Class discussion of students' stories. Each student produces work for the class and participates in analysis and discussion. Reading and assignments vary as appropriate; admission based on consideration of samples of students' work. Prerequisite: Permission of instructor
This course is an introduction to the history of art beginning with pre-history and ending with Italy in the fourteenth century. The focus of the class is on tracing trends of stylistic, functional, aesthetic, material interaction in a series of world cultures including Egyptian, Ancient Near Eastern, Indian, Chinese, Japanese, Greek, Roman, Byzantine and Western Medieval. Students are expected to develop skills of visual analysis and a historical sense of changes in world culture. Prerequisite: None
An upper level reading class that will concentrate in reading and critically analysing different methodological approaches to the study of art history. Prerequisite: 3 art history courses
A beginning technique course requiring body/mind coordination and some creative work. Class format of center warm-up and combinations of movement phrases which will differ each week. Prerequisite: None
In this class, students will explore both the art and the craft of making dances. Responding to specific assignments, students will create a number of dances throughout the semester, bringing a new draft to class each week. Class sessions will focus on viewing and discussing students' work, and when appropriate, on exploring tools for the creative process and ideas about composition. Attention will be given to learning how to give and receive choreographic feedback, and to editing and developing existing choreography. In addition, students will study the choreographic methods of other artists through viewing videos and reading texts. This course will require students to work independently and commit a substantial amount of time outside of class to the completion of choreographic studies. Students will present their final projects in an end of the semester showing. This course may be repeated for credit; assignments, readings, and special topics will differ each semester. Prerequisite: Previous dance experience and permission of the instructor
This class offers intermediate and advanced dancers an exciting opportunity to dance intensively. We will have a technique class twice a week, followed by rehearsal. In the technique class, based on the Dunham technique, dancers will learn intermediate to advanced barre work, floor work, and progressions from the Dunham technique. We will use that technical base to learn longer modern phrases in a related style. In the rehearsal we will be learning a dance (or maybe two) choreographed by the instructor. Dancers will be performing at the end of the semester and will be required to participate in the tech and dress rehearsals. Because of the extended class time and the requirements of the performance week, there will be minimal work outside class. Prerequisite: Previous dance experience and permission of the instructor
This is a Chinese language course for beginners. It aims to help students to develop communication competence in the basic skills of listening, speaking, reading, and writing the Chinese language. Students will learn basic vocabulary and sentence structures for use in essential everyday situations through various forms of oral practice. Pinyin (the most widely used Chinese phonetic system) will be taught as a tool to learn the spoken language. Students will also learn Chinese characters in order to be able to communicate effectively in real Chinese situations. While linguistic aspects of the Chinese language are the primary focus, introduction to the social and cultural background of the language will also form an important part of the course. Prerequisitie: None
This course is second year Chinese. Students will continue to learn more essential skills of listening, speaking, reading, and writing for dailly 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 emphasis will still be given to both characters and structures, students will be guided to write more Chinese essays. Prerequisite: Elementary Chinese II or permission of the instructor.
This course presents an introduction to the study of word structure, covering a broad range of morphological phenomena from a wide variety of languages. Topics range from basic principles of the internal structure of words to advanced issues of current controversy over the nature of morphological universals. Prerequisite: None
What is a protein? For early biochemists this was a hotly-contested topic: what was their composition, structure, and function? Now we know many extraordinary details of how proteins function. For example, we know how they help our bodies acquire nutrients from food, use those nutrients for fuel, and carry oxygen to our tissues. In particular, research has revealed the intricacies of how a proteinÃ¢â‚¬â„¢s structure is related to its function. In this course we will employ an evolutionary perspective as we discuss major topics such as amino acids, proteins and protein structure, bioenergetics, enzymes and enzyme function. We will also study major metabolic pathways and their key control points. Our goals are for you to develop a thorough understanding of how enzymes work, and to be familiar with key metabolic pathways and how they are controlled.
