Dickens’The Pickwick Papers, Poe’s Selected Tales, Chesnutt’s The Conjure Woman, Wilde’s Salomé, selections from Pound’s The Cantos, Bradbury’s Fahrenheit 451, Beckett’s Krapp’s Last Tape, Kushner’s Angels in America.
Preference given to sophomores. Omitted 2009-10. Professor Parker.
2023-24: Not offeredThis course explores the relation between literature and history. How does fiction work to interpret and understand the past? Can literary texts serve as historical evidence, providing information about social conditions and beliefs in a particular place and time? In what ways might other sorts of historical documentation affect or amplify the reading of literature? We will address these questions through specific examples and through theoretical readings that address issues of narration, memory, and the continuance of the past. The theme changes each time the course is taught. In 2010 we will focus on American literature and in particular on writing that confronts the social “problem” of the unmarried woman. Texts will include Susanna Rowson’s Charlotte Temple, Nathaniel Hawthorne’s The Scarlet Letter, Harriet Jacobs’Incidents in the Life of a Slave Girl, Stephen Crane’s Maggie, A Girl of the Streets, Edith Wharton’s The House of Mirth, Toni Morrison’s Sula, and Mei Ng’s Eating Chinese Food Naked.
Limited to 20 students. Spring semester. Professor Sánchez-Eppler.
2023-24: Not offeredHow do generic conventions affect a work’s production and interpretation? Reading a selection of plays written for the commercial Elizabethan, Jacobean, and Caroline theaters, we will try to answer this and other questions by considering the works in their historical and theatrical context, and by closely reading the plays themselves. Turning our attention to the tragedies, comedies, histories, and tragicomedies of Shakespeare, Marlowe, Jonson, Webster, Ford, and Shirley, we will consider a range of topics, including genre, performance history, politics, religion, and gender.
Omitted 2009-10.
2023-24: Not offeredReading and writing about the natural world. This course will pay equal attention to which aspects of nature writers choose to write about and the various literary strategies they use. Texts include such works as Greek myths, the Hebrew Bible, Aesop’s Fables, British and American poetry, Thoreau’s Walking, Margaret Atwood’s Surfacing, Annie Dillard’s Pilgrim at Tinker Creek, and Paula Gunn Allen’s Grandmother Spider’s Stories.
Limited to 20 students. Fall semester. Professor Rushing.
2023-24: Not offeredThe course will cover the years from 1820 to 1920. These are the years when Anglo-American literature achieved an international reputation. They are also the years of African Americans’ first intense and bitter struggle for liberation, and the years when the Euro-American conquest of the Indians was completed. The second half of the century also experienced the largest immigration in the history of the country until the post-1965 period, which enabled the United States to become the greatest industrial power in the world. The literature we will read is enmeshed in all these complex events: Cooper, Sedgwick, Emerson, Thoreau, Fanny Fern, Hawthorne, Melville, Harriet Beecher Stowe, and Frederick Douglass.
Limited to 40 students. Omitted 2009-10. Professor O'Connell.
2023-24: Not offeredThis course will serve as an introduction to theater, performance art, and cultural politics in the Americas since 1960. We will read and discuss both U.S. and Latin American theater as aesthetic and sociocultural phenomena. We will discuss how identity is performed in the everyday sense and how historical identities, selves, and others have been performed. We will pay particular attention to how theater practitioners and theorists have responded to, adapted, and critiqued European traditions. Topics may include feminism, dictatorship, censorship and self-censorship, exile, experimentation and absurdist theater, queerness and gender, historical revision, and political theater.
Spring semester. Visiting Professor Cayer.
2023-24: Not offeredSECTION 01:
A first course in the critical reading of twelve English, Irish, and American poets: Donne, Herbert, Milton, Pope, Wordsworth, Tennyson, Dickinson, Frost, Eliot, Bishop, Larkin, and Heaney. Attention will be given to the careers of the poets, as well as to individual poems. Both poems and poets will be read in the light of two principal contexts: (1) The cultural moments in which poets write their poems, and (2) The continuing history of poetic style, as each writer responds to his or her predecessors. There will be a final paper on a book published recently.
Spring semester. Professor Sofield.
SECTION 02:
A first course in the critical reading of selected major English, Irish, and American poets: Donne, Pope, Wordsworth, Dickinson, Yeats, and Bishop. Attention will be given to poetic forms and to the careers of the poets as well as to individual poems.
Spring semester. Professor Emeritus Townsend.
2023-24: Not offered(Offered as English 13 and Black Studies 15 [A].) Against a backdrop that moves from Heart of Darkness to (PRODUCT)RED™, this semester we will focus on the current proliferation of “Africa” in the western imaginary. Such surges in interest about the continent are not new, and we will trace this literary and cultural phenomenon across the twentieth century, coming to settle mainly on contemporary American films. We will read our films as films, but also as cultural texts. We must wonder: Why these films now? Are there certain conditions under which the West turns to its imagination of Africa? And how might we account for the repetition of such turns over time? We will end the course in a consideration of cultural appropriation and what it means for expressive traditions. To get at this question, however, we will also look to some of the ways African filmmakers have responded to and have themselves appropriated elements of texts similar to those with which we began the semester.
Omitted 2009-10. Professor Parham.
2023-24: Not offeredAn introduction to cinema studies through consideration of a few critical and descriptive terms together with a selection of various films (historical and contemporary, foreign and American) for illustration and discussion. The terms for discussion will include, among others: the moving image, montage, mise en scène, sound, genre, authorship, the gaze.
Omitted 2009-10. Professor Cameron.
2023-24: Not offeredAn introduction to contemporary literary studies through the analysis of a variety of critical terms, a range of literary examples, and the relations between and among them. The terms considered in spring 2010 will be lyric, narrative, author, translation, and autobiography.
Preference given to sophomores. Spring semester. Professor Bosman.
2023-24: Not offeredA first workshop in the writing of poetry. Class members will read and discuss each others’ work and will study the elements of prosody: the line, stanza forms, meter, free verse, and more. Open to anyone interested in writing poetry and learning about the rudiments of craft. Writing exercises weekly. Limited enrollment. Preregistration is not allowed. Please consult the Creative Writing Center website for information on admission to this course.
