Most RC courses are open to LS&A students and may be used to meet distribution requirements. In most instances, RC students receive priority for RC course waitlists.
Prerequisites & Distribution: (1-2). (CE). Offered mandatory credit/no credit. May be repeated for a total of 16 credits.
Credits: (1-2; 1 in the half-term).
Course Homepage: No Homepage Submitted.
No audition required. All students who are interested in participating in instrumental ensembles may enroll for one or two credits. The second credit is at the discretion of the instructor. Every student must elect section 001 for one hour; those students who will fulfill the requirements for two credits MUST also elect Section 002 (with an override from the instructor) for the additional hour of credit.
For one credit, students must participate in two ensembles; for two credits, students must participate in the large ensemble and two smaller ones. Responsibilities include three to four hours of rehearsal time per week per credit (6-8 hours of practice and rehearsal for two credits) and participation in one or more concerts per term, if appropriate. Course may be used to satisfy the Residential College's Arts Practicum Requirement. Ensembles have included: mixed ensembles of strings and winds; brass quintet; intermediate recorders; string quartet; woodwind quintet; and some other duos and trios, including piano and harpsichord.
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Prerequisites & Distribution: (1). (CE). Offered mandatory credit/no credit.
Mini/Short course
Credits: (1).
Course Homepage: No Homepage Submitted.
Group rehearses twice weekly and prepares a thematic concert of music. Vocal skills, sight singing, and basic musicianship are stressed. No prerequisites, but a commitment to the group and a dedication to musical growth within the term are required. No audition necessary.
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Prerequisites & Distribution: No credit granted to those who have completed or are enrolled in RC Hums. 281. (4). (HU).
Credits: (4; 3 in the half-term).
Course Homepage: No Homepage Submitted.
See Theatre and Drama 280.005.
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Prerequisites & Distribution: (4). (Excl).
Credits: (4).
Course Homepage: No Homepage Submitted.
South and Southeast Asia historically have produced some of the world's most highly evolved, diverse, and richly complex civilizations. In this century the countries of this region have been exposed to the ideas, technology, and political power of the West. How have these countries transformed themselves as a result of that contact? How have they re-conceptualized their cultures, accommodating to or rejecting Western views? This course focuses on the aesthetic responses of 20th-century artists, film-makers, musicians, writers, and dancers as they come into contact with Western ideas. Some ancient artistic forms that have been transformed in this century will also be investigated. This is an interdisciplinary course with several of the lectures provided by faculty specialists in South and Southeast Asian history, literature, and film. It is not a survey course. The emphasis is on an intensive engagement with significant and representative texts, images, or musical sounds that have been produced by South and Southeast Asian artists as they have struggled to re-evaluate and re-create their cultures. Although many of the themes we will be presenting are valid for most of South and Southeast Asia, this course will focus primarily on India, Thailand, and Indonesia.
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Prerequisites & Distribution: (4). (HU). May be repeated for credit.
Credits: (4).
Course Homepage: No Homepage Submitted.
Be it the relationship between Odysseus and his son Telemachus in The Odyssey or Creon and his son Haemon in Antigone or Noah and his sons in The Old Testament, from the beginning of literature relationships between fathers and sons have often involved complex and passionate emotions, the source and meaning of which elude the pair's understanding. Fathers may have narcissistic expectations for their sons, and certainly expect, indeed need, fathers to be models of behavior, attitudes, and beliefs. It is satisfying, even inspiring, when a father fulfills these expectations – and in our study we shall encounter a number who do – but not all fathers can, or do, fulfill them. This often results in torturous confrontations and long standing conflicts.
We will examine a variety of narratives that tell of both harmonious and troubled relationships: novels such as Chain Potok's The Chosen, Saul Bellow's Seize the Day, Richard Russo's The Risk Pool, short stories such as Ernest Hemingway's Indian Camp, The Doctor and the Doctor's Wife, "comic" books such as Art Spiegelman's Maus: A Survivor's Tale, I and II, plays such as Arthur Miller's The Death of a Salesman or Eugene O'Neills A Long Days Journey into Night or Athol Fugard's Master Harold…and the boys, poems such as Ken Mikolowski's Michael/Alternatives, autobiographies such as Philip Roth's Patrimony, and films such as Pat Conroy's The Great Santini or Elia Kazan's East of Eden. For purposes of comparison, we will read one work that deals with a mother-daughter relationship. Students will write at least two papers plus a midterm and final exam. Films will be viewed at night.
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Prerequisites & Distribution: (4). (HU). May be repeated for credit.
Credits: (4).
Course Homepage: No Homepage Submitted.
In September of 1998 the people of Chile marked the 25th anniversary of the military coup. A month later General Augusto Pinochet was arrested in London. These events have contributed to bring the issue of Chile back into discussion and, especially, the unprecedented act of arresting an ex-dictator in a foreign country under charges of genocide and crimes against humanity.
The purpose of this class is twofold: First, it will provide information and general background on the events within Chile that were caused by the arrest of General Pinochet; Second, it will focus on the narrative, poetry, film and video, visual art, and music produced under the difficult circumstances of repression and censorship or exile.
The military coup of September 1973 profoundly altered Chile's institutions and cultural life by the introduction of repression as a means of maintaining a self-imposed government in power, with the consequent erosion of fundamental principles always guaranteed before: respect for life and for the unrestricted expression of ideas. As for the artists, as the writer Antonio Skarmeta says,
Both class objectives are connected by the common tension between memory/remembrance and the official tendency to forget. Exploration of how the past "speaks" to and for the present and the insistence – on the part of several artists – that history's lessons need to be recounted for each generation, will appear in the works considered in this class. The notion that without memory there is no identity, that Chileans have been lost to their own history has been an important thrust of the work of several artists.
The actions of the Spanish judge and the English courts revealed the failure to understand that the emphasis on memory, for many, was a path to the acknowledgment of the truth about human rights violations, always before denied or glossed over. The country came to a halt: the issues of torture, disappearances, and assassinations were no longer a well kept secret, but a fact proclaimed all over the world. Chile had to look at itself in a mirror placed in front of it by the world, challenging its well-cultivated and polished image. Within the country the discussion was open, the wounds became visible and a very public conversation began. Among the authors included in this class are: Raul Zurita, Hernán Valdés, Constanza Lira, Pia Barros, Omar Lara, Gonzalo Millan, and Ariel Dorfman among others. In visual arts the class will present works by Roser Bru, Lotty Rosenfeld, Claudio Bertoni and José Balmes. Films and videos by Ricardo Larrain, Patricio Guzmán, Pablo Perelman, and others. Students will have the opportunity to listen to the musical piece "Cantata de los Derechos Humanos" in connection with the work of the human rights organization Vicaría de la Solidaridad. A series of arpilleras will also be presented, also within the context of the activities of the same Catholic Church organization. The class will be conducted in English. Students need a good reading knowledge of Spanish.
The precipitous loss of liberty, means much more to a
creator than mere deprivation of a certain dimension of
civic life, this loss is essentially a metaphysical crisis. It
demands of the poet a respiratory adjustment to a new
climate, a response to the problems of trying to
understand it and of trying to survive in it.
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Prerequisites & Distribution: A knowledge of Russian is not required. (3). (HU).
Credits: (3).
Course Homepage: No Homepage Submitted.
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Prerequisites & Distribution: (4). (HU).
Credits: (4).
Course Homepage: No Homepage Submitted.
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This page was created at 8:16 AM on Wed, Jan 19, 2000.