Chemistry has a rich history, including ancient theories on the nature of matter and recipes for converting lead into gold. Modern research and applications are equally exciting, and include topics such as creating more efficient solar collectors and the reactions of natural and human-made chemicals in the environment. In this course, we will study topics such as atomic structure and the periodic table, reaction stoichiometry, chemical bonds, and molecular structure. Many topics are related to current health and environmental issues. For example, discussions of pH and reduction-oxidation reactions include research on the natural chemistry of surface waters and the effects of acid rain on natural systems. Co-requisite: General Chemistry Laboratory I
In the laboratory, we will apply the same concepts, information and analytical approach we use in the classroom. You will continue to hone problem-solving skills and become familiar with laboratory equipment and procedures. Laboratory sessions will be designed to allow you to explore ideas discussed in class through field and lab work in environmental chemistry. Also, we will try to apply concepts from the field of 'green chemistry' to make our investigations more environmentally sustainable.
Co-requisite: General Chemistry I
This laboratory will be an introduction to techniques commonly used by biochemists, and must be taken in conjunction with Biochemistry of the Cell. Your work in the laboratory will focus on a semester-long investigation of an enzyme.
This project will allow you to perform your own biochemistry research project in which you will employ the principles of chemistry and biochemistry that we study in the classroom. The protein you will investigate is already well-characterized. That is, previous research has described in detail the properties of the enzyme. Your goal is to determine if the enzyme you isolate is the same as that described in the primary literature.
To answer this question we will begin with basic laboratory procedures such as preparing reagents, chromatography, and performing a protein assay. We will then explore techniques for studying the activity of enzymes, and methods for separating proteins, such as one and two-dimensional electrophoresis. Finally we will employ methods for the identification of specific proteins using immuno-staining, and a phenomenally sensitive technique for quantifying a specific protein in solution, the enzyme-linked immuno-sorbent assay (ELISA). Throughout this semester-long project you will also learn about the procedures for data acquisition and analysis that will allow you to draw meaningful conclusions from your results.
Prerequisite(s): General Chemistry I & II, Biochemistry of the Cell
People play all sorts of games: board-games, math puzzles, contact sports, charades, and video games. While the materials may differ, the basic elements for a game of whist and Dance, Dance Revolution are the same: Games have rules, people play by the rules, and winning involves some degree of strategy.
Games have quite a bit in common with other human activities. Town Meetings run by rules, as do mathematical systems. By looking at how rules determine potential outcomes, we can learn a lot about decision-making whether it is in Town Meeting or in a math problem set.
This class considers politics and mathematics as examples of games. It looks at rules of argument in Town Meeting and rules in solving geometry problems. To tie this all together we investigate how Wittgenstein uses games as a way of making sense of human interactions. Prerequisite: Permission of Instructor
This class considers democratic practices through the writings of one man, Ralph Waldo Emerson, and through the essays of one philosophical movement, pragmatism. Pragmatism," to quote Louis Menand, "is an account of the way people think." Pragmatists are interested in how we think because they believe that many political and social problems might be solved if we stopped using abstractions and started thinking in terms of practical consequences. Pragmatism has been called America's "only major contribution to philosophy." Given the American interest in work and productivity, perhaps we won't be surprised to find out that pragmatism takes philosophical techniques and renders them useful.
Pragmatism grew out of the polarizing discourse around slavery in the Civil War era. Much of the discussion will focus on the role of abstractions in Abolitionist and Pro-Slavery discourse. We'll consider why some of the early pragmatists, particularly Emerson, used metaphors and literature to make his new ideas work. Prerequisite: A background in political theory or philosophy.
Examining race as a social construct in American society is a daunting task indeed. This course sharpens the focus of that pursuit by placing race squarely within the context of the full range of our education system. Can race be addressed in kindergarten? If so, should it be? How is race connected to success in high school? How do we talk about race on college campuses? Using both core texts and mainstream movies, we will explore the intersection between race and education, from the controversial to the revelatory and everything in between. Prerequisite: None
The Soviet era represents a great social experiment, only recently abandoned. This course is an introduction to Soviet society and post-Soviet reaction, using memoir, film, and current studies to discuss the passage from early revolutionary radicalism to Stalinism to the end of the Cold War and contemporary "normalcy" and nostalgia. Pre-requisite: None
American culture -- especially since the end of the Civil War -- has always been fascinated with the "western frontier," a mythical space that has been associated with a (usually violent) psychological and social transformation. The frontier, Frederick Jackson Turner famously announced in 1893, is the crucible wherein Europeans are transformed into that new thing called American. Since Turner made this announcement, the western -- as a literary genre, as a visual iconography, as a political idea -- has been one of the dominant frameworks of America's definition of itself: in hundreds of novels, and in hundreds more films made in the last century, the transformative experience of the West has been and explicit or implicit motif.