Limited enrollment. Fall semester: Writer-in-Residence Hall. Spring semester: Professor Sofield and Simpson Lecturer Wilbur.
2023-24: Not offeredThis is an introductory course in screenwriting with a focus on narrative. We will look at film, adaptation, structure, and "the business," with an emphasis on workshopping original screenplay.
Requisite: At least one film course and/or one creative writing course at the college level recommended. Limited to 15 students. Preference given to juniors and seniors. Fall semester. Visiting Lecturer Murray.
2023-24: Not offeredWe will study writers’ renderings of their own experiences (memoirs) and their analyses of society and its institutions (cultural criticism). Workshop format, with discussion of texts and of students’ experiments in the genre. Students must submit examples of their writing to the English office. Three class hours per week.
Limited enrollment. Omitted 2009-10. Professor Emeritus Townsend.
2023-24: Not offeredA first course in writing fiction. Emphasis will be on experimentation as well as on developing skill and craft. Workshop (discussion) format.
Limited enrollment. Preregistration is not allowed. Please consult the Creative Writing Center website for information on admission to this course. Fall semester: Professor Frank. Spring semester: Visiting Writer Chee.
2023-24: Not offeredA second, advanced workshop for practicing poets. Students will undertake a longer project as well as doing exercises every week exploring technical problems.
Requisite: English 21 or the equivalent. Limited enrollment. Preregistration is not allowed. Please consult the Creative Writing Center website for information on admission to this course. Fall semester. Writer-in-Residence Hall.
2023-24: Not offeredAn advanced level fiction class. Students will undertake a longer project as well as doing exercises every week exploring technical problems.
Requisite: Completion of a previous course in creative writing. Limited enrollment. Preregistration is not allowed. Please consult the Creative Writing Center website for information on admission to this course. Fall semester. Visiting Writer Chee.
2023-24: Not offeredA poetry writing course, but with a strong emphasis on reading. Students will closely examine the work of various poets and periods, then attempt to write plausible imitations of their own, all by way of learning about poetry from the inside, as it were.
Spring semester. Writer-in-Residence Hall.
2023-24: Not offeredThe course aims to give the student rapid mastery of Chaucer’s English and an active appreciation of his dramatic and narrative poetry. No prior knowledge of Middle English is expected. A knowledge of Modern English grammar and its nomenclature, or a similar knowledge of another language, will be helpful. Short critical papers and frequent declamation in class. The emphasis will be on Chaucer’s humor, irony and lyricism. We will read The Parliament of Fowls, Troilus and Criseyde, and some shorter poems. Three class hours per week.
Omitted 2009-10. Professor Chickering.
2023-24: Not offeredThe course aims to give the student rapid mastery of Chaucer’s English and an active appreciation of his poetry. No prior knowledge of Middle English is expected. A knowledge of Modern English grammar and its nomenclature, or a similar knowledge of another language, will be helpful. Short critical papers and frequent declamation in class. The emphasis will be on Chaucer’s humor, irony, and his narrative and dramatic gifts. We will read all of the poetic Tales and excerpts from the two prose Tales. Three class hours per week.
Omitted 2009-10. Professor Chickering.
2023-24: Not offered(Offered as English 32 and Women’s and Gender Studies 55.) This course will examine the literary and cultural meanings of love, sexuality, and marriage in the Middle Ages, with a primary focus on late medieval England. We will explore such phenomena as “courtly love,” bawdy humor, and the place of romantic love in marriage, while we also consider how various authors use the language and concepts of love to explore deeper questions of power, identity, and literary purpose. We will read and discuss selected texts from the Arthurian tradition and from the works of John Gower and Geoffrey Chaucer, as well as assorted religious texts, love poems, comic tales of adultery, and debates about the sinfulness of women. Readings will be in translation or in Middle English (of which no prior knowledge is required).
Spring semester. Visiting Professor Walling.
2023-24: Not offeredThe course surveys multiple forms of drama and spectacle in Renaissance England with special attention to the cultural articulation of space. We will consider the relation of a range of texts to their real and imagined performance sites-public theatres like the Globe as well as private playhouses, castles, fairgrounds, taverns, and the streets of London-asking what impact these places had on the dramas themselves, on their representation of public and private worlds, and on the social and political role of theatre in society at large. Reading will include works by Marlowe, Shakespeare, Jonson, Heywood, Middleton and Rowley, and Milton.
Requisite: Recommend a previous course in Shakespeare or Renaissance literature. Omitted 2009-10. Professor Bosman.
2023-24: Not offered36. Shakespeare. An exploration of selected comedies, histories, and tragedies, with attention to the problem of genre. We will study Shakespeare on page and stage, and from his time to our own. Two class meetings per week.
Limited to 50 students. Spring semester. Professor Bosman.
2023-24: Not offeredThis course will explore the characteristic verse forms, imagery, and themes of late medieval and early Renaissance poetry and will examine how these characteristics have resonated throughout the work of later poets into the present day. We will consider the work of translators from Dryden to Pound and Heaney, trace the reinventions of alliterative poetry by such poets as Hopkins and Auden, and analyze the medievalism of poets from Spenser through Eliot. Throughout, we will explore the particular meaning these medieval devices carry for later poets and what they suggest about the changing role of the Middle Ages in the English poetic tradition.
Fall semester. Visiting Professor Walling.
2023-24: Not offeredReadings in the poetry and prose of six classic figures from the seventeenth and eighteenth centuries: Ben Jonson, Milton, Dryden, Pope, Swift, Samuel Johnson. Attention given to other writers from the Norton Anthology of English Literature, Vol. 1. Three class meetings per week.
Open to first-year students with consent of the instructor. Omitted 2009-10. Professor Pritchard.
2023-24: Not offeredReadings in the poetry and prose of six classic figures from the nineteenth century: Blake, Wordsworth, Keats, Byron, Tennyson, Matthew Arnold. Some attention given to Coleridge, Shelley, Browning.
Spring semester. Professor Pritchard.
