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College Catalog 2019-2020 [ARCHIVED CATALOG]
Courses
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Spanish |
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SPAN 494 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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SPAN 601 - Tutorial
Category varies. Prerequisite(s): Permission of instructor and department chair. (1 Credits)
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SPAN 602 - Tutorial
Category varies. Prerequisite(s): Permission of instructor and department chair. (2 Credits)
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SPAN 603 - Tutorial
Category varies. Prerequisite(s): Permission of instructor and department chair. (3 Credits)
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SPAN 604 - Tutorial
Category varies. Prerequisite(s): Permission of instructor and department chair. (4 Credits)
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SPAN 611 - Independent Project
Category varies. Not available to substitute regularly offered courses. Prerequisite(s): Permission of instructor and department chair. (1 Credits)
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SPAN 612 - Independent Project
Category varies. Not available to substitute regularly offered courses. Prerequisite(s): Permission of instructor and department chair. (2 Credits)
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SPAN 613 - Independent Project
Category varies. Not available to substitute regularly offered courses. Prerequisite(s): Permission of instructor and department chair. (3 Credits)
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SPAN 614 - Independent Project
Category varies. Not available to substitute regularly offered courses. Prerequisite(s): Permission of instructor and department chair. (4 Credits)
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SPAN 621 - Internship
Category 3. Prerequisite(s): Four courses in Spanish numbered SPAN 204 or above and permission of instructor. Work with Internship Office. (1 Credits)
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SPAN 622 - Internship
Category 3. Prerequisite(s): Four courses in Spanish numbered SPAN 204 or above and permission of instructor. Work with Internship Office. (2 Credits)
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SPAN 623 - Internship
Category 3. Prerequisite(s): Four courses in Spanish numbered SPAN 204 or above and permission of instructor. Work with Internship Office. (3 Credits)
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SPAN 624 - Internship
Category 3. Prerequisite(s): Four courses in Spanish numbered SPAN 204 or above and permission of instructor. Work with Internship Office. (4 Credits)
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SPAN 631 - Preceptorship
Preceptorships give students the opportunity to observe and practice teaching skills. Available to highly accomplished students. Prerequisite(s): Some background reading and training in foreign language teaching and permission of instructor. Work with Academic Programs. (1 Credits)
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SPAN 632 - Preceptorship
Preceptorships give students the opportunity to observe and practice teaching skills. Available to highly accomplished students. Prerequisite(s): Some background reading and training in foreign language teaching and permission of instructor. Work with Academic Programs. (2 Credits)
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SPAN 633 - Preceptorship
Preceptorships give students the opportunity to observe and practice teaching skills. Available to highly accomplished students. Prerequisite(s): Some background reading and training in foreign language teaching and permission of instructor. Work with Academic Programs. (3 Credits)
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SPAN 634 - Preceptorship
Preceptorships give students the opportunity to observe and practice teaching skills. Available to highly accomplished students. Prerequisite(s): Some background reading and training in foreign language teaching and permission of instructor. Work with Academic Programs. (4 Credits)
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Theatre and Dance |
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THDA 21 - African-based Movement I
This African-based Movement course focuses on dance inspired by West Africa, other African regions, the Caribbean, Americas, and the African Diaspora at large. It is a class rooted in a communal environment where students learn technique, characteristics, and the fundamental connection between the music, rhythms, and the dance. Students will create in-class movement projects and presentations. Though this class may focus on traditional dance at times, it is not a traditional-specific class. All are welcome. May be repeated for credit. S/N grading only. Every fall. (1 Credits)
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THDA 22 - African-based Movement II
This African-based Movement course focuses on dance inspired by West Africa, other African regions, the Caribbean, Americas, and the African Diaspora at large. This physically rigorous class is rooted in a communal environment. Students will continue building on fundamental principles and technique, including more complex poly-rhythmic aspects of the movement, while deepening the inter-connected relationship with the music, rhythms, and the dance. They will also create in-class movement projects and presentations. May be repeated for credit. S/N grading only. Prerequisite(s): THDA 21 or permission of instructor. Every spring. (1 Credits)
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THDA 31 - Dance Improvisation
Find expression and embodiment through the practice of movement improvisation. This course is open to students at all levels of ability who have a desire to move and a willingness to explore in a non-competitive environment. Students learn to fall, roll and work with gravity in relationship to themselves and others. The class includes an introduction to contact improvisation, the “art-sport” developed by Steve Paxton in 1972. This course brings balance to mind and body through physical awareness. May be repeated for credit. S/N grading only. Every spring. (1 Credits)
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THDA 41 - Modern Dance I
This introductory level course is a joyous and demanding exploration of the theory, technique, and terminology of modern dance as a performing art. Students engage fully with their bodies and minds as they deepen their strength, sense of rhythm, flexibility, and coordination. The course develops skills in inversions, floorwork, and balance based in clear alignment. May be repeated for credit. S/N grading only. Every fall. (1 Credits)
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THDA 42 - Modern Dance II