. . . more inside. . .
In this course we will read and practice journalism, both as it is traditionally considered -- e.g., the essay as it has been defined in magazines like The New Yorker, or the expository report as practiced in The New York Times or The Wall Street Journal -- and in the many variations on traditional journalism that have emerged since the 1960s: gonzo print journalism, various forms of online writing, radio essays, etc.
More inside. . .
Virginia Woolf describes the essay as a form that "must lap us about and draw its curtain across the world." But what, she asks, "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 [she] 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 texts. Prerequisite: None.
"The mind is its own place, the visible world is another, and visual and verbal images sustain the dialogue between them." Wright Morris
When we think about narratives, we most often think of prose-words that tell a story. But what happens when writers-novelists, memoirists, and nonfiction writers-integrate images into their narratives-photographs archived in history museums, personal photographs, or evocative graphics that merge with the written text? In this writing seminar, we will investigate the elusive dialogue between words and visual images, and consider how we "read" or interpret both prose and pictures. Beginning with Tim O'Brien's The Things They Carry, a genre-bending autobiographical novel that explores the convergence of memory and imagination, we will explore Jonathan Safran Foer's Extremely Close & Incredibly Loud (a child's wild vision and wild hurt in confronting the cataclysm of 9/11) Wright Morris's memoir The Home Place (a photo-text that takes us back to a single day in Wright's boyhood home in Nebraska) and John Berger and Jean Mohr's first experimental collaboration The Fortunate Man: The Story of a Country Doctor (a deeply moving portrait of a doctor working in an impoverished English rural community). We will consider the point at which photographs enter the texts and examine how they act to undercut, reinforce, and/or expand the written narrative. The writing will take several formats- in-class exercises and shorter assignments leading up to two 4-6 page papers and one 8-10 page research paper. Through lots of practice in writing, critiquing, and rewriting, we will work toward two of our main goals-to help you find a writing process that works well for you and to allow you to experience the value of language as a tool for thinking deeply and clearly. Prerequisite: None.
- Marlboro College Faculty: Laura Stevenson
Strives for mastery of complex grammatical structures and continues work on writing and reading skills. Frequent compositions, selected literary readings and a short novel, class discussions, and debates on films and current events. Prerequisite: At least two consecutive semesters of college Spanish
Ever since feminists called attention to women's lives,the question of what it means to be a woman has been the subject of much academic debate. However, despite improvement in women's lives and shared similarities, the experience of being a woman differs markedly. Issues such as gender,race, ethnicity, class, nationality, and sexual orientation seem to account for these differences. We will examine issues of gender, race,identity, nationality, and sexual orientation in the work of selected writers. We will also consider the ways in which gender, race, and historical and cultural specificity shape and complicate these categories of inquiry. We will also readpoetry, short stories and essays by women writers. Prerequisite: Prior survey course and ablility to read and write well in Spanish
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 1 hour 20 minutes 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
Students will participate in the creation of a new choreographic work directed by faculty member, Kristin Horrigan. The choreography will be performed at the end of the fall semester. Additional rehearsal times may be scheduled as needed. Prerequisite: Permission of the instructor
By providing a solid grounding in computer logic and programming, this class
lays the foundation for further work in computer science. Much as a
competency with English grammar is required for writing, an understanding of
programming is required for nearly all intermediate and advanced work in
computer science. A similar course is offered every fall, though the
language chosen varies from year to year. This semester starts from the
ground up, from number systems, to encoding data, to computer logic, to
programming. The language for this semester is ECMAScript, more commonly
the core toolset for the World Wide Web. Given its focus on interactivity,
object-oriented, and event-driven programming models in what is, perhaps, a
familiar development environment that provides immediate feedback when
trying to learn the language.
