An analysis of the major approaches to abnormal psychology and the resulting theories of personality. Prerequisite: Child Development, Persistent Problems in Psychology
Advanced Beginner Ballet will expose the student to the basic concepts required for the proper execution of ballet technique, including alignment, turnout, articulation of the knees and feet, and port de bras. The class will promote strength and flexibility for the overall dancer while respecting each student's unique physical capacities within the demands of classical technique. The student will learn basic ballet vocabulary and movement phrases along with the traditions specific to a ballet class. This course may be repeated for credit. Prerequisite: Some prior dance experience
What did Kafka and Rushdie gain from Ovid's Metamorphoses? How would Homer's Odyssey evolve when seen through the eyes of a poet from the West Indies or a Canadian feminist? This course aims to explore the enormous influence that the world of Classics has had on recent literature. Focusing primarily on recent interpretations of Homer, Virgil, Ovid and Catullus, the course will encompass drama, poetry, prose and art. We will also take a look at the theory that underpins reception, translation and understanding. Prerequisite: None
While most Americans think of Vietnam as a country divided between North and South, in fact there is a vibrant and critical third region with its own unique historical and cultural features. As preparation for a College trip to Hue, in this course we will learn about Central Vietnam and the role it has played in national history and development. We will consider the rise and fall of the mighty Cham kingdom and the intriguing architectural traces it left behind; the gradual development of a rival Viet dynasty in the Center and its eventual triumph over the entire Vietnamese empire; and the potent mix of Catholicism and commerce that allowed the French to colonize first Hue and then the rest of the country. Next we will examine the experience of Central Vietnam as the epicenter of the war against America as well as the birthplace of the Buddhist peace movement, and we'll encounter the ghosts of war that continue to haunt this devastated region. The class will come up to the present with discussions of socialism and economic reform, contemporary religious practice, pressing ecological challenges, and emerging artistic trends in this important third center of modern Vietnam.
This course will examine the issues that emerge at the intersection of photography and anthropology. In particular, we will critically examine photography as a documentary tool in ethnography, object of anthropological inquiry, and a potent mode of representation in the mass media. Readings will range from literary and historical writings on photography to ethnographies detailing social uses of photography in India, Thailand, and indigenous Australia, among other regions of the world. Prerequisite: A course in anthropology or related field or permission of the instructor
This course will center on the "American Renaissance"--that period between, roughly, 1830 and 1870 that witnessed the burst of intense intellectual and artistic energy that produced some of the most memorable and enduring American literature. We will examine as much of that literature as we can, in a range of genres: slave narratives from Frederick Douglass and Harriet Jacobs, essays from Emerson and Thoreau, novels from Harriet Beecher Stowe, Herman Melville, Nathaniel Hawthorne and others, poetry from Walt Whitman and Emily Dickinson. Our goal in examining these works will always be double: on the simplest level, we will be interested in how these writers interpreted and responded to the places and times in which they lived; on a deeper level, though, we will consider how each of these works--and all of them together--attempts to create something we might call now an "American consciousness," attempts to invent, or re-invent, America. The point of the course is to read as much as we can, more than anything else-- to develop a firm understanding of both canonical and non-canonical 19th century American literature, and to consider how that literature has helped to shape not just the literature that followed it, but the way we think about ourselves as Americans. This will NOT be a writing seminar: it will involve far too much reading for that. Students, though, will be expected to write about what they read on a regular basis, to lead discussions on a rotating basis, and to write a seminar paper at the end. Prerequisite:Must have passed the writing requirement. Otherwise, a love for the written word and at least a liking for American literature.
The Argentine Tango is an improvised social partner dance currently popular all over the world, including here in Brattleboro. If you've never seen it before, check out the "Tango Bar" video in our library. (You should be warned that it can be addictive; I've had people tell me that they'd spent their food money on lessons.) Prerequisite: None
This course provides a forum for students to share their plan work with each other and to engage in critical dialogue. This semester the course will include attending the lectures in the series "Celebrating Creativity" and will require students to write and revise a "statement of purpose" regarding their work. This is a required course for seniors on plan in the Visual Arts. Prerequisite: A student on Plan in the Visual Arts or by permission
The aim of this course is to provide students with a sound for learning modern Arabic. Continuing with the four skills, by the end of the course the students will be able to communicate orally and in writing on every day topics treated in the course book and the audio/visual materials.