This beginning/advanced beginning level course builds on skills introduced in Modern Dance I. It is a joyous and demanding exploration of the theory, technique, and terminology of modern dance as a performing art. Students engage fully with their bodies and minds as they deepen their strength, sense of rhythm, alignment, flexibility, and coordination. An emphasis is placed on the joy of moving in an expressive and highly physical manner. May be repeated for credit. S/N grading only. Every spring. (1 Credits)
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THDA 43 - Modern Dance III
This intermediate to advanced level technique course values expression, precision, and stamina. Students develop an understanding of how to use tiny muscles hidden within large muscles as they practice complex movement phrases on the ground, in the center, and across the floor. They learn a range of turns, jumps and movement sequences that build strength and agility. May be repeated for credit. S/N grading only. Every fall. (1 Credits)
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THDA 44 - Modern Dance IV
The purpose of this technique class is to allow the intermediate to advanced modern dance student to explore and discover themselves as an articulate and expressive mover. Classwork places specific emphasis on alignment, power, momentum, articulation, clarity of intent, musicality and stamina. Class consists of in-place warm-ups, center exercises and a range of dance phrases. May be repeated for credit. S/N grading only. Every spring. (1 Credits)
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THDA 51 - Ballet I
This is a beginning ballet technique class. The goal is to demonstrate fundamental understanding and execution of ballet technique. It will include barre work, center-floor, and across-the-floor combinations. May be repeated for credit. S/N grading only. Every fall. (1 Credits)
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THDA 52 - Ballet II
This ballet technique class is for students with some experience in classical ballet. The goal is to demonstrate a beginning to intermediate dancer’s understanding and execution of ballet technique. It will include barre work, center-floor, and across-the-floor combinations. May be repeated for credit. S/N grading only. Every spring. (1 Credits)
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THDA 53 - Ballet III
This is an intermediate ballet class and is geared for students who have developed proficient skills at the barre and in the center. Center will include pirouettes, adage, beats, and more complex combinations. Students will develop a more advanced vocabulary while continuing to focus on placement, alignment, flexibility, strength, and fluidity and connection of movement. The refinement of technical skills and performance skills with longer combinations will be emphasized. May be repeated for credit. S/N grading only. Every fall. (1 Credits)
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THDA 54 - Ballet IV
This is the highest level of ballet at Macalester and is a continuation and progression of Ballet III. It is assumed at this level that the student has acquired and practiced work covered in previous levels. Students will refine vocabulary and strive to increase strength, flexibility, coordination, and artistry within their movements. Proper alignment, musicality, clarity of movement will be emphasized. Students are expected to pick up movement quickly and dance with speed and accuracy and demonstrate control. Corrections should be applied and refined quickly. May be repeated for credit. S/N grading only. Prerequisite(s): THDA 51 , THDA 52 , and THDA 53 . Every spring. (1 Credits)
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THDA 60 - African-based Movement Ensemble
African-based Movement Ensemble focuses on selected histories and techniques of dance forms from West Africa and the African Diaspora, including the Caribbean and the Americas. Students perform in the yearly Fall Dance Concerts of the Theater and Dance Department. They have also performed at events such as the Black History Month Showcase, Afrika Week, and Family Fest. Completion of African-based Movement I and/or II is recommended. 2 credits are awarded upon successful completion of Ensemble. 4 credits of fine arts general distribution are awarded upon completion of two semesters of Ensemble. Prerequisite(s): Admission to the Ensemble is by audition/permission of instructor only. Every semester. (2 Credits)
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THDA 80 - Performance Practice
Students are involved in production as actors, assistant choreographers or choreographers, assistant directors or directors, assistant designers or designers, dramaturgs and playwrights. Two credits awarded at the end of the semester. May be repeated for credit. Every semester. (2 Credits)
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THDA 81 - Technical Practice
Students are involved in set, costume, lighting and sound engineering and construction, and running crew. Two credits awarded at the end of the semester. May be repeated for credit. Every semester. (2 Credits)
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THDA 105 - Seeing Performance in the Twin Cities
In this course, first-year students critically attend live dance and theater performances in the exciting arts scene of the Twin Cities, and articulate their individual reactions by writing reviews, responses, and essays. In this process of studied spectatorship, students acquire the vocabularies of the field. Readings include seminal texts in dance and theatre criticism, as well as manifestos and scholarly articles. We will attend dance and theater performances at professional venues such as the Walker Arts Center, the Guthrie, Penumbra Theatre, Mixed Blood, Northrop Auditorium, and Cowles Center. (4 Credits)
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THDA 110 - Introduction to the Study of Performance
This is a survey course that welcomes majors and non-majors alike. Students are exposed to a variety of modern contemporary dance and theatre pieces, screenings, plays, essays, and criticism to explore the intersections of performance and identity from a historical perspective. Assignments include attending screenings and/or performances; script analyses and close readings; individual research; short written projects and a final paper. Every fall. (4 Credits)
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THDA 120 - Acting I
Acting I introduces students to the art of acting. By the end of this semester, students will have acquired fundamental acting skills and insight into performance analysis. Students will develop a detailed understanding of the actor’s craft; engage the body/voice as the actor’s performing instrument; explore internal (memory, impulses, and so forth) and external (the other actors, the environment, objects, and so forth) stimuli as creative sources; rediscover of play and imagination; learn how to focus effort and attention while performing; and develop work ethics and discipline. Students in this course will engage in physical activity and be required to spend 3-5 hours in rehearsals outside of scheduled class time. Every semester. (4 Credits)