This class will use the virtual environment Second Life to look at the
principles of building virtual worlds and interactive online games.
Designing virtual environments requires a wide variety of skills, from story
writing to graphic arts, from physics to sociology, and, of course,
programming. The purpose of this class is to take a look at the mechanics
behind designing virtual worlds and the possibilities of event-driven
programming for creating interactive content. Topics covered will include
building virtual objects using primitives (prims), learning to texture prims
to add realism to otherwise simple structures, and scripting objects to
interact with players, each other, and the virtual world. As a programming
course, the primary focus will be on the Second Life in-world scripting
language, LSL, but will also look at the basic concepts of interactive game
design and touch upon important development tools necessary for content
creation. prereq: prior hands-on programming experience
This course serves as a broad introduction to the Medieval European world. There are two major goals of the course. First, students should become acquainted with the changes and narratives of medieval history as well as its significance to modern history. Second, as an introduction to the historical discipline, this course offers students the opportunity to learn the methods of historical research: how to use primary sources as well as historiography to formulate historical narratives and arguments. The course will look at the medieval world through a variety of lenses, including political, religious, economic and social history as well as looking at the art, music and literature of the time. Prerequisite: None
In this course, we will survey a number of famines and food shortages from ancient Rome to modern Africa, looking at the changing nature of famines throughout history as well as some persistent similarities. The course will investigate the human and natural causes of famine, the experience of starvation and economic displacement and the attempts by governments and individuals to avoid and ameliorate shocks to the food supply. Particular attention will be paid to economic and social theories of famine and how they affect historical interpretation and modern food aid. Previous coursework in history, economics or political science helpful but not required. Prerequisite: Permission of Instructor
This course will be a collaborative seminar designed to give intermediate and advanced students who intend to use performing as an aspect of their Plan the opportunity to workshop their ideas and scripts.
Permission of instructor required and the class will be capped.
Employing tools of critical analysis from the fields of Performance Studies and Disability Studies, this course is an interdisciplinary exploration of the ways in which cultural images of "normal" are constituted, legitimated, and even occasionally subverted in theatre and popular entertainment in the United States.
We will study works as diverse as Tod Browning's film Freaks, Doug Wright's play I am My Own Wife, and the TV pageant/plastic surgery extravaganza The Swan.
4 credits. There are no prerequisites and the class will be capped.
This course is the first half of the year-long introductory physics sequence. It is designed to fit the needs of both students intending to go on Plan in physics or another natural science and also non-science students who nevertheless desire some firsthand exposure to the scientific method of approaching and understanding the world. We'll cover Galileo's and Newton's discoveries about the motion of familiar terrestrial objects. But we'll also learn some things about the discovery process itself by doing real-life, hands-on experiments. Said another way, students will learn physics in this course by doing physics - not (primarily) by listening to lectures about physics. So roll up your sleeves and join us! Prerequisite: Mathematical proficiency up through, but not necessarily including, calculus.
A sophomore-level introduction to the physics of electric and magnetic phenomena. Topics include electrostatic forces, electric and magnetic fields, induction, Maxwell's equations, and some DC circuits. Prerequisites: General Physics I and II, Calculus I and II (Advanced Calculus also recommended as a co-requisite)
Selected Novels of Gogol, Turgenev, Tolstoy, Dostoyevsky. Some outside reading in history and biography. Research paper. Prerequisite: Some background in literature
- Marlboro College Faculty: Geraldine Pittman de Batlle
Readings in the 19th century. We will be looking at issues of social class and gender roles, religious beleifs and attitudes, the rise of the city, the emergence of industrialism. Prerequisite: None
- Marlboro College Faculty: Geraldine Pittman de Batlle
We will examine the political issues and background of the writing of the Constitution. Prerequisite: None
- Marlboro College Faculty: Geraldine Pittman de Batlle
This is a beginner's course for those wishing to study the Latin language. We'll be working from Wheelock's Latin (6th edition), which introduces students to the basic elements of grammar, syntax, and vocabulary by using original stories along with exerpts from Latin texts. There will be regular (but short) quizzes to reinforce what has been learned as we go along. Students can expect to have graduated to reading sustained passages adapted from Roman authors before the end of the academic year. Although a challenging language, Latin can be immensely rewarding; there is nothing better for stimulating the mind!