2023-24: Not offeredA selection of mid-nineteenth-century English novels approached from various critical, historical, and theoretical perspectives. In spring 2009 the course will focus on novels written around 1848, among them Disraeli’s Sybil, Gaskell’s Mary Barton, E. Brontë’s Wuthering Heights, Dickens’ Dombey and Son, Trollope’s Barchester Towers, and Eliot’s Adam Bede.
Omitted 2009-10. Professor Parker.
2023-24: Not offeredA selection of late-nineteenth-century British novels approached from a variety of critical, historical, and theoretical perspectives.
Omitted 2009-10. Professor Parker.
2023-24: Not offeredReadings in twentieth-century writers such as Henry James, Bernard Shaw, Joseph Conrad, D.H. Lawrence, Wyndham Lewis, Ford Madox Ford, Virginia Woolf, Evelyn Waugh, W.H. Auden, Robert Graves, George Orwell, Ivy Compton-Burnett.
Not open to first-year students. Omitted 2009-10. Professor Pritchard.
2023-24: Not offeredReadings and discussions centering on the work of Thomas Hardy, W.B. Yeats, T.S. Eliot, Robert Frost, and Wallace Stevens. Some attention also to A.E. Housman, Edward Thomas, Ezra Pound, and William Carlos Williams.
Not open to first-year students. Fall semester. Professor Pritchard.
2023-24: Not offeredTo be taught in fall 2009 as English 95, section 03.
Fall semester. Professor Sofield.
2023-24: Not offeredExploring the relations between literary form and socioeconomic change, this course examines the rise of the novel in England in the context of the rise of capitalism. Topics of discussion will include the novels’ portrayals of subjectivity, the representation of female experience, the role of servants in the imaginary worlds of novels by ruling-class authors, and the early novel’s affinity for and relation to criminality. Novels by Defoe, Richardson, Fielding, Sterne, Burney and Edgeworth.
Spring semester. Professor Frank.
2023-24: Not offeredThe moral essay is a genre situated somewhere between literature and philosophy, between stories and sermons. “The essay interests itself in the narration of ideas,” one critic writes, “in their unfolding.” The moral essay is not about morals per se but about manners, about the way people live-and die. We will read essays by Montaigne, Bacon, Emerson, and Simone Weil.
Spring semester. Professor Emeritus Townsend.
2023-24: Not offeredOrganizing and expressing one’s intellectual and social experience. Twice weekly writing assignments: a sketch or short essay of self-definition in relation to others, using language in a particular way-for example, as spectator of, witness to, or participant in, a situation. These short essays serve as preparation for a final, more extended, autobiographical essay assessing the student’s own intellectual growth.
Limited to 20 students. Open to juniors and seniors. Fall semester. Senior Lecturer von Schmidt.
2023-24: Not offered(Offered as English 52 and Black Studies 37 [CLA].) A survey of the work of Anglophone Caribbean poets, alongside readings about the political, cultural and aesthetic traditions that have influenced their work. Readings will include longer cycles of poems by Derek Walcott and Edward Kamau Brathwaite; dialect and neoclassical poetry from the colonial period, as well as more recent poetry by women writers and performance (“dub”) poets.
Spring semester. Professor Cobham-Sander.
2023-24: Not offeredA specialized study of a peculiar kind of literary experiment-the attempt to create, in verse or prose, the sustained illusion of insane utterance. Readings will include soliloquies, dramatic monologues and extended “confessional” narratives by classic and contemporary authors, from Shakespeare and Browning, Poe and Dostoevsky to writers like Nabokov, Beckett, or Sylvia Plath. We shall seek to understand the various impulses and special effects which might lead an author to adopt an “abnormal” voice and to experiment with a “mad monologue.” The class will occasionally consult clinical and cultural hypotheses which seek to account for the behaviors enacted in certain literary texts. Three class hours per week.
Requisite: Several previous courses in literature and/or psychology. Open to juniors and seniors and to sophomores with consent of the instructor. Omitted 2009-10. Professor Peterson.
2023-24: Not offered“The Linguistic Turn” is a first course in literary and cultural theory. Though it will devote some early attention to the principles and methods of linguistic analysis, this class is not conceived as an introduction to linguistics per se. We will be asking, instead, much broader questions about the nature of “language,” among them whether there is such a thing, and, if so, why it has come to define for us the nature of our contemporaneity.
Open to juniors and seniors. Omitted 2009-10. Professor Parker.
2023-24: Not offered(Offered as English 55 and Black Studies 29 [A/CLA].) The course will concentrate on Caribbean authors. It explores the process of self-definition in literary works from Africa and the Caribbean that are built around child protagonists. We will examine the authors’ various methods of ordering experience through the choice of literary form and narrative technique, as well as the child/author’s perception of his or her society. French texts will be read in translation.
Open to first-year students with consent of the instructor. Fall semester. Professor Cobham-Sander.
2023-24: Not offered(Offered as English 56 and Black Studies 60 [US].) Some of the stellar African American poets seem “haunted” by various versions of personal, local, cultural, national, and international history. This course focuses on the ways four poets display their particular relationship to history. Poets vary from semester to semester and include such figures as Lucille Clifton, Michael Harper, Robert Hayden, Audre Lorde, Brenda Marie Osbey, Melvin Tolson, and Jay Wright. The writers are usually formalists and employ long forms of poetry. We will concentrate on close reading, contextualize the poetry, pay attention to literary criticism and literary theory, and study the poets’ manifestations of inter-textuality.
Omitted 2009-10. Professor Rushing.
2023-24: Not offeredTo be taught in spring 2010 as English 95, section 04.
Limited to 15 students. Preference given to junior and senior English majors. Professor Peterson.
The period 1880 to 1920 appears to have been the moment of the emergence of modern sexuality in American and European culture and literature. The representation of proliferating forms of erotic desire, often veiled or coded, found rich and complex articulation in the discourse of literary modernism. The course will take advantage of recent historical and theoretical work (Foucault, Sedgwick, Butler and others) to approach writing by Melville, Cather, Henry James, R.L. Stevenson, Wilde, Forster, Lawrence, Woolf, Gide, Mann, Colette, and others. Attention will be paid to the work of Sigmund Freud in this period as being perhaps the queerest fiction of all.