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THDA 125 - Technical Theater
This course grounds students in the technical and construction practices of performance-making: materials and their sources and histories; conventional and contemporary technologies and techniques; quantitative methods for calculating and assessing drawings for execution. Classroom instruction and a weekly studio/drafting lab allow students to learn and apply knowledge through working with materials. Students in this course also provide support to mainstage construction projects, further extending their learning in the course. (4 Credits)
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THDA 145 - Make-Up Design and Application
This course teaches students the theory and practice of make-up design and application, through a combination of lecture, discussion, demonstration and intense application. Students independently complete an extensive research portfolio called a “make-up morgue” while learning the principles of make-up design and application in weekly classroom laboratory format. Every other year. (4 Credits)
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THDA 194 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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THDA 210 - Community-based Theater
In almost every town in the world, in a rich tradition spanning millennia, communities make theatrical representations of themselves: their heroes, their unsung neighbors, their struggles, their aspirations. Community-based theater is made by, for and about communities, and the varieties, strategies, controversies and triumphs of this form are the content of this course. In the United States, which is the geographical focus of this course, community-based theater has emerged from rural and urban communities, communities of color, communities of coalitions united toward a cause - we will learn from historical and scholarly accounts, and from local participants, about many of these efforts. We also will explore the Twin Cities’ own deep history of community-based theater-making, and participate in a major community project during the semester. You will be off campus for a good amount of time in the later part of the semester connecting and experiencing work. (4 Credits)
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THDA 213 - Cultures of Dance
This course begins with the questions: What makes dance powerful? Why have people throughout the world and throughout history, danced? With an international emphasis, this course examines a range of dance forms such as Butoh, Bharata Natyam, Capoeira, Ghost Dance, and Bedoyo, and how these forms function in the lives of individuals and societies. Dance is investigated as a cultural force, whether it is performed as a sacred act, as entertainment, as a display of institutional power, or as an act of rebellion. Activities include attendance at concerts, films, discussions, readings, group research projects and movement classes with guest artists of the forms studied. (4 Credits)
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THDA 215 - Dance History: Reading the Dancing Body
This course focuses on dance in the United States from the early 20th century to today. The historical study of dance as an embodied art form supports an intersectional examination of how gender, race, ethnicity, and class experiences both reflect and shape individual and collective identities. We will read seminal texts in dance and cultural studies, analyze dance videos and live performances, and write short papers that critically consider an array of theatrical dance forms and traditions. (4 Credits)
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THDA 220 - Voice and Speech
An introduction to the fundamentals of the human voice. Using techniques of Lessac, Linklater, and Rodenburg, students learn elements of elocution: communication awareness, breath support, healthy voice production, projection, posture, speech articulation, Standard American English pronunciation, and vocal delivery. Essential performers and useful for anyone choosing a career such as law, teaching, politics, leadership, that use public speaking. This is a dynamic and highly experiential performance-based lab course. The semester culminates with a public solo performance of oratory and poetry. No previous acting experience required. Every semester. (4 Credits)
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THDA 221 - Dance Composition
This course is the study and discipline of dance-making. Students learn the tools of the choreographer - time, space, energy - and how they can be shaped to give the body expressive power. The relationships between form, content, and technique are explored. Students choreograph short studies, improvise, discuss, and view dance on film and in live performance. The course values risk-taking and collaboration in a supportive, shared space. Through the creative process, we seek energy from a sense of investigation as opposed to the pressure to “succeed”. The solo form is emphasized. May be repeated for credit. Every year. (4 Credits)
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THDA 230 - Physical Approaches
This laboratory course offers intensive training in making theatre from action . Based on the teaching of Jacques Lecoq and his school of physical theatre training in Paris, work will focus on the observation, re-creation and transposition of daily life to create a theatre that is at once playful, emotional and creative. Course work will include an examination of the natural world and all its movements, our relationship with space and time, and object manipulation. We will use improvisation, games and exercises to develop physical and creative skills with which to create original work. Applied analyses of professional productions are required, as are written analyses of course work and individual progress. The goal of the course is to encourage curiosity and exploration to engage the student as creator, designer, and performer. Prerequisite(s): or other performance training strongly encouraged. Every spring. (4 Credits)
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THDA 232 - Crafting the Tangible
As our society shifts away from a human connection to the tangible, this course seeks to reconnect the student to the tangible object. Our focus will be on the process of “thinking through making.” Through a series of project based learning opportunities, students will develop a deeper understanding of themselves, the process of “critical making,” and current performance production technologies. Every year. (4 Credits)
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THDA 235 - Fundamentals of Scenography