This is a beginner's course for those wishing to study Ancient Greek. We'll be using John Taylor's "Greek to GCSE" (parts 1 and 2), which introduces students to the basic elements of the language by using original stories along with some excerpts from Greek texts. Students should expect the course to cover some difficult ground in a short space of time, and be prepared for regular quizzes as we go along. Prior linguistic experience is not a prerequisite, but some knowledge of Latin or a modern romance language will be advantageous. Ancient Greek is a difficult but beautiful language, unparalleled in its appearance, sound, and flow.
This course is a continuation of Latin IA and Latin IB. We will be translating original Latin in order to build up vocabulary and grammatical knowledge; prose composition will also be a regular feature of our study. We will aim to finish Wheelock's Latin, and cover a wide range of original Latin during the course of the year. Students will come to appreciate the power that Latin can convey.
This course is a continuation of Greek IA and IB. We will be translating original Greek in order to build up vocabulary and grammatical knowledge; prose composition will also be a regular feature of our study. It is during this course that the full force and beauty of the Ancient Greek language will become apparent. Prerequisites: Greek IA and Greek IB.
'Now a golden race arises,' claims Virgil. This course will explore the literature (in translation) from the Roman Republic at the height of its power. From the sultry erotic poems of Propertius to the filfthy jibes of Catullus, we shall explore a full range of genre. Our study will culminate in the two great Roman epics: Virgil's Aeneid and Ovid's Metamorphoses, each offering a different view of the future. The one presents stability, empire, and power; the other mutation, aberration, and flux. Prerequisite: None
Our engagement with wildlife ranges from visiting Sea World, to hunting deer, to supporting conservation organizations, to caring deeply about rare species we will never see. How can we make sense of the diverse ways in which people value and act toward wildlife? How, through custom, law and policy, can we manage the terms on which wild animals are pursued and protected? This course will address such topics as the U.S. Endangered Species Act, community-based wildlife management, market and non-market valuation, and the ecology of environmental organizations. Prerequisite: Permission of instructor
An introduction to economics through an examination of production and exchange relationships at the local and community levels. Topics include barter, gift, and market exchange; property rights and the tragedy of the commons; for-profit and not-for-profit production; money and local currencies; microfinance; and community development. Prerequisite: None
The vision of the world shaped by the modern novel through magical realism, fabulation and dark allegory constitutes a dramatic shift in the notion of character, narration, and plot together with a radical subversion of notions of order, bureaucracy, gender and politics. This course seeks to redefine the scope of the novel in the context of post-structuralism and semiotics. We shall explore the relevance of selected theoretical formulations of Barthes, Foucault, Derrida, Bhaktin, Lacan, Deleuze and Guattari, Irigaray and Kristeva to selected works of Kafka, Garcia Marquez, Pynchon, Ann Michaels, Calvino and Robbe-Grillet..
Prerequisite: Permission of instructor
An advanced seminar exploring the ways in which race/ethnicity, class and gender have been socially constructed in the United States as "difference" in the form of hierarchy. Emphasis on recent scholarship which approaches these axes of difference not as fixed and separate categories but as mutually constituted systems of relationships which are produced and reproduced over time. Opportunity to pursue individual research projects. Prerequisite: Permission of instructor
In this technique class, we will delve into the connections between music and dance. Through in-class and some outside assignments, we will seek to understand common musical terms and forms as they apply to choreography and performance. We will investigate the question of what it means to dance musically and will bring the fruits of that investigation to class phrasework and mini choreographic studies. Regular attendance and willingness to participate are essential ingredients for success. Prerequisite: Permission of the instructor
This course is designed to acquaint students who are preparing for independent research with a diverse range of fieldwork methods. We will consider matters of epistemology, access, observation, interviewing and surveying, collecting, note taking, and reporting. Cross-cultural challenges and the ethics of fieldwork will also feature in our discussions. Over the course of the semester, students will develop an Internship Proposal that describes their academic and professional goals, explaining what they expect to learn; the methods of their independent work; resources found and still needed; and how the work will be evaluated. These proposals function as learning contracts for their academic sponsors, requests for funding for scholarship organizations, and presentation pieces for the hosting organization.