The major ideas, theories, and methodologies of some of the European and American founders of sociology. The works of Marx, Weber, Simmel and Veblen will be evaluated in relation to the evolution of industrial society. Prerequisite: Introductory course in sociology or permission of instructor; history and/or philosophy helpful

This course examines the psychological dynamics of communities. A wide variety of communities will be explored, from the inner city to suburban gated communities, from loose sets of associations to tightly organized cults. Community psychology concerns itself with action as well as research, including the role of psychologists in facilitating change via community organization. The course will consider the role of a sense of community in an individuals psychological functioning, as well as the relationship of the community to the larger society.
Prerequisite: At least one course in social science
Contact Improvisation (CI) is an exploration of the movement that is possible when two bodies are in physical contact, using each others support to balance and communicating through weight and momentum. CI was invented in the United States in the early 1970s and it has since spread all around the world, where it is practiced both as a social dance and as a component of post-modern dance performance. In this class, we will learn basic skills and concepts to enter the practice of contact improvisation. We will work to develop comfort with our bodies, to trust one another, to take risks, to make choices in the moment, and to understand the forces of physics as they apply to the body in motion. We will listen to sensation, communicate through skin and muscles, develop reflexes for falling and flying, find access to our own strength and sensitivity. No prior dance experience is necessary.
Desegregation; equal opportunities for women in sports; evolution versus creationism versus intelligent design: educational institutions have served as the backdrop for the most dramatic and remarkable changes in American society. In this course we will examine the factors that contribute to the process of creating change in education. We will explore inspiring transformations in schools to explain what made them successful and delve into the more notorious, failed attempts to shift educational policy to determine what went awry. Using change theory, organizational theory, and a TON of mainstream films that we'll be viewing, we will deconstruct the concept of change, enabling all participants to attempt to lead and respond to the process of creating reform in education. Prerequisite: None
Differential equations are the language with which physicists describe the way the world works. This course looks at ways to understand these equations with both traditional symbolic methods as well as numerical computer simulations. We'll start with linear equations such as the harmonic oscillator and progress to non-linear systems that exhibit chaotic behavior, using computer tools such as Mathematica to write programs that explore the solutions to the equations. Prerequisite: Calculus
The early modern era was a time of great change. No longer could the Church dictate what was just nor could Monarchs claim that God was on their side. As markets emerged and religion retreated, people began to rethink what it was that gave government authority. If not God nor dynasty, could it be mere mortals? Machiavelli, Hobbes, Locke, and Spinoza were all outsiders. Teachers, exiles, and even an ex-communicant, these powerful political writers were without official political influence. What they had were evolving arguments, based on reason, that vindicated civil liberties. This class will not only consider their ideas but the use of rhetoric and argument to legitimate this new political world. Prerequisite: Previous course work in political theory or philosophy

In this course, we will investigate some of the more common software and studio techniques used by electronic musicians and composers, including analog and digital synthesizer sound manipulation, sequencers, drum machines, software based advanced editing, mixing and mastering practices, as well as live performance methods and practices. Guest lecturers/performers may supplement the syllabus. Assignments will employ hands-on application of course concepts using the computers and synthesizers in the lab, as well as vintage synthesizers assembled by the instructor. Class attendance is mandatory. (This course meets in the evening.) Prerequisites: ART 658 and 758 or permission of instructor

The course begins with a review of basic grammatical principles. It continues with exercises designed to increase the students' control of their prose. The second half of the semester is spent partly in revising existing papers and partly in studying such stylistic niceties as parallel structure, rhythmic control, and felicitous presentation of research. May be a designated writing course (4 credits); otherwise, 3. NOTE: Open to students who have passed the writing requirement but desire to improve their writing for Plan. Prerequisite: Permission of instructor
This course will continue the exploration of what defines a non-fiction film, The class will examine some of the many genres of documentary film-making such as direct cinema, cinema verite, reflexive, historical, poetic essay, social activist, experimental films, and the mockumentary. There will also be a production component where students will create their own genre films while continuing to both learn and gain experience in preproduction planning, filming, and editing.
There is no prerequisite for this course.
This course prepares students for finding (primarily international) internships that support academic and professional work. It includes a self inventory of interests, skills and experience, writing effective resumes and cover letters, job search and interviewing skills. Students will also learn proposal writing for their independent study and examine cross-cultural considerations. Guidelines are provided for relating your internship experience with research and Plan work. (Pass/Fail grade) Prerequisite: None