Scenography is the creation of imagined spaces for performance. In this course we will study the fundamentals of scenography holistically, including scenic, lighting, costume, sound, and projection design. Students will develop the ability to analyze and critique elements of performance design, articulate design ideas through written and verbal means, and complete a design project from textual analysis to tangible object. Every fall. (4 Credits)
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THDA 242 - Introduction to Playwriting and Textual Analysis Cross-Listed as
This class introduces the fundamentals of playwriting by exposing students to a wide variety of plays and a series of writing exercises. They will read new and contemporary plays that employ different storytelling techniques (i.e. structure, character arcs, staging elements, etc.), embrace the unlimited possibilities of theatricality, and exemplify why we write for the stage. Students will develop a “playwriting toolkit” as they explore their artistic interests following the conventions of time-bound pieces: the 1-minute, 5-minute, 10-minute, and ultimately one-act form. In-class exercises and prompts, and small-group workshopping and reading will challenge each writer’s development. A mid-term and final play reading series of one-acts will allow students to hear their work in a supportive public setting. (4 Credits)
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THDA 245 - Performance Methods: Shakespeare to Butoh
This course is an experiential survey of influential performance histories, practitioners and methods, 1600-present. Through readings in performance history and theory, students will investigate the social forces and performance lineages that have shaped contemporary embodied performance on the spectrum from acting to dancing. Material covered may include: Shakespeare in performance; commedia dell’arte’s contemporary clown forms; court dance; classical Indian dance forms; Stanislavski’s “magic if,” contemporary Japanese butoh. In a weekly intensive lab component, students will learn the specific techniques developed by these practitioners and genres, taught by guest specialists in rotation with the course professor. How these forms get passed on, through embodied transmission, documentation and pedagogies will be a focus of the course. Final projects will culminate in an open community workshop of exercises and techniques, taught by the students in the course. Required for Theater and Dance majors. Prerequisite(s): Preference given to Theater and Dance major and/or minors. (4 Credits)
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THDA 250 - Experiential Anatomy and the Mind Body Connection
The study of anatomy and somatics provide concrete pathways to deepening our understanding of self and the mind-body connection. We will study the musculoskeletal human anatomy on both a theoretical and practical level. Countering the notion that the body is an assemblage parts to be trained, strengthened, and disciplined, we will delve into various mind-body practices that illuminate anatomy from a first-person perspective. We will focus on experiential learning including embodied anatomy and movement practices that provide direct knowledge of anatomy and alignment while providing opportunities for an integrated experience from within and increased self-awareness. In-class work will be supplemented by readings, journaling, physical practice, writing and research. (4 Credits)
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THDA 255 - Lighting Design
This course is an introduction to performance lighting design. While emphasis is on performance, the principles can be applied to film, television, and environmental settings. The course focus will be on the design process, but there will be some attention to lighting hardware and technologies as well. A primary goal of the course is to make the student more aware of color and light around them every day. Prerequisite(s): THDA 232 or THDA 235 recommended, but not required. Students with a background in studio art or design are welcome to enroll. (4 Credits)
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THDA 262 - Performing Feminisms Cross-Listed as
Feminisms in performance - whether on an actual theater stage or in offstage force fields of politics, history and culture - are the concern of this course. Through feminist, queer and performance theories of the body, representation, identification and spectatorship, and through the reading of plays, students will engage with the historic and contemporary practices of feminisms and performance-making. Attending performances, viewing films and performance documents will contribute to students’ capacities to write critically about feminist performance practices. Offered alternate spring semesters. (4 Credits)
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THDA 263 - African American Theater Cross-Listed as AMST 263
This course is an overview of the development of theater by and about Black Americans. It examines the historical, social, political, and cultural context of African American Theater. After investigating the roots of African American Theater in African culture, performance modes, and social values, it focuses on a study of plays written by Black Americans in the 19th and 20th centuries. Prerequisite(s): Sophomore standing or permission of instructor. (4 Credits)
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THDA 285 - Clothing in Performance
From classic theater and dance performance to CosPlay and Re-enactments, clothing as costume is one of the main ways we visually build a character and present it to the viewer. This class will present an overview of fashion and costume history as the basis for the design process. We will examine design techniques and media, both traditional and digital, and design the clothing for characters based on scripted, devised, or choreographer work. We will then look at the systems for translating these two-dimensional designs to fit the human form via drafting and crafting methods. Prerequisite(s): THDA 232 or THDA 235 recommended, but not required. Students with a background in studio art or design are welcome to enroll. (4 Credits)
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THDA 287 - Creative Technologies: Tools of Performance Design
Today’s theatre artist has many tools at their fingertips to create the environments for performance. In this course students will develop skills in Adobe Creative Suite, QLab and Isadora. A final project of the student’s design will demonstrate use of one or more of these technologies in creating performance. Prerequisite(s): Permission of instructor Alternate fall semesters. (4 Credits)
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THDA 294 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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THDA 335 - Scene Design
Alternate fall semesters (4 Credits)
Curricular Change: This course is planned for deletion.
