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Term
Time & Day Offered
Level
Credits
Course Duration

Race in Publishing — LIT2574.01

Instructor: Mariam Rahmani
Days & Time: TU,FR 2:10pm-4:00pm
Credits: 4

That writers of color earn less than their white peers in advances and fees is anecdotally well known. But we lack exhaustive data. Gearing up for such data collection the next few years in a faculty-driven project at 凯旋门官网, this course provides an overview of the broader ethical and social landscape around diversity, equity, and inclusion (DEI) in

Race, Class, and Apartheid — POL4207.01

Instructor: Eileen Scully
Credits: 4
This class examines the South African system of Apartheid, seeking to understand its origins, practice, and consequences. We will read from a wide range of sources including scholarly and political texts to understand how race and class structured South African society and how the transition to a post-Apartheid society has confronted the past. We will frame this discussion by

Race, Class, Environment — SCT4102.01

Instructor: John Hultgren
Credits: 4
What is the relationship between racism, economic inequality, and environmental degradation? Are these modes of injustice the consequence of a single overarching structure (e.g. capitalism or colonialism) against which resistance should be aimed? Are they formed by overlapping, but relatively autonomous, structures that nonetheless form a Gordian knot of oppression? Or are they

Race, Robots, and Asian American Literature — LIT2603.01

Instructor: Franny Choi
Credits: 4
From Blade Runner to Ex Machina, visions of robotic futures are populated with Asian bodies, settings, and cultural forms. How is it that robots became so closely linked to the racialization of Asian/American people? What might we learn about the latter by examining how the former shows up in our cultural imagination? And how have Asian diasporic writers handled these

Race, Robots, and Asian/American Literature — LIT2603.01

Instructor: Michael Dumanis
Credits: 4
From Blade Runner to Ex Machina, visions of robotic futures are populated with Asian bodies, settings, and cultural forms. How is it that robots became so closely linked to the racialization of Asian/American people? What might we learn about the latter by examining how the former shows up in our cultural imagination? And how have Asian diasporic writers handled these

Racine — LIT4157.01

Instructor: Dan Hofstadter
Credits: 4
During the seventeenth century France rose to unparalleled heights of literary creativity. We explore the historical context of this development, devoting some attention to classical models, particularly Euripedes' play Andromache. Jean Racine, who was at times in conflict with the royal court, offered his tragedies Andromaque, Phedre, Berenice, Iphigenie, and others, which we

Radio Journalism — APA2316.02

Instructor: Thom Loubet
Credits: 1
While discovery, analysis, criticism, and creativity are essential pillars of the mission of an academic institution, the potential to transform that knowledge into public action is limited by the ability to powerfully and effectively communicate truth to the world.  With that in mind, this class will be an intense seven-week workshop geared towards creating information

Radio Plays (Advanced): Making Theatre for Radio and Podcast — DRA4221.01

Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium who have completed Part One or have comparable experience. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other鈥檚 projects. Each week the class will listen to examples of current Radio Play

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other鈥檚 projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other's projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Instructor: Dina Janis
Days & Time: MO 3:40pm-5:30pm
Credits: 4

A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other鈥檚 projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, and discussion of weekly

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Instructor: Dina Janis
Credits: 4
A performance-based collaborative course designed for actors, writers/playwrights, sound designers, directors and folks interested in developing skills in this medium. In this performance-based course we will investigate plays as well as create plays that are designed to be performed via radio or podcast. Content will include original plays and monologues written by recent

Radio Plays: Making Theatre for Radio and Podcast — DRA2305.01

Instructor: Dina Janis
Credits: 4
A performance-based course for folks interested in this medium. It is not necessary to have elaborate skill in sound design and editing, though students with this interest are welcome to enroll. All students will perform as actors in each other鈥檚 projects. Each week the class will listen to examples of current Radio Play and Theatre Podcast content, writing up play reports and

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

Rakugo is one of the traditional Japanese art and storytelling entertainment that became extremely popular during the Edo period (1603-1868).  Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥办辞辞锄补鈥 and tells humorous stories without standing up from the seat.  Moreover,

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Credits: 4
Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥湴齑谴浅光 and tells humorous stories without standing up from the seat. Moreover, the storytellers narrate and plays various

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Credits: 4
Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥湴齑谴浅光 and tells humorous stories without standing up from the seat. Moreover, the storytellers narrate and plays various

Rakugo and Humor: The Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Credits: 4
This is the fifth term Japanese course. Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥湴齑谴浅光 and tells humorous stories without standing up from the seat. Moreover, the

Rakugo: Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Credits: 4
Rakugo is a traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥湴齑谴浅光 and tells humorous stories without standing up from the seat. Moreover, the storyteller narrates and plays various characters by

Rakugo: Art of Storytelling — JPN4505.01

Instructor: Ikuko Yoshida
Credits: 4
Rakugo is one of the traditional Japanese art and storytelling entertainment which became extremely popular during the Edo period (1603-1868). Rakugo is a rather unique storytelling performance because a storyteller sits on a seat on the stage called 鈥湴齑谴浅光 and tells humorous stories without standing up from the seat. Moreover, the storyteller narrates and plays various

Ralph Ellison's Invisible Man — LIT2277.01

Instructor: Ben Anastas
Credits: 2
鈥淎ll novels are about certain minorities,鈥 Ralph Ellison insisted in a 1955 interview with The Paris Review. 鈥淭he individual is a minority," he went on. "The universal in the novel鈥揳nd isn鈥檛 that what we鈥檙e all clamoring for these days?鈥搃s reached only through the depiction of the specific man in a specific circumstance.鈥 If this assertion is still to be believed, then the the

Ralph Ellison's Invisible Man — LIT2277.01

Instructor: Ben Anastas
Credits: 4
Before Donald Glover donned prosthetic whiteface for the 鈥淭eddy Perkins鈥 episode of Atlanta, before Get Out flipped the contemporary horror movie on white audiences, Ralph Ellison鈥檚 1952 novel Invisible Man turned the bildungsroman, a realist staple since the 18th century, into a wild phantasmagoria about structural racism in the U.S. and the experience of Black Americans. 鈥淎ll

Ralph Ellison鈥檚 Invisible Man — LIT2277.01

Instructor: Benjamin Anastas
Credits: 4
"All novels are about certain minorities," Ralph Ellison insisted in a 1955 interview with The Paris Review. "The individual is a minority. The universal in the novel--and isn't that what we're all clamoring for these days?--is reached only through the depiction of the specific man in a specific circumstance." If this is true, then the enduring power of Ellison's Invisible Man