This class is inspired by the work of distinguished French filmmakers who address gender issues in their work. Filmmakers include Agnes Varda, Catherine Breillat, Claude Chabrol, Patrice Laconte, Eric Rohmer, Jean Luc godard, Robert Bresson, and Leos Carax. Film titles will include Chabrol's "Violette," and "Story of Women," LeConte's "Girl on the Bridge," Varda's "Chloe from 5 to 7," "Vagabond," and "Le Bonheur," Truffaut's "Jules and Jim," Breillat's "Brief Crossing" and "The Last Mistreee," Robmer's "My Night at Maud's," Godard's "Vivra Sa Vie," Bresson's "Mouchette," and Carax's "Lovers on the Bridge." Students will be asked to write critiques and interpretive essays related to the series themes. A special field trip to Boston will be arranged in early March to attend a rare U.S. appearance by pioneering French New Wave director, Agnes Varda. Prerequisite: Any student with an interest in this class is welcomed to enroll.

This course introduces several aspects of game theory from a mathematical point of view. We'll begin by considering the surprisingly complex children's game dots and boxes and move on from there to consider other two-player games (such as nim, the prisoner's dilemma and chicken), Nash equilibria, voting systems and the theory of auctions. We will see applications of the math we develop in other disciplines, particularly economics and political science. Prerequisite: None
The central focus of general chemistry is the composition of matter and transformations of matter. In the second half of this course we will examine in detail intermolecular forces, reaction kinetics, acid-base equilibria, and electrochemistry. We will also explore some aspects of organic chemistry and thermodynamics. Environmental chemistry will continue to be a secondary theme of the course as we relate all of these topics to the effects of human activity on our environment.
Course Description
The laboratory sessions will continue to be an opportunity for students to hone their lab skills and to explore topics and ideas discussed in class. Students will work in teams to devise, conduct and analyze experiments on bio-remediation. We will use primary literature to provide some context for our experiments, and we will continue to focus on employing the principles of green chemistry in our lab experiments.

Second half of the year-long introductory physics
sequence. The semester will begin with Newtonian
gravitation, one of the great pre-twentieth century
physics theories, serving as an integrating theme
for topics that will include the historical development
of this theory, rotational dynamics, and a few tasty
astronomical applications. The semester will conclude
with discussions of statistical mechanics, and the
structure of the atom.
This course is a survey of medieval religious history, examining medieval Christianity form the early centuries to the 1400s in western Europe. We will examine medieval religion from a variety of perspectives, looking at the lived experience of people in their parish churches, monasteries, and informal religious communities, as well as at the formation of a church hierarchy and its political and economic power. Phenomena to be examined include beliefs about Christ and the afterlife, the cult of the Virgin Mary and other saints, and attitudes of medieval Christians toward non-Christians.
An introduction to what computer scientists mean by "information", including topics in data compression (such as zip files and mp3), error correcting codes, information entropy, cryptography, and randomness. This is an intermediate course in computer science, and as such requires some background in programming as well as math through at least pre-calculus.
Working in spaces scattered over the campus, students will create sculptural work that inhabits the site and surrounds the viewer. Prerequisite: Sculpture I or II and Permission of the Instructor.
This course draws on insights from economic theory, institutional analysis, and current events in considering such aspects of the U.S. economy as inflation, unemployment, taxation, debt, money supply, exchange rates, and trade policy. This course and Intermediate Microeconomics together constitute the core sequence in Economics normally required for Plan work in the field. Prerequisite: Introductory economics or permission of instructor
A continuation of the study based on the four skills with more emphasis on the cultural aspect of the language. By the end of the course students should be able to speak Arabic with fluency on everyday topics besides writing short compositions.
An introduction to the various technologies behind the internet, including HTML, CSS, TCP/IP, DNS, and a whole lot of other acronyms. The course will be roughly divided into two parts: one on web page creation, and the other on internet infrastructure along with a little history and culture. Depending on the background of the participants, we may also do a little JavaScript, the programming language that makes web pages "do" things. Further internet related work at Marlboro (such as the Web Programming class) builds on the material in this course.