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THDA 341 - Intermediate Dance Composition
In this course, the student has the opportunity to deepen their understanding of the craft of dancing-making. They embody the tools of space, time and energy with greater clarity, and become fluent with compositional structures as they choreograph solo, duet, and group forms. They begin to touch more deeply into their distinct power and vision as an artist. Collaboration, risk-taking, investigation, and joy are valued within the support of a shared space. Prerequisite(s): THDA 121 or permission of instructor. Every fall. (4 Credits)
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THDA 350 - Directing and Devising: Making Meaning on the Stage
This course prepares advanced Theater students to direct public performances, and thus focuses on the acquisition of skills such as text analysis, storytelling, stage composition, and an understanding of visual elements. Students will also learn best collaborative practices with actors and designers, since the class unfolds in conversation with THDA 255 and THDA 120 . Prerequisite(s): THDA 120 and THDA 235 , or permission of the instructor. Every spring. (4 Credits)
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THDA 360 - Acting II
Advanced work in characterization and additional acting techniques with continued focus on voice, movement, improvisation and innovative textual analysis. A continuation of Acting I, this course is designed to deepen the student’s understanding of their instrument as well as develop an individualized working method. Included in the course is a consideration of style through scene work in new genres. Course may be repeated one time for credit, with different instructor. Prerequisite(s): THDA 120 Every year. (4 Credits)
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THDA 375 - Set Design
The course explores scenic design in traditional theatrical buildings and alternative sites. Students will learn how to bridge script analysis and visual research, deepen their knowledge of spatial composition, acquire drafting skills, and practice design conceptualization with reference to historical and contemporary practices. The course outcome is a design portfolio, the collection of the various course projects each student will create during the semester. Prerequisite(s): THDA 232 or THDA 235 recommended, but not required. Students with a background in studio art or design are welcome to enroll. Fall semester. (4 Credits)
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THDA 394 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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THDA 465 - Advanced Lighting Design
Continuation of THDA 255. Meets simultaneously with THDA 255. Emphasis will be on furthering skills and techniques used in developing lighting design concepts. Projects are more complex and require more precision in their execution. Group discussion/critiques and field trips are included. Students’ final projects will be a mock United Scenic Artist Lighting Design Exam. Prerequisite(s): THDA 255 or permission of instructor. Alternate years. (4 Credits)
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THDA 489 - Seminar in Performance Theory and Practice
What are the hopes of performance and performance theory in the current era of globalization? How do aesthetic and social projects, including visual art, theatre, performance events, and dance, engage with the many registers of thinking, what Gayatri Chakravorty Spivak calls ‘a planetary’ arts and criticism? In this class we assess some of the ways that performance artists and theorists conceptualize and address formal artistic methodologies, culture, and the politics of performance in an era of globalization. Our premise is that all researchers are cultural producers, at once located within processes of globalization and mapping their terrains. Understanding theory as the attempt to practice and articulate methods of action (nothing more, nothing less) we examine some of the essential critical vocabularies for thinking performance and the social together. Readings in Performance research, in addition to Critical Theory, Feminist/Queer Theory, and critical race theory contribute to our study of contemporary Performance Theory. Specific theme may vary by semester, depending on instructor. (4 Credits)
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THDA 490 - Capstone and Honors Seminar
This is a reading and writing intensive course that engages theories from the fields of aesthetics and cultural studies to support each student’s in-depth research into a topic of their choice. Discussions examine how particular uses of the body, space, and narrative intersect to inform our experience of “performance”, broadly defined, and engage the interplay between real and fictional in both artistic productions and performative social contexts. Students may pursue archival and library research, analysis of live performance, and analysis of documents of various kinds, including visual materials. Required for Theater and Dance majors, open to Dance, Theater, and Performance Design and Technologies minors. Every year. (4 Credits)
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THDA 494 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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THDA 601 - Tutorial
Prerequisite(s): Permission of instructor and department chair. Every semester. (1 Credits)
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THDA 602 - Tutorial
Prerequisite(s): Permission of instructor and department chair. Every semester. (2 Credits)
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THDA 603 - Tutorial
Prerequisite(s): Permission of instructor and department chair. Every semester. (3 Credits)
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THDA 604 - Tutorial
Prerequisite(s): Permission of instructor and department chair. Every semester. (4 Credits)
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THDA 611 - Independent Project
For the advanced student capable of independent study requiring library research and/or experimental work in the theatre. Prerequisite(s): Permission of instructor and department chair. Every semester. (1 Credits)
