- Teacher: Julie Fitzgerald
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||Moodle Training Videos|
Language, Literacy & Learning in a Diverse Setting (615-01). 41511.
- Teacher: Anne DeGroot
Welcome to Pursuing the American Dream! On this page, you will find assignment materials, discussion forums, and updates about class activities.
- Teacher: Emily Marlowe
Welcome to World Civilizations II! On this page, you will find assignment materials, discussion forums, and updates about class activities.
- Teacher: Emily Marlowe
Description: Art and Exile considers how issues of exile and diaspora are communicated through visual arts, music, and cinema. Hamid Naficy in An Accented Cinema posits a theory for a new genre of cinema to describe films created by directors, ensembles, and other collectives or individuals who are not in their home countries, but live in a forced or chosen exile. Naficy differentiates these very specific kinds of films from those often called third world cinema, which is generally created in and about issues relating to the home country. Naficy analyzes important examples of accented cinema and highlights the directors and other creative participants providing a blueprint to study this kind of “outsider” cinema. Using this paradigm, we will study films, paintings, installations and music primarily to learn about the experience of living as a refugee or in exile as well as to analyze audio-visual styles. Students are required to subscribe to Netflix or Amazon Prime during the semester.
Goals: During the semester we will use art, music, and cinema to help us better understand the position of the exiled artist within her/his own diaspora community and in relationship to the wider world of art. This leads to the study of Native Americans, African Americans, Roma, Haitians, Jews, and others existing in diaspora conditions. In response to the art, text, presentations, and films we watch and discuss in class and online, students will undertake an advanced research project that relates to themes that emerge from course. Most importantly, a course like this requires extended group discussions after class meeting times using an online forum.
Objectives: Students will become familiar with early 21st century historical context and critical analysis that evolves from exile and diaspora experiences, primarily, but not exclusively by cultural workers from the Americas, Europe, and the Middle East. Films and examples of art from the 1990’s and earlier will provide a foundation for the provocative and often tragic and contradictory work we will be studying. A key objective is acquiring and nurturing a nonjudgemental approach toward work that is often raw, passionate, and abstract in order to observe more clearly the structure and content of the narrative.
- Teacher: Shalom Gorewitz
- Teacher: Emma Rainforth
- Teacher: Emma Rainforth
This is an asynchronous seminar using Moodle and online resources as an extended online learning environment for individual and group research relating to how internet based art, culture, and technology impact each other and society. There has been an explosion of Netart- work that requires Internet connection to make and view. We will look at examples of the still young history of this medium and compare it to Video and other New Media Art. There is considerable independent reading, writing, and research as well as the required texts and artist websites.
- Teacher: Shalom Gorewitz
- Teacher: Julie Norflus-Good
This course provides an introduction to the theory and practice fundamental to understanding behavior in contemporary organizations. Literature on the impact of organizations on individuals and society is reviewed. An examination of human issues from the individual, group, and organizational levels is undertaken. Multicultural relations are covered. Through lectures, reading assignments, group projects, and videos, topical human issues of the workplace are studied.
- Teacher: Malavika Sundararajan
The MASS program aims to prepare Sustainability Practitioners. The reknown Psychologist Kurt Lewin once noted that "there is nothing more practical than a good theory." Thus, we begin our program with a course on sustainability theory, aiming for you to be able to think big and deep in order for you to practice even at the smallest and most practical scale.
This course is aimed at imparting a broad and deep knowledge about the discourses of sustainability as they pertain to the theory and practice of dealing holistically with social, cultural, ecological and economic systems so as to maximize the well-being of present and future generations. We will review key texts, and seminal works that shape the current state-or-the-art in sustainability discourse, and we will learn to apply this discourse to the practice of sustainability. We will also try to address core questions, exposing fundamental dilemmas not so easy to erase and addressing the fact that sustainability can easily be co-opted or misapplied. The more clearly one thinks, the more one realizes how blurry the real world is. One has to have perfect vision in astigmatic world. One has to learn to deal with uncertainty as well as predictability, with consensus as well as conflict and with ragged as well as smooth edges. That is the challenge of bringing sustainability into the real world.
In a field characterized by participatory and democratic expectations, the need for ecological literacy (one must be informed before one can give informed consent), substantive discourse, full and open communication and, to the extent feasible, genuine consensus or another accepted form of decision making, one realizes that significant process skills are necessary to be prepared to enter the fray.
At the same time, teh sustainability practitioner must be prepared for objective observation and assessment of what is now, capable of forging clear yet flexible vision of where to go, have sound ideas of how to get there, the ability to build support and buy in from the affected communities, the wisdom to evaluate and reassess progress so that change is a learning process not a blind turn, and the discipline to develop milestones that mark progress but allow for looking back as well as forward. Change is marked by suh milestones rather than by endpoints.