The Marlboro College Jazz Ensemble presents an opportunity for students to come together to study and perform music that is improvisational in nature. Ensembles begin with simple song forms such as the blues, and evolve from there depending on the levels and desires of the students. Participants will learn the interactive skills necessary to play in jazz combos and study various jazz forms, comping skills and improvisational styles. After an ensemble has been established, we will choose a focus that suits the group, such as composing original music or studying a particular composer (Monk, Trane, Miles, Dave Holland) or a certain style (Free, bebop, Latin, fusion). We will often listen to the original versions of songs as an opportunity to cultivate an appreciation for the music’s history and creativity.

This class will meet with the instructor for 1½ hours per week; it will also rehearse once a week without supervision. The Marlboro College Jazz Ensemble will stage at least one performance at the end of the semester. Prerequisite: basic musical proficiency on your instrument

In this course we will examine jazz from two points of view: musical and historical: We will begin each session by listening to a relevant piece of music and discussing the actual building blocks that went into its creation. Over the course of the semester, we will build a limited but significant familiarity with the breadth of musical techniques involved in jazz and the critical significance of interplay. Using audio and video recordings we will then observe the evolution of jazz from its origins and follow its course through New Orleans, swing, bebop, modern jazz, the avant-garde and rock eras.We will also witness how jazz has been influenced by music from other cultures. We will learn methods to listen to jazz with a discerning ear, so that we understand the distinctions between different time periods and the characteristics of different styles. Prerequisite: none

This course will provide an introduction to the martial art of Jujitsu. Jujitsu is, translated literally, the "Gentle Art." The focus is primarily on manipulation of the attacker's energy and body in order to safely defend yourself. This involves an understanding of falling safely, throwing others, momentum, joint locking, and some limited striking. Students will also develop a grasp of body mechanisms on a variety of body types, and how to direct these in a desired fashion. At the same time, students will be encouraged to develop a greater understanding of their own bodies, and also a knowledge of when and where to use the techniques from this course. A variety of exercises will encourage students to develop flexibility of movement and thought. A number of self-defense applications will also be explored in each class. Through the physical practice, students will also develop mental discipline and a presence in their space which can carry over to other studies.
When the Southern Europeans sailed west they brought with them an understanding of politics informed by Counter-Reformation concerns and natural law reasoning. Instead of valuing individual and property rights, as did their Protestant counterparts to the north, these Catholic conquistadors and missionaries developed a theory of politics that found justice in nature and human flourishing in hierarchy. We'll look at the writings of Thomas Aquinas, Jose Marti, Domingo Sarmiento, Sor Juana Inez de la Cruz, and Paolo Friere to begin to make sense of how Latin Americans imagine their political communities. Along with these theoretical writings, we'll consider a case study on the violence of every day life in Brazil. Prerequisite: Permission of instructor
In this course, we will develop expansive, articulate, and powerful dancing through a study of principles of contemporary release-based technique, complimented by a study of musicality and Rudolf Labans effort qualities. Core concepts will include weight, momentum, alignment, breath, focus, and muscular efficiency. We will work on finding center, playing off balance, moving in and out of the floor, going upside down, and finding clarity in our bodies. Through our practice, we will develop strength, range of motion, balance, flexibility, stamina, self-awareness, and coordination. This course combines intermediate and advanced level study, with students at the two levels assisting each other in learning.
What is a "good" life? What makes an action "good"? What is the foundation for moral action and ethics? Or, is there in fact no adequate foundation for morality? Through careful readings of classic and contemporary texts we will consider these questions, and other themes, including: the role of character, virtue, and vice in a good life; the properties of right or wrong actions; how our understanding of what it means to be human guides our understanding of the good; the relation between reason and emotion in ethics; morality and cultural context; ethics and the rejection of objective moral value; the relation between morality and luck; and the nature of moral claims in extreme situations.
In recent decades, the institutional role of the museum has drawn increasing attention from scholars and critics concerned with the mechanisms of social, cultural, and political formation. In this advanced course, we will pair theory and practice by reviewing key texts from that developing corpus of literature and visiting museums to consider how curatorial choices in the display of objects shape meaning. Students should be aware that the course will require approx. 4 day-long field trips that will take place on weekends throughout the semester. Prerequisite: permission of the instructor. Course enrollment limited to 15.
Organic chemistry takes its name from the ancient idea that certain molecules – organic molecules – could only be made by living organisms. In second semester organic chemistry we will continue our study of different classes of organic compounds and their reactions. In the latter part of the semester we will turn to the original realm of organic chemistry – living systems. Several topics are included that cover organic chemistry in biological systems. For example, we will examine reactions of amines, carboxylic acids, carbohydrates, nucleic acids, amino acids, peptides and proteins, and lipids.