Omitted 2009-10. Professor Cameron.
2023-24: Not offeredA study of American and British gay and lesbian novelists, from 1990 to the present, who have written historical novels. We will examine such topics as the kinds of expressive and ideological possibilities the historical novel offers gay and lesbian novelists, the representation of sexuality in narratives that take place before Stonewall, and the way these authors position queer lives in history. Novelists include Sarah Waters, Emma Donoghue, Jeanette Winterson, Leslie Feinberg, Alan Hollinghurst, Colm Tóibín, and Michael Cunningham.
Fall semester. Professor Frank.
2023-24: Not offeredThe topic varies from year to year. In fall 2008 the topic was “Twentieth-Century American Indian Literature.” Before the twentieth century American Indian writing took the form of sermons, political statements, journalism, or a few remarkable autobiographies. But there was little in the way of poetry, short stories, or novels. Especially since the 1960s Indian writing has enjoyed what has been called a “renaissance,” and there are a number of Indian writers who stand among the first ranks of American writers. We will attempt as comprehensive a survey as possible of the major American Indian writers since 1960 across all genres, writers such as Louise Erdrich, James Welch, Gerald Vizenor, Leslie Marmon Silko, Linda Hogan, and Sherman Alexie. In addition the course will begin with a brief look at Indian writers of the first half of the twentieth century: Charles Eastman, John J. Mathews, and Darcy McNickle.
Omitted 2009-10. Professor O'Connell.
2023-24: Not offeredThis course will regularly examine, from different historical and theoretical stances, the literary and cultural scene in nineteenth-century America. The goal of the course is to formulate new questions and possibilities for investigating the history and literature of the United States. The topic changes each time the course is taught.
The topic for 2010 is EMILY DICKINSON. “Experience is the Angled Road / Preferred against the Mind / By–Paradox–the Mind itself–” she explained in one poem and in this course we will make use of the resources of the town of Amherst to play experience and mind off each other in our efforts to come to terms with her elusive poetry. The course will meet in the Dickinson Homestead, visit the Evergreens (her brother Austen’s house, and a veritable time capsule), make use of Dickinson manuscripts in the College archives, and set her work in the context of other nineteenth-century writers including Helen Hunt Jackson, Walt Whitman, Edgar Allan Poe, and Harriet Jacobs. But as we explore how Dickinson’s poetry responds to her world we will also ask how it can speak to our present. One major project of the course will be to develop exhibits and activities for the Homestead that will help visitors engage with her poems. One class meeting per week.
Recommended requisite: English 61. Not open to first-year students. Limited to 12 students. Spring semester. Professor Sánchez-Eppler.
2023-24: Not offeredOver the course of the semester, we will examine the construction of Asian American identity from the late 1800s to the present day. We will explore, in particular, how Asians in America have been represented and defined in the realms of law and literature, how these separate realms have intersected and informed one another. We will not only explore the formation of Asian American identity from the outside, but also from within this broad racial category, as reflected in works by Asian American authors and documentary filmmakers. The course will be strongly interdisciplinary and include readings in history, ethnic studies, legal studies, material culture, and literary criticism.
Limited to 30 students. Omitted 2009-10. Professor Hayashi.
2023-24: Not offeredA study of the emergence after the Civil War of works and theories of literary “realism” and of the movement’s transformation into “naturalistic” novels and experimental “modernist” fictions of the early twentieth century. The course concludes with a brief look at a contemporary “postmodern” text. Special attention will be given to changing conceptions and renderings of racial, cultural, and sexual differences. Among the authors likely to be assigned are Howells, James, Twain, Dreiser, Norris, Chopin, Wright, Larsen, Hemingway, Toomer, Faulkner, and DeLillo. Three class hours per week.
Spring semester. Professor Peterson.
2023-24: Not offeredEthnicity. What is it? What does it mean to be Irish American? African American? Jewish American? How does one experience being any one of these? What does literature by “ethnic” authors tell us about identity in America and how ethnicity, in particular, shapes how we tell stories? Moreover, what about the other side of that hyphenated identity–American? What does that mean in an increasingly diverse nation? These are some of the questions that will guide us during the semester as we read and discuss samples of American ethnic literature: poetry, oratory, prose, and memoir.
Limited to 30 students. Spring semester. Professor Hayashi.
2023-24: Not offered(Offered as English 66 and Black Studies 39 [US].) The topic changes each time the course is taught. In fall 2007 the topic was “The Weary Blues: Mourning in African American Literature and Culture.” As a population generally familiar with the facts of living too hard and dying too soon, how have African Americans used their literary and cultural traditions to memorialize-to articulate and often to work through conditions of pain and loss? Using a variety of literary and cultural texts, including RIP murals, poetry, and music, this semester’s topic examines the various ways African Americans express and aestheticize loss; how mourning often works as a foundation for militancy; and, most importantly, how loss is often recuperated through ideologies of art, love, and memory.
Limited to 20 students. Omitted 2009-10. Professor Parham.
2023-24: Not offered(Offered as English 67 and Black Studies 40 [A].) The best known African novel is Nigerian Chinua Achebe’s masterful Things Fall Apart (1958) with its depiction of the tragic collision between a “traditional” African society and the colonizing power of Great Britain. As dozens of African countries gained political independence from their European colonizers, the next generation of novels presented renditions of post-colonial Africa. The novels for this course depart from both those categories. We will focus on writers from such English-speaking countries as Nigeria, Somalia, South Africa, and Zimbabwe. Although we will consider political and cultural contexts, we will concentrate our attention on the stories the novels tell, the strategies their authors use to tell them, and their use of language.
Omitted 2009-10. Professor Rushing.