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THDA 612 - Independent Project
For the advanced student capable of independent study requiring library research and/or experimental work in the theatre. Prerequisite(s): Permission of instructor and department chair. Every semester. (2 Credits)
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THDA 613 - Independent Project
For the advanced student capable of independent study requiring library research and/or experimental work in the theatre. Prerequisite(s): Permission of instructor and department chair. Every semester. (3 Credits)
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THDA 614 - Independent Project
For the advanced student capable of independent study requiring library research and/or experimental work in the theatre. Prerequisite(s): Permission of instructor and department chair. Every semester. (4 Credits)
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THDA 621 - Internship
The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member). Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Internship Office. Every semester. (1 Credits)
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THDA 622 - Internship
The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member). Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Internship Office. Every semester. (2 Credits)
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THDA 623 - Internship
The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member). Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Internship Office. Every semester. (3 Credits)
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THDA 624 - Internship
The theatre and dance department allows up to eight credits for approved internship experiences, which may be applicable to a major in theatre arts (and non-majors, by approval from and in consultation with a department faculty member). Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Internship Office. Every semester. (4 Credits)
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THDA 631 - Preceptorship
Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course. Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. Every semester. (1 Credits)
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THDA 632 - Preceptorship
Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course. Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. Every semester. (2 Credits)
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THDA 633 - Preceptorship
Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course. Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. Every semester. (3 Credits)
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THDA 634 - Preceptorship
Through a preceptorship, an advanced student assists a faculty member in the planning and teaching of a course. Prerequisite(s): Junior or Senior majors. Permission of instructor and department. Work with Academic Programs. Every semester. (4 Credits)
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THDA 641 - Honors Independent
Independent research, writing, or other preparation leading to the culmination of the senior honors project. Prerequisite(s): Permission of instructor and department chair. Offered every semester. (1 Credits)
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THDA 642 - Honors Independent
Independent research, writing, or other preparation leading to the culmination of the senior honors project. Prerequisite(s): Permission of instructor and department chair. Offered every semester. (2 Credits)
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THDA 643 - Honors Independent
Independent research, writing, or other preparation leading to the culmination of the senior honors project. Prerequisite(s): Permission of instructor and department chair. Offered every semester. (3 Credits)
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THDA 644 - Honors Independent
Independent research, writing, or other preparation leading to the culmination of the senior honors project. Prerequisite(s): Permission of instructor and department chair. Offered every semester. (4 Credits)
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Womens, Gender, and Sexuality Studies |
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WGSS 100 - Introduction to Women’s, Gender, and Sexuality Studies
This course is an introduction to the range and importance of 20th century as well as current feminist and queer theories and practices to our understanding of positive social change. It will analyze feminist and queer histories of resistance and alternatives to economic and political control, in the U.S. and elsewhere. The framework for the course is the intersection of gender and sexuality with race, class, nationality, and dis/ability; it will address such issues as economic marginalization, social movements, the institutions of family and marriage, migration and the role of the state/nation among others. Depending on the instructor, the course generally focuses on either LGBTQI studies or on transnational perspectives of these issues. Every semester. (4 Credits)
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WGSS 101 - Feminist Sex Wars
This course examines the challenges that sexuality and sexual practice brings to feminism, by exploring feminisms’ involvement in so-called anti-sex/pro-sex debates. We explore the stance of second-wave feminism, lesbian feminism, radical feminism, and queer theory and activism on issues like prostitution and sex work, pornography, butch/femme aesthetics, gender performativity, non-monogamies, sadomasochism, bisexuality, and transgenderism and transsexuality. Throughout, we study the divide between sexual agency and sexual exploitation, which emerges when thinking about the complexities of sex and desire. Alternate years. (4 Credits)
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WGSS 102 - Gender and Sport
This course views sport as a social institution and a microcosm of the longer social processes that stage, reinforce, and perpetuate myriad inequalities in society. In this course we analyze the gendered aspects of sport, and relationship among gender, sexuality, and sport. We consider the ways that sport reinforces, and potentially undermines, heteronormality, as well as hegemonic notions of masculinity and femininity. Alternate years. (4 Credits)