This course will explore oil painting through a series of projects based on the model, still life, and landscape. The class will begin by working on paper and expanding to include panel and stretched canvas. Emphasis is on close observation as well as individual response. Prerequisite: Drawing I or permission of instructor
In what was to become a historic moment of dissent, Martin Luther tacked his 95 Theses to the door of Wittenberg Cathedral in 1517. His manifesto carefully itemized the corruption of the Papacy and set in motion events that would leave the Church divided and Europe at war. But Luther is only the best-known radical of this period. Others, like a poor miller living near Venice, shared similar views about God and the nature of the universe. Widely disseminated pamphlets and political cartoons inspired the lower classes to create their own relationships with God, independent of the Popes authority. In many ways these peasant voices shaped and fueled the Reformation, making it an early example of a grassroots revolution. In this course we will discuss the origins of the Protestant Reformation and its various impacts on Euopean culture in the 16th and 17th centuries.
A collagraph print is a collage printmaking technique and is a form of Intaglio printing. The class will explore both process and implied content through the use of vibrant color, texture and surface relief. Prerequistie: Drawing I or permission of instructor
This course will examine the dynamics of the relationship between human psychology and societal and cultural context. The course focuses on understanding the impact of key sociocultural elements on psychological functioning. While consideration will be given to other societies at other times as well as the consideration of whether universal patterns exist, the course is primarily concerned with the current Euro-American society and cultural milieu. What is the relationship between this context and individual psychology? To what extent and in what ways are crucial human needs facilitated or thwarted by the current organization of society? How can we use this understanding to enrich our understanding of individual dynamics? We will also examine processes of change, both at the individual and at the sociocultural level. Prerequisite: Junior standing or above; a minimum of two courses in the social sciences or permission of the instructor. Cannot be taken simultaneously with Community Psychology.
A reading of the history plays of Shakespeare. Focus will be on concepts of authority and kingship. Movies (outside of class) when appropriate; supplemental reading in the history of the period.
Statistics is the science -- and art -- of extracting data from the world around us and organizing, summarizing and analyzing it in order to draw conclusions or make predictions. This course provides a grounding in the principles and methods of statistics. Topics include:
probability theory, collecting and describing data, hypothesis testing, correlation and regression, and analysis of variance. Two themes running through the course are the use of statistics in the natural and social sciences and the use (and abuse) of statistics by the news media. Prerequisite: Topics in Algebra, Trigonometry and Pre-Calculus, or the equivalent

ART 2226 provides an opportunity for students to learn about and experience the fundamental practice of Tai Chi exercise based on the Taoist philosophy.  Basic universal laws and principles will be introduced in a hands-on simplified manner that can easily be understood. Students will be encouraged to explore and observe nature, how these universal laws interact with Tai Chi and ultimately how their lives are affected.
The 24 Simplified forms will be introduced as they are taught today at the University of Beijing. The flowing movements of Tai Chi help students to be calmer and more accepting of the ups and downs that everyday life offers.  Tai Chi is also a good overall physical exercise.