2023-24: Not offeredThe focus of the course will be on education within the United States. From the earliest days of the new republic Americans have linked the prospects of democracy with the quality and extent of educational opportunity. Two fundamental and contradictory questions, however, have shaped nearly every controversy: (1) Should education be a competitive system to establish and legitimate a hierarchy of merit? or (2) Should schools focus on the fullest development of each student so as to enable her or him to participate equally in a democratic society by contributing from her or his individual gifts and differences? Finally, another key and virtually silent assumption has shaped these debates: that schools are the primary generators of equality or inequality. One might argue that this assumption has functioned to help Americans evade greater and more substantial sources of inequality such as the corporate order, housing, access to medical care, and many others. The course will not seek to resolve these questions, but to explore how the different assumptions involved structure what can be taught and learned and by whom. The texts for the course will range across a number of disciplines: philosophy, cognitive psychology, literature, sociology, and political science and theory. John Dewey’s Democracy and Education will be the framing text. Two class meetings per week.
Requisite: English 02 or an equivalent course. Limited to 20 students. Omitted 2009-10. Professor O'Connell.
2023-24: Not offeredNovels and short fiction, mainly comic, by such writers as Saul Bellow, Flannery O’Connor, Norman Mailer, Anthony Powell, Kingsley Amis, John Updike, Philip Roth, Nicholson Baker, Jonathan Franzen, Ian McEwan, Barbara Pym, Robert Stone, Richard Ford. The emphasis will be on developing students’ ability to write useful criticism about the work and the writer in question.
Omitted 2009-10. Professor Pritchard.
2023-24: Not offeredThis is a course in the reading of the contemporary graphic novel, a form with a voice made from the juxtaposition of visual art and text. Readings will focus on the unique demands this voice places on the reader, the writer/artist and the story as well as how a form first known for pulp science fiction and melodrama now tells stories about war, illness, censorship, terrorism, immigrant experiences and sexual identity. We will read Max Ernst, Frank Miller, Art Spiegelman, David Wojnarowicz, Kazuo Koike, David B., Guy Delisle, Joann Sfar, Jaime and Gilbert Hernandez, Marjane Satrapi, Alison Bechdel, and Eugene Yang. All French and Japanese work will be read in translation. Two class meetings per week.
Admission with consent of the instructor. Preference given to junior and senior English majors. Limited to 15 students. Fall semester. Visiting Writer Chee.
2023-24: Not offeredWhy feminism? Isn’t feminism outmoded and passé? What is feminism today, and how is it relevant for theater and performance work? This class will explore the relationship between feminist history, theory, and practice. It will serve as an introduction to the work of twentieth-century women playwrights, performance artists, and critical thinkers. We will first confront feminism as a tool for reading and interpreting issues of gender and sexuality in plays and performances. We will also consider how, and to what extent, feminism influences practices of writing, performing, and spectatorship. We will then mobilize a global and inclusive definition of feminism in order to explore how the social and political aims of early feminisms influenced thinking about racial, national, post-colonial, queer, and ethnic representation in performance. Central debates will include the distinctions and shifts between theater and performance; textuality and embodiment; essentialism and social construction; and identity and representation. Course materials will include plays, performances, and visual art as well as feminist theoretical texts. We will aim to understand the diverse political and personal ambitions, risks, and power of women’s theoretical, theatrical, and performance work.
Omitted 2009-10. Visiting Professor Cayer.
2023-24: Not offeredThe topic changes each time the course is taught. In fall 2009 the topic will be “Narrative Cinema in a Global Context.” This course will introduce students to a diverse range of approaches to narrative filmmaking. Students will gain skills in videomaking and criticism through project assignments, readings and analysis of critical discourses that ground issues of production. The course will include workshops in cinematography, sound recording, directing and editing. Weekly screenings will include films and videos by Jia Zhangke, Claire Denis, Charles Burnett, Tsai Ming-liang, Abdellatif Kechiche, and Lucia Murat. Students will complete three video projects.
Admission with consent of the instructor. Limited to 12 students. Recommended requisites: Completed coursework in one of the following areas: Film Studies, Visual or Performing Arts, Art History. Please complete the questionnaire at https://cms.amherst.edu/academiclife/departments/english/events/questionnaire. Fall semester. Five College Professor Hillman.
The study of a range of non-fiction films, including (but not limited to) the “documentary,” ethnographic film, autobiographical film, the film essay. Will include the work of Eisenstein, Vertov, Ivens, Franju, Ophüls, Leacock, Kopple, Gardner, Herzog, Chopra, Citron, Wiseman, Blank, Apted, Marker, Morris, Joslin, Riggs, McElwee. Two film programs weekly. Readings will focus on issues of representation, of “truth” in documentary, and the ethical issues raised by the films.
Limited to 25 students. Fall semester. Senior Lecturer von Schmidt.
2023-24: Not offeredThe topic changes each time the course is taught. In spring 2011 the topic will be “Cinema and Everyday Life.” Film theorist Siegfried Kracauer declared that some of the first films showed “life at its least controllable and most unconscious moments, a jumble of transient, forever dissolving patterns accessible only to the camera.” This course will explore the ways contemporary narrative films aesthetically represent everyday life–capturing both its transience and our everyday ruminations. We will further consider the ways we incorporate film into our everyday lives through various modes of viewings (the arthouse, the multiplex, the DVD, the mp3), our means of perception, and in the kinds of souvenirs we keep. We will look at films by Chantal Akerman, Robert Altman, Marleen Gorris, Hirokazu Koreeda, Marzieh Makhmalbaf, Terrence Malick, Lynne Ramsay, Tsai Ming-liang, Agnès Varda, Wong Kar-wai, and Andy Warhol. Readings will include work by Roland Barthes, Walter Benjamin, Marlene Dietrich, Sigmund Freud, and various works in film and media studies. Two class meetings and one screening per week.
Not open to first-year students. Limited to 30 students. Spring semester. Professor Hastie.
A critical reading in English translation of substantial portions of Marcel Proust’s great work of fiction and philosophy, A la Recherche du temps perdu (In Search of Lost Time). An extended synopsis of the entire work will be provided. Class discussion and exercises will concentrate on major passages of the work (amounting to roughly half of the whole). Attention will be given to the tradition of critical commentary in English on Proust’s work and its place as a document of European modernism. Two class meetings per week.