Note: Designing Fieldwork will NOT be offered in Spring 2010. Students intending to take the course this academic year should do so in Fall 2009.
Required for WSP students; open to non-WSP students.
Prerequisite: Finding an internship or permission of the instructor
This course will examine the development of Chinese culture from the earliest divination rites and the Book of Changes to the flowering of drama and literature during the Ming dynasty. Along the way we will explore the sparring schools of Confucianism, Daoism, and Legalism; we will study the creation and growth of the imperial institution and meritocratic civil service that made it work; we will consider some of the fabulous economic and technological developments that made Chinese products the envy of the world in the 17th century; and we will read a selection of poetry and prose by Tang hermits, Song officials, and Ming aesthetes. Prerequisite: None
A student-driven plan writing seminar for seniors working on plans in Asian Studies. Prerequisite: Plan in Asian Studies
What happens when you live in one culture but identify with another? In this course we will explore the tumultuous history and hybrid cultures of modern Southeast Asia through the theme of exile. The class will draw together political narratives, social science theory, memoir and fiction to generate a complex understanding of exile. Through this lens, we will consider the problems of colonizers, refugees, nomads, and adventurers. Students will explore case studies on Indochina, Indonesia, and the Philippines, while choosing their own case for a final research paper. Prerequisite: Permission of instructor
"You are what you eat" is a commonly-heard phrase, but what are some of the meanings and implications of this statement? How might these be examined cross-culturally? In this class we will consider a range of topics including food practices and gustatory meaning systems, food and the body, the political economy of what people eat, domesticating tastes, and food and globalization. Case studies will be drawn from around the world, and the class will provide opportunities for local fieldwork.
An examination of selected works of American drama - -written for the stage and/or screen -- with a special interest in representations of character and conflict that reflect our cultural persona. Reading will include scripts by Eugene O'Neill, Arthur Miller, Tennessee Williams, Edward Albee, Sam Shepard, Thornton Wilder, August Wilson, David Mamet, and others. Films will include Citizen Kane, Grapes of Wrath, Mr. Smith Goes to Washington, On the Waterfront, Gone with the Wind, Saving Private Ryan, and Easy Rider are among the films we will view. Prerequisite: None
A survey of ideas and practices of some innovative and influential stage directors of the past century -- including Artaud, Meyerhold, Brecht, Jerzy Grotowski, Peter Brook, Joseph Chaiken, Tadeuz Kantor, Lepage, Robert Wilson, and Simon McBurney. Work will involve media viewing and research, some reading, and mini-projects. Prerequisite: Permission from instructor
This course will explore the application of psychological principles to educational settings. In the context of understanding human developmental processes, the course will examine educational strategies for optimizing learning and facilitating self-efficacy. Prerequisite: None
This course explores all facets of the creative process, including psychological dimensions that facilitate or impede creative expression. We will examine the phases of creative endeavor, from conception to completion. We will explore critical issues in creativity, from considering the universality of the need to create, the role of social forces in supporting or undermining creative expression, psychological dynamics of the interaction between artists and their art, the joys and frustrations of creative work as well as the role of dreams, imagery, and symbolism. This course is designed to be useful for students whether their primary focus is in the social sciences or the arts. Prerequisite:
An investigation of the properties of groups, rings and fields. Prerequisite: Permission of instructor
Introduces students to the phonology and script of classical/modern standard Arabic and covers the basic morphology and syntax of the written language. Emphasis on the development of the four skills (listening, speaking, reading, and writing) at the earliest stages. Samples of modern (contemporary) and classical styles of writing introduced, and audio-visual material from the contemporary Arabic media. Prerequisite: None
A continuation of elementary Arabic with equal emphasis on aural and oral skills, reading and writing. Selections from contemporary Arabic media are introduced and serve as a basis for reading and conversation. Prerequisite: Arabic IA
The book is a grand thing. An object filled with information reflecting varying degrees of research, invention, mystery and certainty. Artist books have many of the same attributes but tend to be one-of-a-kind objects. This class will experiment with traditional and non-traditional book structures and narrative forms while emphasizing painting and drawing. Prerequisite: Drawing I
This course will provide a comprehensive overview of the field of Second Language Acquisition. Students will be provided with information about the scope of the field and about background information on related areas such as first language acquisition, sociolinguistics, and psycholinguistics. Students will perform research in teh field with language learners. Prerequisite: None
An examination of the molecular and cellular basis for life. Prerequisite: None
This course is an introduction to the fundamental teachings presented in the foundational texts of Islam and elaborated in Islamic ritual, arts, and literature. Our aim, through studying the Qur'an and the life and teachings of the prophet Muhammad, is to grasp the internal logic of the Islamic worldview and the vocabulary used to articulate the vision of Islam. This work will provide the basis for examining the divergence within later (classical and modern) Muslim interpretations concerning questions of theology, human development and perfection, leadership, and the organization of communities. Prerequisite: None
Speaking, reading, writing; oral-aural and written exercises. Prerequisite: None, but this course is not open for credit to students who have had two or more years of high school Italian.
