This course is designed for advanced level students in the visual arts either on Plan or intending to soon be so, incorporating still photography or time based imagery into their visual plan work. We will spend the vast majority of our meeting times critiquing student works in progress. It is not required that all the work being critiqued be solely photographic or even photographic at all. If a student is doing a portion of plan work, which is not at all photographic but is intended to relate to their photographic work they should feel comfortable bringing it in for critique. We will also discuss all issues concerning the preparation of the Plan Exhibition.

The class will explore the medium of photography and its possibilities as an art form. We will also consider issues and approaches that concern the contemporary photographer. Prerequisite: Visual Arts Plan application on file or by permission of instructors

Additional Fee: $100

This course provides a forum for students to share their Plan Work with each other and to engage in critical dialogue. Student will share work and writing as well as present on artists of influence.  An overview of professional practices will also be included.  

This is a required course for seniors on plan in the Visual Arts. 

The class meets Tuesdays from 3:30 - 5:30 except the five days there will be visiting artists when the meeting time is 4:00 - 8:00. Prerequisite: Plan application on file or by permission of instructors

Students examine the interactions of body systems as they explore identity, communication, power, movement, protection and homeostasis.  Students design experiments, investigate the structures and functions of the human body, and use data acquisition software to monitor body functions such as muscle movement, reflex and voluntary action, and respiration.  Exploring science in action, students build organs and tissues on a skeletal manikin, work through interesting real world cases and often play the role of biomedical professionals to solve medical mysteries. Prerequisite: None

This tutorial introduces some of the basic algebraic structures of modern mathematics: groups, rings, fields and modules.
A writing seminar for seniors studying political theory.

Calculus 3 continues the development of the techniques of Calculus into multi-variable and vector-valued functions. As this is a tutorial, responsibility for the precise choice of topics and deciding how the material will be covered falls mostly on the students. Prerequisite: Calculus 2 and permission of instructor.

This course will focus on the works of Chekhov. Additional work will be the reviewing of Plan papers; weekly writing assignments of l0 pages for seniors and juniors on Plan; other
advisees will write five pages a week.
Prerequisite: Must be an advisee

This class will operate in a workshop format, 3 hours a week, with little to no work expected outside of class. Workshops will provide students with the opportunity to explore their career interests, skills, values, personality preferences, and learn how to articulate their strengths in job search materials, publications, and through an online presence. Students will prepare a professional resume, mission statement, LinkedIn profile, and a Web based E-Portfolio with work samples during the workshops. Search engine results on one’s name will also be studied and attempted to be influenced if inaccurate. The goal is for students to have a professional online presence they can share with employers, graduate schools, and internship locations.

Effective screenwriting requires an understanding of story structure and an ability to shape character, theme, tone, and incident to dramatic effect. TV writing is similar, but tends toward a shifting tone and smaller story arcs where ongoing characters can engage smaller challenges and obstacles. TV story resolutions are also different, since the producers want to "pick it up next week." This group tutorial will focus on the regular practice of film and television writing-and will also give students to develop short scripts that can be produced using limited resources. Activities will include discussion and development of technique, through writing exercises and work on personal scripts that will be shared and critiqued with peers and faculty. Interested students should contact the instructor (jcraven@marlboro.edu).

This course is designed for performers and/or performance-makers of all disciplines to explore a range of (un)conventional performance devising techniques. Based on a range of high- and low-stakes prompts, and drawing from diverse sources, students will craft a variety of pieces for performance. Sources for performance may include physical space (site specific work), historical and/or current events, adaptation, movement/physical work and its documentation as well as both literary and non-literary text. The course will be tailored to the needs of the individual artists in the group and we will address, hone and expand each student's unique, individual artistic vision while also investigating collaborative models. We will examine the conventional hierarchy of director-driven productions and explore co-intentional and actor/performer driven work with the goal to offer actors and other performers the opportunity to develop autonomy by creating or co-creating their own material. The course will culminate in each student devising/creating a larger project. In the past, the course has yielded such media as contemporary opera, documentary theatre, puppetry, dance, multi-media performance art and solo show performance. Prerequisite: None

This course is an advanced level seminar devoted to questions of language, ineffability, representation, and the nature of wisdom, liberation, and the Buddha in several Buddhist traditions. We will focus primarily on Buddhist traditions in South Asia and Tibet, but we will also look at some of these questions and themes in East Asia.


Prerequisite: Permission of the instructor.