Requisite: Recommend prior study in nineteenth- or early twentieth-century English or French novel. Not recommended for first-year students. Spring semester. Professor Cameron.
2023-24: Not offeredReadings in Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and some portions of Finnegans Wake. Two class meetings per week.
Not open to first-year students. Omitted 2009-10. Professor Cameron.
2023-24: Not offeredStudents intending to continue independent work begun in English 87 are required to submit, by the end of the first week of classes, a five-page prospectus describing in detail the shape of the intended project along with a substantial writing sample from the work completed in English 87. Students beginning a new project who wish to apply for English 88 must submit, by the end of the first week of classes, a five-page description and rationale for the proposed independent study. Those who propose projects in fiction, verse, playwriting, or autobiography must submit a substantial sample of work in the appropriate mode; students wishing to undertake critical projects must include a tentative bibliography with their proposal. Preregistration is not allowed.
Admission with consent of the instructor. Spring semester.
2023-24: Not offered(Offered as English 89 and Theater and Dance 96.) This course will focus on creating a performance, music, and video piece on the themes of migration, displacement, memory and history. The piece will be developed through interdisciplinary experiments that emphasize the exploration of reciprocal relationships within and between the different media. Students will work individually and in collaborative teams and will be involved in the conception, rehearsals and performances of an original performance work directed by the professors. One three-hour class meeting per week plus a lab session.
This course is for intermediate/advanced performers, videomakers, composers, and designers who have previous experience in any of the above media. Requisite: Previous experience in composition in video, theater, music, creative writing, and/or dance. Admission with consent of the instructor. Limited to 16 students. Spring semester. Five College Professor Hillman and Professor Woodson.
2023-24: Not offeredReadings of poets who have chosen to live in a culture other than their own, with an emphasis on T.S. Eliot in London, Elizabeth Bishop in Brazil, Thom Gunn in California, and Agha Shahid Ali in New England. Two class meetings per week.
Omitted 2009-10. Writer-in-Residence Hall.
2023-24: Not offeredIndependent Reading Courses.
Spring semester. The Department.
2023-24: Not offeredAn introduction to movement as a language and to dance and performance composition. In studio sessions students will explore and expand their individual movement vocabularies by working improvisationally with weight, posture, gesture, patterns, rhythm, space, and relationship of body parts. We will ask what these vocabularies might communicate about emotion, thought, physical structures, cultural/social traditions, and aesthetic preferences. In addition, we will observe movement practices in everyday situations and in formal performance events and use these observations as inspiration for individual and group compositions. Two two-hour class/studio meetings and a two-hour production workshop per week. Selected readings and viewing of video and live performance.
Limited to 20 students. Fall semester. Professor Woodson.
2023-24: Not offeredAn introduction to design, directing, and performance conducted in a combined discussion/workshop format. Students will be exposed to visual methods of interpreting a text. Early class discussions focus on a theoretical exploration of theater as an art form and seek to establish a vocabulary for and understanding of basic theatrical conventions, with readings from Aristotle through Robert Wilson. Students will spend the bulk of the semester testing these theories for themselves, ultimately designing their own performances for two plays. Two two-hour classes and two-hour production workshop included in this time.
Limited to 12 students. Fall semester. Professor Dougan.
2023-24: Not offeredThis course examines what happens on stage (the action) and “how” that action happens (the character) from the points of view of the playwright and the actor. The course assumes that the creative processes of both the actor and the playwright are similar. Therefore, the students will write scenes and at least one short play, which will be rehearsed as homework for presentation in class. Students will be given a series of acting and playwriting exercises to develop craft and to reinforce their understanding of creative processes. Students will be assigned plays and certain critical texts to support their work in writing and acting. Three two-hour class meetings and a two-hour production workshop per week.
Enrollment in each section is limited but early registration does not confer preferential consideration. Twenty students attending the first class will be admitted. Selection will be based upon the instructor’s attempt to achieve a suitable balance between first-year students and upperclassmen and between men and women, and to achieve a broad range of levels of acting experience. Notice of those admitted will be posted within 24 hours of the first meeting and a waiting list will be available.
Fall and spring semesters. Resident Artist Lobdell.
2023-24: Not offeredThe status quo says, “We do it the way it’s always been done.” The artist replies, “I have an idea, let’s try it another way.” Thus advance theater and dance. Thus evolve opera, happenings and performance art. This course explores several seminal theatrical events and the artists who created them. These innovations changed the course of theater and dance in the 20th century, thereby preparing those who follow to make the new art of the 21st.
After reviewing basic artistic and theoretical assumptions which governed the making of theatrical entertainment at the end of the 19th century, the course will look at playwrights, performers, choreographers, designers, directors and theorists whose ideas opened up new ways of looking at the craft of making those space-time objects we struggle to categorize as plays, dances, operas, performances and events. Particular attention will fall on work that is difficult to correctly place in a single category. Research in primary material such as plays, manifestos, documentary photographs, period criticism, and video transcriptions. Critical papers comparing and contrasting works will be studied. (Required of all majors)
Spring semester. Professor TBA.
2023-24: Not offeredA study of European and American drama from Ibsen to Pinter from a dramaturgical point of view. Through reading and discussing a wide variety of important plays, students will develop skills in textual analysis and explore productive ways of interpreting the theatrical script. Academic work will include critical papers and in-class experimentation with performance ideas. Particularly useful to augment the study of acting, directing, design and playwrighting.
Omitted 2009-10.
2023-24: Not offeredThis selected survey of choreography on film and video indulges in the purely kinesthetic experience of watching the dancing body on film. We will focus on works that have most successfully effected a true synthesis of the two mediums, negotiating between the spatial freedom of film and the time-space-energy fields of dance, the cinematic techniques of camera-cutting-collage, and the vibrant continuity of the moving body. We will discern the roles of the choreographer, director, and editor in shaping and controlling the moving image and explore the relationship of music and the dancing body. We will also attempt to theorize the medium of the “moving picture dance” and formulate a theoretical understanding of the relationship between films and viewers and the powerful effect of the moving/dancing image on viewers. Putting theory to practice, we will form small group collaborations to create an original study in choreography for the camera.