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WGSS 117 - Women, Health, Reproduction Cross-Listed as BIOL 117
This course will deal with aspects of human anatomy and physiology of special interest to women and/or those who identify as women, especially relating to sexuality and reproduction. Biological topics covered will include menstruation and menopause, sexuality, conception, contraception, infertility, abortion, pregnancy, cancer, and AIDS. Advances in assisted reproductive technologies, hormone therapies, and genetic engineering technologies will be discussed. This course fulfills 4 credits in the science distribution requirement and counts toward the biology minor, but not toward the major. Three lecture hours per week. Every semester. (4 Credits)
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WGSS 127 - Women, Gender and Sexuality in Ancient Greece and Rome Cross-Listed as CLAS 127
This course investigates contemporary approaches to studying women, gender and sexuality in history, and the particular challenges of studying these issues in antiquity. By reading ancient writings in translation and analyzing art and other material culture, we will address the following questions: How did ancient Greek and Roman societies understand and use the categories of male and female? Into what sexual categories did different cultures group people? How did these gender and sexual categories intersect with notions of slave and free status, citizenship and ethnicity? How should we interpret the actions and representations of women in surviving literature, myth, art, law, philosophy, politics and medicine in this light? Finally, how and why have gendered classical images been re-deployed in the modern U.S. - from scholarship to art and poetry? Alternate years. (4 Credits)
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WGSS 141 - Latin America Through Women’s Eyes Cross-Listed as and
Latin American women have overcome patriarchal “machismo” to serve as presidents, mayors, guerilla leaders, union organizers, artists, intellectuals, and human rights activists. Through a mix of theoretical, empirical, and testimonial work, we will explore issues such as feminist challenges to military rule in Chile, anti-feminist politics in Nicaragua, the intersection of gender and democratization in Cuba, and women’s organizing and civil war in Colombia. Teaching methods include discussion, debates, simulations, analytic papers, partisan narratives, lecture, film, poetry, and a biographical essay. This class employs an innovative system of qualitative assessment. Students take the course “S/SD/N with Written Evaluation.” This provides a powerful opportunity for students to stretch their limits in a learning community with high expectations, but without a high-pressure atmosphere. This ungraded course has been approved for inclusion on major/minor plans in Political Science, Latin American Studies, and Women’s, Gender and Sexuality Studies. (4 Credits)
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WGSS 150 - Language and Gender in Japanese Society Cross-Listed as ASIA 150 , JAPA 150 and LING 150
Japanese is considered to be a gendered language in the sense that women and men speak differently from each other. Male characters in Japanese animation often use “boku” or “ore” to refer to themselves, while female characters often use “watashi” or “atashi.” When translated into Japanese, Hermione Granger (a female character in the Harry Potter series) ends sentences with soft-sounding forms, while Harry Potter and his best friend Ron use more assertive forms. Do these fictional representations reflect reality? How are certain forms associated with femininity or masculinity? Do speakers of Japanese conform to the norm or rebel against it? These are some of the questions discussed in this course. Students will have opportunities to learn about the history of gendered language, discover different methodologies in data collections, and find out about current discourse on language and gender. Offered alternate years. (4 Credits)
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WGSS 185 - Masculinities Cross-Listed as SOCI 185
We have seen a burst of writing and thinking about men in the past several decades. Many of these writings argue that as more women are excelling professionally, earning more college degrees than their male counterparts and acting as the family breadwinner, the traditional gender landscape is quickly fading into what they identify as a matriarchy. According to this view, men, having falling from their privileged place in society, are being out competed by women for the most prestigious occupations and are now becoming emasculated in the process. We will critically explore the debate that this perspective has engendered, looking at not only the facts of whether this is true or not, but the cultural anxieties and fantasies such a perceived closure of the alpha male trope has produced. We will begin with the idea that manhood has a history, that it is a human creation rather than an edict from above or from nature. Some of the key questions we will ask are: How has manhood changed in the United States since the 19th century? Are there different forms of masculinities, especially when we take into account social indicators like class, race, and ethnicity? Can masculinity take on chameleon forms that in the past seemed antithetical to masculinity, like geeks, cosmopolitans, metrosexuals, or in upper-class gentlemanly cultures? Are we experiencing an emerging hybrid or inclusionary forms of masculinities or are these simply a repackaging of the old? Alternate years. (4 Credits)
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WGSS 194 - Topics Course
Varies by semester. Consult the department or class schedule for current listing. (4 Credits)
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WGSS 200 - Feminist/Queer Theories and Methodologies