Ensemble singing for more experienced choristers. Ability to read music and sight-sing. An exploration of repertoire from Renaissance to contemporary music for small choral ensemble. May be repeated for credit. Prerequisite: Audition or permission of instructor
Painting in the last 30 years has seen a struggle for a balance between form and content. Should the way a picture looks rule the artists' choices or should they be ruled by what the picture signifies? The course asks students to approach this question. Prerequisite: Painting I
This course eplores the language of objects. We are surrounded by things and take them for granted, but each item was made by a process of design. In a series of problems, students will be asked to design and build a chair, a package, and a game. Problems will focus on structure, presentation, and invention. The development of design styles will be studied as well. While Sculpture I explores the language of three dimension from a representational and expressive point of view, this course approaches the same language from the point of view of a problem solver. The inventive artistic result of this problem solving is often remarkable. Prerequisite: None
A study of musical signatures, meter, rhythm, and basic chordal structure. Prerequisite: None
This course will examine the process of theory building and paradigm change during the first three qenerations of 3rd World development scholarship. In particular, the three major schools of modernization, dependency, and post dependency theory will be analysed in light of their comparative contributions and limitations. Theoretical discussions will be grounded in the empirical context of real life 3rd World development challenges. Prerequisite: Social Sciences background or permission of Instructor
Filmmakers Robert Bresson and Krystoff Kieslowski stand in the forefront of poetic narrative filmmakers. And Bresson's Both use visual imagery and aural landscapes that deeply probe themes of human fallibility and transcendence. Among the films that will be explored: Bresson's Pickpocket, A Man Escaped, Une Femme Douce, L'Argent, and Au Hazard Balthazar -- and Kieslowski's Three Colors Trilogy (Blue, White, Red), The Double Life of Veronique, episodes from The Decalogue, and Tom Twyker's Heaven, produced from Kieslowski's final screenplay. Students will be expected to read supporting materials, write weekly film critiques, and participate in discussion. Prerequisite: None
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. Materisals fee of $15 per credit. Prerequisite: None
An introduction to the physical and biological environment of the planet: climate, oceans, landforms, biological life-zones. No prerequisites. Recommened for non-science majors, and as an introduction to the sciences at Marlboro. Will probobly include one or more field days. Prerequisite: None
An examination of several major factors which contribute to the distribution and abundance of organisms and hence, to the structure of biotic communities. An emphasis will be placed on the original literature. This course should be taken by all students with a life-science orientation in the environmental sciences. Prerequisite: college level biology
Students will work with camera, editing, and sound to make experimental videos where they explore visual and audio constructions, employing various aspects of film theory and practice. Because experimental filmmaking is an open-ended form, we will also screen and discuss a number of experimental films, by Stan Brakhage, Su Friedrich, Maya Deren, Dziga Vertov, Chantal Ackerman, Sally Potter, Ernie Gehr, and others. In addition to making films, students will be asked to write brief statements about their work, exploring the inspiration, process, meaning, and/or form of their work. The semester-end festival will be curated from among films produced this semester. Prerequisite: None
Intermediate work in ceramics based on wheel throwing and/or handbuilding; critical analysis of three-diminsional form; readings in the history and technical literature of ceramics. Prerequisite: Ceramics course at Marlboro or permission of instructor
As sculpture moved off the pedestal in the first half of this century it found new relationships to its place in the world. The development of earth art, installation art, and site specific sculpture have created a realm of activity for sculptors which has been varied and rich. Through a series of projects and investigations of places and objects, including light and sound, mapping, indoor and outdoor installations, and modelmaking, students will create a series of works. Prerequisite: Sculpture I and at least one other art course or permission of instructor