Omitted 2009-10.
2023-24: Not offered
The 1930s and the 1960s were periods of social disorder in much of America. They were also times of extraordinary theatrical activity. This course looks at Dramatic Literature and the work of theater companies in America in those turbulent decades and considers to what extent the theater today reflects the nation's present social and economic turmoil. Readings from each period in Dramatic Literature and Cultural History. The course will consider the plays in a seminar format and will require several short research papers and occasional theatrical projects.
Fall semester. Professor Emeritus Birtwistle.
2023-24: Not offeredPlaywriting is vital and alive in America today. Building upon the foundations of American Realism and the American avant-garde, modern American plays explore a wide range of human issues including family and the search for place; sex and sexuality; politics, social power, and personal identity. In addition, there is an important strain of American playwriting that involves modern reinterpretations of ancient Greek classics. Many of the plays of the past 30 years represent what should be seen as a new genre: tragic comedy, where humor and serious dramatic issues are intertwined in a seamless and effective way. Focusing on new plays plus “contemporary classics” from playwrights such as A. Wilson, Shepard, Congdon, Vogel, Kushner, Hwang, Parks, Fornes, Mamet, Dove, Iizuka, and Mee, we examine the stylistic and theoretical antecedents for this work and examine modern American culture through the lens of some if its most articulate theater artists. In this class we explore how to analyze plays dramaturgically, identifying elements in a play that are not immediately visible to an untrained eye but that are essential to taking the play to the stage.
Omitted 2009-10
2023-24: Not offeredContemporary Dance Techniques: Ballet II/III
The study and practice of contemporary movement vocabularies, including regional dance forms, contact improvisation and various modern dance techniques. Because the specific genres and techniques will vary from semester to semester, the course may be repeated for credit. Objectives include the intellectual and physical introduction to this discipline as well as increased body awareness, alignment, flexibility, coordination, strength, musical phrasing and the expressive potential of movement. The course material is presented at the beginning/intermediate level.
Spring semester. Visiting Lecturer Vacanti.
2023-24: Not offeredA workshop in writing for the stage. The semester will begin with exercises that lead to the making of short plays and, by the end of the term, longer plays-ten minutes and up in length. Writing will be done in and out of class; students’ work will be discussed in the workshop and in private conferences. At the end of the term, the student will submit a portfolio of revisions of all the exercises, including the revisions of all plays.
Limited to 15 students. Not open to first-year students. Spring semester. Playwright-in-Residence Congdon.
2023-24: Not offeredThis course will include studio sessions in contemporary modern/jazz dance technique at the intermediate level and rehearsal sessions to create original choreography; the completed piece(s) will be presented in concert at the end of the semester. The emphasis in the course will be to increase expressive range, technical skills and performance versatility of the dancer through the practice, creation and performance of technique and choreography. In addition, the course will include required readings, the viewing of dance videos and live performances to give an increased understanding of the historical and contemporary context for the work.
Fall semester. Visiting Lecturer Nicoli.
2023-24: Not offeredThis course will provide structures and approaches for creating original choreography, performance pieces and events. An emphasis will be placed on interdisciplinary and experimental approaches to composition, choreography, and performance making. These approaches include working with text and movement, visual systems and environments, music, sound and chance scores to inspire and include in performance. Students will create and perform dance, theater, or performance art pieces for both traditional theater spaces and for found (indoor and outdoor) spaces.
This course is open to dancers and actors as well as interested students from other media and disciplines. Consent of the instructor is required for students with no experience in improvisation or composition. Two two-hour class meetings per week and weekly lab/rehearsal sessions.
Limited to 12 students. Spring semester. Professor Woodson.
2023-24: Not offeredTechnical issues of the body, voice, will, and imagination for the actor; exercises and readings in acting theory. Introduction of techniques to foster physical and emotional concentration, will and imaginative freedom. Exploration of Chekhov psycho-physical work, Hagen object exercises, Spolin and Johnstone improvisation formats, sensory and image work, mask and costume exercises, and neutral dialogues. The complex interweaving of the actor’s and the character’s intention/action in rehearsal and performance is the constant focus of the class. Three two-hour class meetings per week.
Requisite: Theater and Dance 13. Spring semester. Resident Artist Lobdell.
2023-24: Not offeredStudents in this class will rehearse scenes directed by students enrolled in Theater and Dance 45. In addition, students will meet with the instructor weekly for specific exercises based upon problems confronted in rehearsal.
Requisite: Theater and Dance 13. Limited to 20 students. Omitted 2009-10. Resident Artist Lobdell.
2023-24: Not offeredThe materials, techniques and concepts which underlie the design and creation of the theatrical environment.
Requisite: Theater and Dance 12 or consent of the instructor. Limited to 8 students. Fall semester. Professor Dougan.
2023-24: Not offeredAn introduction to the analytical methods and skills necessary for the creation of costumes for theater and dance with emphasis on the integration of costume with other visual elements. Lab work in costume construction.
Requisite: Theater and Dance 12 or consent of the instructor. Limited to 8 students. Omitted 2009-10. Professor Dougan.
2023-24: Not offeredOne of two studio courses in the theory and process of realizing a previously written play on the stage. This course will examine directing Tragedy and other serious dramatic forms, through dramaturgical analysis and workshop staging of plays by such playwrights as Euripides, Calderon, Anton Chekhov, Harold Pinter, Sam Shepard, August Wilson, Constance Congdon and Charles Mee. Class sessions will focus on staging scenes, developing narrative skills, working with actors and evolving production schemes.
Requisites: Theater and Dance 12 and Theater and Dance 11 or 13, or consent of the instructor. Fall semester. Professor Emeritus Birtwistle.
What is theatrical sound design? Introduction to sound design attempts to answer that question, exploring what sound design is, how to look at a text and launch your creative process, and how to take the ideas based on that creative process and turn them into sounds to be used in a show. This is all done through a series of introductory lab projects and then a complete design for a short play, all while learning three new pieces of software. This is a highly interactive class, where student participation is key; students will be expected to take part in each other’s projects, as well as to create their own work.
