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Humanities 1110 is a 3 credit hour course that meets three times a wee . The course provides an analytical and comparative study of works in literature from Antiquity to the 17th century. Approved for arts and sciences core curriculum.
Literature: This section includes works such as Homer’s Odyssey, Greek tragedy, Plato’s Symposium, Dante’s Inferno, Boccaccio’s Decameron, selections from Montaigne’s Essays, and Shakespeare’s King Lear.
Humanities 1210 is a 3 credit hour course that meets three times a week . The course provides an analytical and comparative study of works in music, and visual arts from Antiquity to the 17th century. Approved for arts and sciences core curriculum.
Music: A chronological study of Western classical music from Classical Antiquity through the Renaissance, with primary focus upon developments in the art of Western musical composition in its natural context: the intellectual tradition of Western civilization. We will study significant individual Western classical compositions both as artistic structures and as expressions of human thought and experience, and will note similarities between early Western music and the music of other cultures, times, and places. No prior knowledge of music is necessary.
Art: The art lectures will begin by investigating examples of the art and architecture of ancient Greece and Rome and will then move onto Early Medieval, Romanesque, and Gothic architecture and architectural sculpture. The semester ends with a survey of major Renaissance, High Renaissance, and Reformation works in painting, sculpture, and architecture. Throughout all periods of study, we will consider the question – and problem – of context; attempting to better understand the political, religious, social, and philosophical trends underpinning each era we encounter. No prior experience with art or art history is necessary.
Humanities 2000 will be team-taught by various members of the Humanities faculty who will each offer a separate “mini-course” on one of the essential issues or methodological concerns which students can expect to encounter in their future coursework for the Humanities major. Although the subject of each mini-course may be expected to vary from year to year, topics proposed by faculty in the past include: word/image studies; rhetoric; translation; the canon; gender studies; cultural studies; literature and the other arts; literary theory; philosophy and literature; etc. Prerequisite HUMN 1010 or 1020. Restricted to Humanities majors and minors.
Promotes a better understanding of fundamental aesthetic and cultural issues by exploring competing definitions of art and culture. Sharpens critical and analytical abilities by asking students to read and compare different theories about arts, culture, media, and identity, and then to apply and assess those theories in relation to a selection of visual and verbal texts from a range of cultural and linguistic traditions.
Additional Information: Arts Sci Core Curr: Literature and the Arts
In this course we will examine theories of tragedy (Aristotle, Hegel, Nietzsche) and apply those theories, in order to examine their potential efficacy, to various works of art. After a careful examination of Greek tragedy, beginning with Aeschylus and Sophocles and concluding with Euripides’ last play on The Bacchae, the only extant tragedy which deals with Dionysus and the “birth of tragedy,” we will examine the survival of tragedy in 19-th and 20th century works of art—specifically, the works of the William Butler Yeats, Ibsen (Hedda Gabler), Chekhov (The Cherry Orchard), and Tennessee Williams (A Streetcar Named Desire). Restricted to Sophs/Jrs/Srs
This course is an interdisciplinary study of human consciousness and its representation. We will analyze a variety of works, including literature, film, cognitive theory, philosophy, and scientific studies in order to see what we can learn by synthesizing the different perspectives each has to offer. More specifically, we will analyze the representation of thought in fiction (both literature and film) alongside the information more theoretical and scientific approaches bring to bear on the following key questions: What is consciousness? How do we think and perceive? What does it mean to be “neurotypical” or, by contrast, to be cognitively impaired? And what does all of this have to do with who we are? Our goal is to see how such an interdisciplinary approach can facilitate a complex and productive understanding of consciousness and its implications.
This course will examine the event of the Postmodern and its effect within literature, film, architecture, culture, and critical theory. Beginning with works that signal and examine the onset of modernity, the consequences of postmodernity for our understanding of the modern as a sign of our intellectual, cultural, and social progress will be presented. Once defined in relation to the modern, our attention will turn to the problems and issues posed by the postmodern with respect to history, perception, and the concept of an era that is also our present. We will also examine various recent attempts to think beyond the postmodern. The course will include a broad selection of works from architectural theory to performance art.
“Perhaps the most sublime utterance is that inscribed on the temple of Isis: “I am all that is, that was, and that will ever be; no mortal has lifted my veil.” (Kant) In this course we will examine theories of the sublime and apply those same theories to various works of art. Beginning with Longinus, we will then move to the beginning of modern discussions of the sublime in Burke and Kant before proceeding to the “golden age” of sublimity, 18-19th century German and English romanticism. After a study of sublimity in Goethe’s Faust we will then turn our attention to the writings of the English romantic poets (Shelley, Wordsworth, Coleridge), as well to the early 19th-century novel, Mary Shelley’s Frankenstein. After an examination of the sublime paintings of Turner (and his predecessors) we will move, in the final section of the course, to an examination of the survival of the sublime in the 20th century paintings and films of Barnett Newman, Georgia O’Keefe, Werner Herzog, and John Carpenter. Prerequisite HUMN 2000 or junior /senior standing. Approved for arts and sciences core curriculum: ideals and values.
This honors seminar focuses on both literary and non-fictional texts about social violence, so that we can compare the understanding and effects made possible through different media, including film in some cases. We’ll study gang culture, homophobia and AIDS, the effects of racism and poverty on gutted-out neighborhoods and school systems, and the politics of hunger. We’ll also look at sources of great hope and positive action, such as Mountains Beyond Mountains, The Freedom Writers’ Diary, Angels in America and other ways in which both art and social action can make a transformative difference. All this is combined with the option to get extra credit by doing volunteer work in community agencies, since the personal experience with the effects of social violence helps us to understand the class materials—and our culture overall—more deeply.
As a means of approaching works from across the disciplines and beyond, we will be learning how to do discourse analysis of the language of both the texts and our society. In this way the class will focus especially on our methods of making meaning and how those meanings act to maintain or transform our cultural structures.
The class texts include Do or Die, Angels in America, The Bluest Eye, Freedom Writers’ Diary, Savage Inequalities, Gandhi the Man andTortilla Curtain. Restricted to sophomores/juniors/seniors. This course is approved for arts and sciences core curriculum: contemporary societies.