We will see that sustainability is involved in how we live, how we understand, how we feel as individuals, communities, societies and a global population. In a sense, sustainability is a weltanschaung, a world view. How then do we address sustainability in our own lives, in our communities, but also as a world.
We will overlay theoretical perspectives onto the reality we want to understand, realizing that theory is best used as overlay and not as truth. Take the adage "think like a mountain." We can approach this task in many ways. We can approach the mountain as sacred in itself, as an integral whole, as alive in the ways it senses, stores information, perceives, changes and adapts; as a sensate being with inherent integrity and meaning.
To do so, of course, we would not separate the mountain from the air, water, wind, sun, lightening, soil, and life it supports. Rather we see the whole frame. In this sense, we can see the mountain in a Gaian way, as Lovelock did, participating in a cybernetic system the outcome of which is, hopefully, to support life.
That cybernetic system can be understood as an interaction of significant parts which, in whole, form an ecosystem or biological community. This system is in no way static. It changes according to natural cycles, but also due to aberrations, such as human interventions. We can define the integral parts of this ecosystem and their relationships. While appreciating this complexity, we can pragmatically examine and intervene into a part of this whole. But, in doing so, we must remain mindful that a part is not the whole. And we must be adept enough to elegantly reinsert the part so as to reassemble the whole. This is both the science and the art of the sustainability practitioner.
But more than anything else, sustainability is about having a certain particular sort of world view--a weltanschaung, if you will. The supra-system objective of this course is to explore the elements and the vantage points that inform the development of such a world view.
We will begin by taking a systems view of the world, trying to understand what it means to "think like a mountain," for instance, or an ecosystem. From here we will begin the process of developing an ecosystem approach to making depictions--learning to capture context and consequence with sufficient richness so as to be able to encapsulate the complexity of multiply occurring realities while maintaining a toe hold in the pragmatic world of action and intervention. What we must learn is the ability to take a slice out of the phenomenal world, act upon it, and then reinsert it back into the world without disrupting the natural order of things too drastically. The more elegantly we can do this, the closer we move toward acting sustainably.
This course is an introduction to photography from a global historical perspective, and to the critical debates around different photographic genres such as portraiture, scientific photography, art photography, and documentary photography. Students will develop a critical language to analyze photography while considering the importance of social, historical, and institutional contexts.
This class is required for the Photography Concentration of the Visual Arts major. It also fulfills a GE requirement for business, science, and social science majors.
- Teacher: Kristen Gaylord
¡Bienvenidos a Intermediate Spanish I! This course is for those who have successfully completed Intermediate Spanish I or who have recently completed four years of high school Spanish or who have received a grade of 4 on the STAMP test (firstname.lastname@example.org).
- Teacher: Sandra Martin
This course examines nonfiction prose through independent reading and writing, in-class discussion and writing, and peer review and analysis. We read essays by a variety of authors, and consider the criteria that make nonfiction writing compelling and effective. You will write original essays in order to sharpen your skills and express your ideas with power, and will solidify your knowledge of MLA research format. You will also collaborate within groups to develop your ability to edit, refine, and revise your own and others’ written work. Welcome to the course!
- Teacher: Maria Molinari
Course Description: Readings in the Humanities is a writing intensive, interdisciplinary course that explores important themes and topics as they have been articulated in different fields in the humanities, at different moments in time, and in different parts of the world. It allows students the opportunity to see how people have grappled with similar questions in different contexts and formats, and to see how those contexts and formats help to shape the answers that philosophers, writers, artists, historians, musicians, and other thinkers have arrived at. Specific learning outcomes for the course are listed below.
Section-Specific Course Description: The Epic Quest
This iteration of the course will focus on the epic quest, exploring how the concept of the heroic quest has grown and changed over time and across different cultures. As we read the major works introduced here we will be examining a variety of critical and interpretive issues, including the meaning of the epic as a generic category, the changing role of the hero and the definition of the epic quest, the role and meaning of monsters and other figures featured in the epic quest, and the relevance and meaning of translation and reinterpretation. We will consider these and other questions through class discussion and close reading, supplemented by occasional lectures to provide cultural and literary contexts. Our examination will span over 2500 years, moving through ancient Greece, Anglo-Saxon England and medieval Italy, and conclude with a modern quest narrative that is at the same time both medieval and ancient, both epic and novel, and as such will allow us to explore the evolution of the concept of the hero quest.
- Teacher: Yvette Kisor
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