Virginia Woolf describes the essay as a form that "must lap us about and draw its curtain across the world." But what, she questions, "can the essayist use in these short length of prose to sting us awake and fix us in a trance which is not sleep but rather an intensification of life - a basking, with every faculty alert, in the sun of pleasure?" Her answer is a simple one: "He must know - that is the first essential - how to write." From David Quamman's "The Face of the Spider" to Scott Russell Sanders' "Looking at Women" to Wallace Stegner's "The Town Dump" to Annie Dillard's "Living Like Weasels" to George Saunders' "The Braindead Megaphone," we will explore how contemporary essayists - in personal essays, nature writing, literary journalism, and science writing - look closely at everyday objects, practices and experiences. We will analyze what makes these essayists effective, entertaining, and enlightening. And, of course, we will be writing about all of this in several formats: in-class exercises and shorter assignments leading up to two 4-6 page papers and one 8-10 page research paper. Peer response workshops, writing conferences, and in-class work on style, revision, and editing will alternate with our class discussion of the essays. Prerequisite: None
During World War II and The Cold War, a great number of Europeans lived under the shadow of totalitarian states in which dissent, either against government ideology or against the elimination of ethnic minorities, was punished by torture, imprisonment, or death. This course studies the states of mind that are engendered by such a situation. On the one hand, there is Resistance and Solidarity - both glorified by literature and movies in a stereotype with which thousands of postwar Europeans have identified themselves. On the other hand, there is the much more common phenomenon: the captive mind, which accommodates both propaganda and the presence of evil, and thus experiences chilling moral erosion in the name of survival. The extent of the damage done by the captive mind has only recently been admitted by Europeans, who would understandably prefer to see themselves as victims of oppression, not as oppressors. But as archives open and a new generation examines them, it becomes increasingly clear that in the last half of the 20th century, thousands of respectable, ordinary Europeans committed extraordinary crimes. Discussions and papers will be focused on understanding (rather than condemning or applauding) accommodation and resistance. Reading will include: Tadeusz Borowski, This Way for the Gas, Ladies and Gentlemen; Czeslaw Milosz, The Captive Mind; Albert Camus, The Plague; Vaclav Havel, "The Power of the Powerless"; Timothy Garten Ash, "Bad Memories"; James Lasdun, Seven Lies. Movies will include Stanley Kramer, Judgment at Nuremberg and Leni Reiferstahl, The Triumph of the Will. Two 5-7 page papers, one short explication, and one 10-12 page research paper, plus conferences on each paper. Prerequisite: None
The histories of photography and, more recently, sculpture/installation art, are rife with examples of artists who are not content to simply observe reality as it exists but who find it necessary to construct their own. This course will focus on the conjunction of the disciplines of sculpture and photography and provide a venue for students to make work that reflects their own constructed reality. The end product of the work of this class will sometimes be photographs and, in other projects, sculpture. Both skills will be employed in each. Objects and spaces will be transformed and become the subject of new work. Students will be encouraged to work collaboratively. Materials fee: $100. Prerequisite: Photography I or permission of instructors
This is an introductory level survey of astronomy designed to be accessible to non-science majors. Discussions will cover the basics of observational astronomy, the intersteller medium, and stellar birth and evolution. Course work will likely include papers, labs involving evening observing sessions, and a final project.
What is ethnicity? How is it related to nationality? And why are the two so important? This class tries to answer these questions by looking at a wide range of case studies in modern Asia: Highlanders in Indonesia, Overseas Chinese in Malaysia, the Ainu in Japan, the various minorities in Southwest China and the Mongols in Central Asia. In each of these cases we find tensions between minority and majority populations. Who has the power to determine who belongs to which ethnic group? What resources become available through ethnic and national belonging? What responsibilities do they entail? We will look at state policy and social responses in the realms of religion, tourism, cultural preservation, economic development and language use. Students will do close readings of pieces from the contemporary media to help us make sense of the way ethnicity is represented in these Asian cases. Prerequisite: None
This course will examine the history of documentary photography in America, from the post-Civil War era through the present, with an emphasis on learning to use photographs as documents or cultural history -- that is, as texts which can inform us about the social and cultural history of the period in which they were made and viewed. Photographers to be studied include Jacob Riis, Lewis Hine, Walker Evans and Dorthea Lange, Robert Frank, Jim Goldberg and Eugene Richards. Optional collaborative documentary project for an additional 1 to 2 credits. Prerequisite: Background in Photography and American Studies helpful but not required.
This course, the second part of the introductory sequence in economics, offers an historical, institutional and theoretical introduction to the U.S. economy. Topics include the organization of production, the distribution of income and wealth, the measurement of economic performance, and the U.S. in the global economy. The course draws substantially on current events and economic policy debates. Prerequisite: None, although priority is given to those who have completed the first half of the introductory sequence
This semester the workshop will emphasize compositions for small choir or vocal ensemble. Students will write compositions weekly which will be performed by fellow students in workshop. Prerequisites: Theory fundamentals, ability to sight read and sing.
This course picks up roughly where Apocalyptic Hope leaves off: out of the American Renaissance, into the Gilded Age, the Modernist period, and through the two world wars, tracing the development of the "American" as it faces, often reluctantly and anyway never without a fight, the inevitability of the modern. We will begin with Twain's Adventures of Huckleberry Finn - a book Hemingway once famously called the beginning of all American literature; from there we'll go on to consider the works of writers and poets as various as Theodore Dreiser, Stephen Crane, T.S. Eliot, Marianne Moore, Robert Frost, William Carlos Williams, Sherwood Anderson, William Faulkner, Ernest Hemingway, Zora Neale Hurston, Flannery O'Connor, Ralph Ellison, and others. The point of this course, like that of its sister course, Apocalyptic Hope, is to read as much as we can; to develop as broad an understanding as possible of both canonical and non-canonical twentieth-century literature, and to consider how that literature has helped to shape not just the literature that followed it, but who we are in the twenty-first century. Prerequisite: Permission of instructor; must have passed the writing requirement; Apocalyptic Hope is not a prerequisite, but students who have taken it will have preference.
This will be a "linked" writing course -- that is, the course will be linked to three other classes in the curriculum, and you will draw your ideas, your reading and your paper topics from one of those classes. In the writing seminar, we'll focus on the writing itself, and we'll cover every aspect of it, from idea to argument, from structure to grammar. The course will involve a great deal of formal and informal writing, and a lot of in-class and out-of-class exercises designed to move you toward your larger papers. The writing work we do in class will alternate with work on the papers you do for your other classes: you'll take every paper through a series of drafts before submitting it in the linked class, and we'll spend time doing peer reviews, workshopping drafts, and working one-on-one in writing conferences. Corequisite: To take this seminar, you must be registered with a linked course
This writing seminar develops strategies and skills necessary for completing a Plan in political theory. May be repeated for credit. Prerequisite: For seniors