This course will offer a basic introduction to comparative government. Democracy will serve as the organizing theme of our investigations, and various case studies, including the American political system, will be considered in some depth. Prerequisite: None
A study of works of Debussy, Ravel, Stravinksy, Schoenberg, Hindemith, Bartok and others. The works will be put into a socio-historical perspective. Students present a talk on a 20th century composition of their choice. Prerequisite: None
Work towards proficiency in reading treble clefs; sight singing, dictation, simple and compound rhythms. Prerequisite: None
Students will design and execute a series of projects or create a major work or research project. Prerequisite: Electronic Music I
Major theories of personality are discussed and compared. The emphasis is on the underlying assumptions regarding persons and the therapies and psychotherapies which have emerged. Prerequisite: Abnormal Psychology or permission of instructor
This course provides introductions to the writings of William Blake, William Wordsworth, Percy Bysshe Shelley, John Keats, Samuel Taylor Coleridge, Lord Byron, Charlotte Smith, Felicia Haymans, Mary Shelley, and other writers of the Romantic era. We will begin by examining the origins of Romanticism, both on the Continent and in Britain, then discuss how these writers conformed to or deviated from the tenets of Romantic ideology. We will also situate these works in their historical contexts, paying particular attention to the Industrial Revolution, the rise of the British Empire, and issues of class and gender. This class will be followed by an introduction to Victorian literature in the spring. Prerequisite: None
It is arguable that Sylvia Plath and Ted Hughes have attracted more attention, and from a broader readership, than any other English or American poet of the post-war period. Unfortunately, such attention tends to derive from an interest in the sensational aspects of their relationship rather than an understanding or appreciation of their work. Yet both poets possessed original and startling poetic voices; to consider their work only in light of their biography is both reductive and misguided. Together, then, we will deconstruct the myth of Plath and Hughes as we read their poetry in detail. We will also visit the Sylvia Plath archive at Smith College to view her journals and manuscripts. Prerequisite: At least one literature class or permission of instructor
The seminar covers several important areas of cognition, especially memory, language, learning, and thinking. Prerequisite: Permission of instructor
An introduction to the diverse religious traditions that constitute Hinduism. In addition to studying ritual, philosophy, and symbolism, we will pay special attention to the role of mythology within Hinduism. We will devote a good part of the semester to reading the Mahabharata with a focus on the Bhagavad Gita as a text that synthesizes diverse strands of Hindu religious thought. Prerequisite: None
A course that meets once per week to practice sight-reading in parts. This course may be repeated each semester. Prerequisitie: ability to read music.
Writing seminar for seniors completing their Plan in religious studies. Prerequisite: Seniors on Plan in Religious Studies
An opportunity for students to meet on a weekly basis to read and rehearse music from the standard chamber music repertoire. If interested see Stan Charkey. Woodwind, string, brass instruments welcome. Prerequisite: Ability to play an instrument and read music
An introduction to poetic form, both for those who wish to develop their own skills in formal verse, and for those who want to cultivate an analytical sensitivity to formal elements in poetry. Those in the first category will attempt poems in a variety of forms; those in the second will write short papers about poems in each form. We will explore various principles of rhythm in organizing lines -- meter, syllable count, rhyme, free verse, refrains, prose -- and a broad range of traditional and not-so-traditional stanza structures -- sonnets, sestinas, villanelles, haiku, double-dactyls, nonce forms, and so on. The aim is not to complete polished poems and papers, but to engage technical matters in poetry seriously through exercises and analysis. May be taken in conjunction with Poetry workshop or independently. Prerequisite: None