In this class we will be taking an in depth look at how American comics define heroism through villainy. In the 1980s the graphic novel format became a popular way to collect comic book story arcs. The new format of longer more cohesive stories created the opportunity for comic book writers to develop more complex villains. The line between moral and immoral characters became increasingly blurred, which made defining “hero” and “villain” more complicated.

We will be looking at six titles that portray the villain from a different perspective. We will take in depth look at how these stories complicate the morality of the issues the writers are dealing with and how the presence of a different perspective portrays the hero in a different light. The texts we will be looking at are: The Killing Joke by Alan Moore, Luthor by Brian Azarello, V for Vendetta by Alan Moore, X-Men: God Loves, Man Kills by Chris Claremont and The Death Ray by Daniel Clowes. There will be weekly forum posts about the primary texts and secondary material to provide historical contexts and academic criticisms. Prerequisite: None

Student taught course by Robyn Manning-Samuels.

This class builds a comprehensive and foundational movement training, working from the ground up.   We will work with modern and post-modern release and momentum-based techniques, Viewpoints, Body-Mind Centering®, and Developmental Movement fundamentals, to establish a three-dimensional, whole body approach to our training.  Our basic frame-work will guide us to differentiate the core from the limbs, understand initiation of movement from multiple locations in the body, use space, move in and out of the floor, and work with various movement qualities, to make dynamic movement choices. Alignment work utilizes modern and post-modern dance techniques standing balance and extension exercises, as well as, yoga (asana) systems, and a continuous relationship between upright and upside down movement.  Phrase work will invigorate us to embody choreography precisely, while simultaneously developing personal aesthetic.

No one can sensibly claim to understand myth.  Not yet, at least. The category – ‘myth’ – resists definition. A vast amount of information, mostly in the form of narratives, has been assigned to it. This type of information is what we’ll be trying to come to terms with. Myths from around the world will be considered. A range of theoretical approaches will be employed. Ideology and the construction of meaning will be recurrent themes. The Greek mythical tradition will be explored in detail, especially in relation to religion, ritual and philosophy. After Spring Break the focus will be on myth in Latin literature.