Requisite: Theater and Dance 12 or consent of the instructor. Limited to 12 students. Spring semester. Visiting Lecturer Kaplowitz.
2023-24: Not offered
One of two studio courses in the theory and process of realizing a previously written play on the stage. This course will experiment with methods of staging farce and comedy through dramaturgical analysis and workshop staging of texts
chosen from such playwrights as Moliere, Carlo Goldoni, Richard Brinsley Sherridan, Georges Feydeau, Tom Stoppard, and Christopher Durang. Class sessions will focus on staging scenes, working with actors to discover the comic material inherent in written texts and clarifying the playwright’s intent.
Requisite: Two of the following three courses--Theater and Dance 11, 12 or 13. Spring semester. Professor Emeritus Birtwistle.
2023-24: Not offeredThis advanced production class will give students an opportunity to explore various relationships between live performance and video. Experiments will include creating short performance pieces and/or choreography specifically designed for the video medium; creating short pieces that include both live performance and projected video; and creating short experimental video pieces that emphasize a sense of motion in their conceptualization, and realization. Techniques and languages from dance and theater composition will be used to expand and inform approaches to video production and vice-versa. Sessions include studio practice (working with digital cameras and Final Cut Pro digital editing) and regular viewing and critiques. Students will work both independently and in collaborative teams according to interest and expertise.
Requisite: Previous experience in theater, dance, music composition, and/or video production or consent of the instructor. Limited to 10 students. Omitted 2009-10. Professor Woodson.
2023-24: Not offeredThis studio production class will focus on multiple ways of tracking, viewing, and capturing bodies in motion. The course will emphasize working with the camera as an extension of the body to explore radically different points of view and senses of focus. We will experiment with different techniques and different kinds of bodies (human, animal, and object) to bring a heightened awareness of kinesthetic involvement, animation and emotional immediacy to the bodies on screen and behind the camera. In addition, we will interject and follow bodies into different perceptions of time, progression, place and relationship. In the process, we will express various experiences and theories of embodiment and question what constitutes a body. Depending on student interests, final projects can range from choreographies for the camera to fictional narratives to documentary studies. The class will alternate between camera sessions, both in the studio and on location, and sessions in the editing suite working with Final Cut Pro.
Requisite: Previous experience in composition. Admission with consent of the instructor. Limited to 12 students. Omitted 2009-10 Professor Woodson.
2023-24: Not offeredA workshop/seminar for writers who want to complete a full-length play or series of plays. Emphasis will be on bringing a script to a level where it is ready for the stage. Although there will be some exercises in class to continue the honing of playwriting skills and the study of plays by established writers as a means of exploring a wide range of dramatic vocabularies, most of the class time will be spent reading and commenting on the plays of the workshop members as these plays progress from the first draft to a finished draft.
Requisite: Theater and Dance 31 or the equivalent. Limited to 10 students. Spring semester. Playwright-in-Residence Congdon.
2023-24: Not offeredAn advanced course in the techniques of creating performance. Each student will create and rehearse a performance piece that develops and incorporates original choreography, text, music, sound and/or video. Experimental and collaborative structures and approaches among and within different media will be stressed. The final performance pieces and events will be presented in the Holden Theater. Can be taken more than once for credit.
Requisite: Theater and Dance 35 or the equivalent and consent of the instructor. Fall semester. Professor Woodson.
2023-24: Not offeredThis course is a continuation of Theater and Dance 64, an advanced course in the arts of theatrical design. Primary focus is on the communication of design ideas and concepts with other theater artists. Also considered is the process by which developing theatrical ideas and images are realized. Students will undertake specific projects in scenic, costume and/or lighting design and execute them in the context of the department’s production program or in other approved circumstances. Students in this course will design for a full-scale production. In all cases, detailed analysis of the text and responsible collaboration will provide the basis of the working method. May be repeated for credit.
Requisite: Theater and Dance 41, 42, or 43 or consent of the instructor. Spring semester. Visiting Lecturer O'Neill.
An advanced course in the arts of theatrical design. Primary focus is on the communication of design ideas and concepts with other theater artists. Also considered is the process by which developing theatrical ideas and images are realized. Students will undertake specific projects in scenic, costume and/or lighting design and execute them in the context of the Department’s production program or in other approved circumstances. Examples of possible assignments include designing workshop productions, and assisting faculty and staff designers with major responsibilities in full-scale production. In all cases, detailed analysis of the text and responsible collaboration will provide the basis of the working method. May be repeated for credit.
Requisite: Theater and Dance 41, 42, or 43 or consent of the instructor. Fall semester. Professor Dougan. Spring semester. Visiting Lecturer O'Neill.
2023-24: Not offeredThis is an advanced course in directing that emphasizes creating vital, interesting characters in the context of an active story and an evocative performance world. The approach in this class encompasses a wide range of directorial styles friendly to a spectrum from “straight theater” to “performance.” It aims to reinforce the skills that you have and to help you develop and expand these skills more effectively. Students direct two one-act plays for public performance.
Requisite: Theater and Dance 45. Omitted 2009-10.
2023-24: Not offeredAn advanced course in acting. The class will focus upon the actor’s close analysis of the playwright’s script to define specific problems and to set out tactics for their solutions. The interaction of the actor’s creative work outside rehearsal and the work within rehearsal will be delineated by assigned exercises.
Requisite: Theater and Dance 13 or consent of the instructor. Limited to 16 students. Fall semester. Resident Artist Lobdell.
2023-24: Not offeredAn advanced course in the production of Theater and Dance works. Primary focus will be on the integration of the individual student into a leadership role within the Department’s producing structure. Each student will accept a specific responsibility with a departmental production team testing his or her artistic, managerial, critical, and problem-solving skills.
Admission with consent of the instructor. Not open to first-year students. Spring semester. The Department.
2023-24: Not offeredFor Honors candidates in Theater and Dance.
Open to seniors. Spring semester. The Department.
2023-24: Not offeredIndependent Reading Course. Half course.
Admission with consent of the instructor. Spring semester. The Department.
2023-24: Not offered