The course will examine the variety of natives, travellers, merchants, settlers, and military persons who moved along the Atlantic rim and through the Atlantic ocean between Europe and Africa and north and south America to the end of the American Revolution. Prerequisite: Introductory course in American studies, Asian studies or history

This is a seminar for all students on Plan in photography. May be repeated for credit. Prerequisites: Either the Preliminary or Final Plan application must be on file (including some photography) Fee: $100 Requires use of video laboratory, video viewing, and computers (excluding word processing).

A study of the physiology and psychology of perception, the means by which we maintain contact with and obtain knowledge about the environment. Participants will be required to conduct a series of empirical projects throughout the semester. Prerequisite: A year of Psychology, Sociology, or Biology, or permission of instructor

This course aims to provide a general area studies introduction to the Middle East. As such, it will offer a rudimentary historical background to the region, therefore necessarily beginning with WWI, but the central focus of the class will be to provide a more informed context by which to better understand the myriad of current international political events, issues, and challenges that emanate from this region today. While the core essence of this offering will remain regional in its approach, individual countries and particular crises will serve to round out our more general considerations. Prerequisite: None

Acting 1 is a practical theatre course that explores the tools and techniques necessary for developing characters onstage. The course will consist of various excercises, monologue work, and scene study.

Students will study the theory and practice of various kinds of comedy writing, including monologues, sketches, essays, short stories, screenplays, stand-up, and radio drama. Workshops will include critique sessions, writing exercises, and the sampling of recorded material. Each student must be willing to read and share their material. Weekly writing assignments will be required. Prerequisite: Student must have previous writing and/or performance experience

Yeats and Eliot are constantly lauded as two of the twentieth century's greatest English-language poets. In this class, students will have the opportunity to discover why. Together we will read the entire body of Yeat's and Eliot's poetry, paying close attention to how each poet helped to define the mondernist aesthetic. Though we will focus intensively on Yeats' and Eliot's work, students will gain a broad understanding of literary culture in late nineteenth- and early twentieth-century Britain and Ireland. No prior knowledge of Yeats or Eliot is required; indeed the class will appeal to anyone interested more generally in modernism, contemporary poetry, or Irish history and literature. Prerequisite: At least one literature class or permission of instructor