This course is a historical survey of theories and methodologies used in feminist and queer studies. Course material highlights the unique and intertwined knowledges feminist and queer scholars have produced; these include the re-makings of liberal, Marxian, antiracist, poststructuralist, and postcolonial theories, and their uses in humanities and social science methods. The course centrally examines how feminist and queer studies transform societies and are transformed through struggle over their gender/sexual identities, racial formations, and global/transnational locations. The course considers how feminist and queer studies have arisen in close relationships-of union, tension, and antagonism-and how feminist and queer work today may link. Prerequisite(s): Intermediate level courses require sophomore standing or permission of the instructor, and at least one introductory-level women’s, gender, and sexuality studies core course. Every year. (4 Credits)
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WGSS 201 - History of U.S. Feminisms Cross-Listed as
This is an introductory course about the history of U.S. feminism as it was articulated and experienced in the United States from roughly 1800-1970. We will focus on only on the experience of those who worked for the cause of women’s rights but also the ideologies at home and abroad that influenced feminist thought. In so doing, we will interrogate the myths about feminism and the backlash against it that are central to the history, culture, and politics of the United States. This course is especially concerned with the multiple and contradictory strains within feminism. Topics that the class will consider include: the roots of feminism as it took shape in the anti-slavery movement, the overlap of women’s rights and the civil rights movement of the twentieth century, and the women’s health movement, among others. Alternate years. (4 Credits)
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WGSS 210 - 20th Century Anglophone Women Writers
The term “Anglophone Literature” refers to writings in English from countries connected to Britain by imperial rule or by the presence of British immigrants, yet does not include England itself. This course variously studies India, the Caribbean, South Africa, the United States, and England as locations of Anglophone Literature produced by their natives, immigrants, and cosmopolitans. Writers include Virginia Woolf, Una Marson, Anita Desai, Doris Lessing, Suniti Namjoshi, Angela Carter, Ravinder Randhawa, Bharati Mukherjee, and Zadie Smith, among others. We will explore how concepts of nation, race, citizenship, gender, ownership of the language, and English/British literary canons are constructed, in written and visual media. Prerequisite(s): Sophomore standing or permission of instructor, and at least one introductory-level WGSS core course. (4 Credits)
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WGSS 220 - Feminist Reconstructions
This course will explore the significance of people, concepts, and frameworks that have gained prominence across history. It will offer feminist/queer reconstructions and reviews of their contexts and analyze what they mean today. For example, figures like Marx or Mother Teresa, concepts such as socialism or atheism, and frameworks such as collective responsibility or standpoint theory could be possible foci. Topics may change based on instructor. Prerequisite(s): Sophomore standing or permission of instructor, and at least one introductory-level WGSS core course. (4 Credits)
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WGSS 225 - Women in the Bible Cross-Listed as RELI 225
In this course we will examine the roles, identities, and representations of women in the Tanakh/ Old Testament, New Testament, and Jewish and Christian apocrypha. We will explore how biblical writers used women “to think with,” and we will consider how gender is co-constructed alongside religious, social, and sexual identities. We will ask the following sorts of questions: What opportunities for social advancement and leadership were open to women in ancient Israelite, early Jewish, and early Christian communities, and how did these opportunities differ from those open to women in other religious formations in the ancient Mediterranean? How did biblical regulations of bodies, sexuality, marriage, and family life shape women’s lives? What are the social and material effects of biblical representations of women? And how might current feminist theories inform our interpretation of biblical texts about women? Alternate spring semesters. (4 Credits)
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WGSS 228 - Gender and Sexuality in Colonial America and the Early Republic Cross-Listed as
Since the 1960s historians have revisited early American history to identify populations on the margins and historical actors whose stories and experiences were neglected in the traditional canon of history. Historians of women made some of the first forays into this important work of recovery. Building up the foundations produced by women’s historians, the field of gender and sexuality studies have flourished and enriched the narratives of American history. This course examines American peoples and cultures from the 16th through early 19th centuries to uncover the ways in which gender and sexuality shaped the formation of an early American society. Particular attention will be given to the way that ideologies of gender and sexuality shaped early concepts of race and the development of North American political institutions. Occasionally. (4 Credits)
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WGSS 229 - Narrating Black Women’s Resistance Cross-Listed as AMST 229 and HIST 229
This course examines traditions of 20th century African American women’s activism and the ways in which they have changed over time. Too often, the narrative of the “strong black woman” infuses stories of African American women’s resistance which, coupled with a culture of dissemblance, makes the inner workings of their lives difficult to imagine. This course, at its heart, seeks to uncover the motivations, both personal and political, behind African American women’s activism. It also aims to address the ways in which African American women have responded to the pressing social, economic, and political needs of their diverse communities. The course also asks students to consider narrative, voice and audience in historical writing, paying particular attention to the ways in which black women’s history has been written over the course of the twentieth century. Every year. (4 Credits)
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