The study of pottery using handbuilding techniques, natural organic models, and a survey of pottery history. The composition, geological history, and high-temperature firing behavior of earth materials are covered. Materials fee of $15 per credit.Prerequisite: None

This course is a continuation of Greek IA, using Taylor's "Greek to GCSE" Parts 1 & 2.
A study of organismal, population and community biology. Prerequisite: General Biology I or permission of instructor
This course will explore and examine how processes of verbalizing words, especially those grounded in written text, mediate meaning through mode, style, and nuance of expression. We will investigate voice and techniques of how to use it, but this is not a conventional voice and speech class. We will also experiment with alternative ways of acting on words, constructing meaning. Core studies will earn 2 credits but students may earn up to 2 credits more through participation in a performance project. Prerequisite: permission.

The purpose of this course is to introduce students to some of the most basic issues and ideas in the sub-field of International Law & Organization. Student research projects/papers will serve as the backbone of the class, as specific laws and organizations will be considered in light of their relevance to the particular problems and questions chosen for individual, in-depth study. Prerequisite: background in Social Science/Political Science

This course will examine the work of several twentieth-century Northern Irish writers who have struggled, as Seamus Heaney wrote, to find "befitting emblems of adversity" in their efforts to reconcile art and politics. We will start by situating these writers in their historical and cultural contexts, and then move on to discuss how their work both reflects upon and refracts the Northern Ireland Troubles. As we read these texts closely, we will consider several key questions: To what extent do Northern Irish poets face the question of violence head-on? To what extent do they sidestep it? Are they obligated to write about the Troubles? How have their religious and cultural affiliations affected their work? What is the role of form and metaphor in Northern Irish poetry? While we will focus mainly on the aesthetic strategies these poets use to confront violence, we will also examine how recent and historical events have impacted their work. In addition we will pay significant attention to the roles of regionalism and coterie as we explore the idea (and debate the existence) of a Northern Irish poetic renaissance. Authors covered include Seamus Heaney, Michael Longley, Derek Mahon, Paul Muldoon, Eavan Boland, Robert McLiam Wilson, Bernard McLaverty and Brian Friel. By the end of the semester, you should have a good understanding of the major debates and events which have shaped Northern Irish literature from the 1960s on. No previous knowledge of Irish literature or history is assumed. Prerequisite: None

The study of any dramatic literature is about asking questions. Who has the power? Why is there conflict? What premise is the play asking us to consider or reject? And why should we care?
In an interview with WJT Mitchell, Homi Bhabha referred to an ?enunciative disturbance? that destabilizes the process of representation and interpretation. In this course we will read a variety of plays from diverse geographical regions and explore the complex negotiations between subject position and cultural gesture in the genre of Postcolonial dramatic literature. We will interrogate the use of ?Postcolonial? as an umbrella term with multiple meanings through the reading of authors as varied as Judith Thompson, Athol Fugard, and Chin Woon Ping.

Functional forms and abstract design problems using the potter's wheel; intermediate level study of materials, processes, and history of ceramics. Materials fee: $70. Prerequisite: Ceramics I at Marlboro

An exploration of the economic, political and cultural roots of U.S. foreign policy focusing on the period from World War II to the present. Special emphasis will be placed on the international and domestic consequences of U.S. foreign policy in the post 9/11 epoch. Prerequisite: None

A survey of a dozen or so works that were conceived for the stage then later adapted in film. Studies will include a couple of examples of films that later became stage productions.
This course is the continuation of Intermediate Chinese I. Students will continue to learn more essential skills of listening, speaking, reading, and writing for daily communication. A broad variety of expressions and complicated sentence structures will be taught so that students can participate in conversations on various topics related to modern Chinese society. While equal emphasis will be given to both characters and structures, students will be guided to write more Chinese essays. Activities related to the broad spectrum of Chinese culture will be organized to facilitate language learning with knowledge and analysis of the cultural background of the language. Prerequisite: Intermediate Chinese I or permission of the instructor.
This course is the continuation of Elementary Chinese I. Students will continue to develop communicative competence in the four basic skills of listening, speaking, reading, and writing. Students will learn basic vocabulary and sentence structure for use in essential everyday situations through various forms of oral practice. While linguistic aspects of the Chinese language continues to be the focus, introduction to the social and cultural background of the language will still form an important part of the course. Prerequisite: Elementary Chinese I or permission of the instructor.