This course will examine many aspects of colonialism: power, misunderstanding, sex, religion, and violence. Through stories, poems, essays, films and especially novels, we will explore the fraught relationships between colonizer and colonized in 19th- and 20th-century South and Southeast Asia. Readings will include works by Joseph Conrad, Jose Rizal, Graham Greene, Marguerite Duras, and E.M. Forster. In addition, we will read works by Rudyard Kipling, and make use of the library’s archive of Kipling papers to develop a more intimate sense of how colonialism was both experienced and characterized. Finally, we will consider the degree to which the Japanese colonization of Korea and Taiwan followed European models. Students will write a series of short essays reflecting on the readings.
Prerequisite: none

This course will introduce participants to the field of TESOL. The certificate is designed for people who may wish to teach English abroad or to tutor language learners in the US, or who may undertake an internship abroad and who could apply the knowledge and skills in the communities in which they will be living and studying. In order to earn the certificate, participants must take both the TESOL Certificate courses I & II (Fall & Spring), complete a teaching internship (Teaching Practice - spring break) and compile a portfolio.
In the fall course, participants will have an experience of language learning, they will identify the main factors that affect second language acquisition, and the practices that facilitate and support language learning. They will build a foundation in English pronunciation, lexicon and grammar so that they understand the particular challenges English language learners face. They will learn to design lessons for children and adults that use a communicative, interactive approach. They will implement these lessons in peer teaching sessions in class. 

Required text: Snow, Don. 2006. More Than a Native Speaker, an Introduction to Teaching English Abroad [Paperback] Revised Edition. Publisher: TESOL International Association.

This is a beginner's course in Latin. Students come to Latin for many reasons: to understand better their own and other languages; to access one of the richest bodies of literature and history in the world; or simply as an intellectual test. Latin is a demanding language, and students should be prepared for regular short quizzes to reinforce material as we go along, but consistent effort will pay rich dividends. We'll be working from Wheelock's Latin, which introduces students to the basic elements of grammar, syntax, and vocabulary, and offers students original Latin thought and language as soon as possible.

This course follows Latin IB, but any student with some background in the language is welcome to take it. We will begin the semester by reviewing grammar and finishing Wheelock’s Latin, after which we’ll spend the bulk of our time reading a speech of Cicero, the first-century bce Roman statesman whose writings did more to influence the style of Latin prose than anyone else.  Some time will also be spent on sight reading, which will sharpen students’ translation skills and provide points of contrast with the main text of the course.

This course introduces students to Greek tragedy, or, more accurately, to some of the surviving plays of three fifth-century Athenian poets: Aeschylus, Sophocles, and Euripides. We will study a number of their major works (e.g., Oresteia, Oedipus the King, Medea) as well as some more often passed over; we will also end the semester with two plays that are not tragedies themselves but may tell us something about it: Euripides’ Cyclops, the only example of satyr drama to survive intact, and Aristophanes’ Frogs, a comedy that puts Aeschylus and Euripides onstage to offer one of the earliest critiques of tragedy. Throughout the course we will seek to understand tragedy in a variety of religious, social, historical, political, and musical contexts, asking questions like: Where does tragedy fall between solemn ritual and blockbuster entertainment? Why do so many plays, put on by Athenians in Athens, take place elsewhere? How does tragedy, set in the mythical past, respond to the present day? What is the role of women in tragedy, both onstage and in the audience? and What is a chorus, really?

Both Queer Theory and Feminist theory struggle with the issue of providing a coherent critique of existing forms of power while not reproducing a hierarchy of oppression. This class looks at some of the foundational material in feminist and queer thought (Wollstonecraft, Woolf, Foucault, and hooks) using their concepts to interrogate contemporary political controversies. Students who take this class will develop skills in analyzing arguments, applying concepts to real life issues, and a sense of the history of two critical strands in political and social thought. 

Prerequisite: Permission of instructors

This course is an introduction to some of the most significant texts in the early and middle Western traditions of apophatic literature, texts that address that which is beyond language and cannot be articulated.  We will begin with apophatic discourse in Plato’s Parmenides and Neoplatonic interpretations of the One, in the works of Plotinus and Proclus.  These texts raise questions about the source of being that is beyond being, and how we might access this source and speak about it, aware that it always already exceeds our language.  We will trace these questions in scriptures from Judaism, Christianity, and Islam, and study a variety of theological and mystical texts from these traditions which explore the Nameless God, including selections from the Corpus Hermeticum, the works of Dionysius the Areopagite, Rumi, the Kabbalah, Franz Rosenzweig, Marguerite Porete, Theresa of Avila, Meister Eckhart, Ibn al-Arabi, and others.  We will conclude with explorations of art as prayer, with a focus on music and poetry, and the ways in which artists address the beyond of language.

Students will develop individual film projects, from idea and script development through casting, rehearsal, production and final cut.  Weekly class meetings will focus on the director’s role in giving shape and focus to each project, planning production, working with actors, and forging creative collaboration.  Assignments will include readings and screenings that illuminate differing directorial approaches and styles—to provide a context for student directors to chart their own course – to realize their personal vision.

 

 


Prerequisite: Previous film or theater production experience
Additional Fee:$75

Pioneering filmmaker Alfred Hitchcock developed techniques for mystery and suspense that influenced the entire genre of psychological thrillers.  Over a career that lasted for 60 years, Hitchcock made films that re-defined narrative filmmaking while exploring complex characters who, at first, resembled everyday people but whose psychological states and dark sides led them to violence, crime, espionage, and murder.  Hitchcock’s contribution to filmmaking included deep emotional connections to his audience combined with innovative practices of camera movement, framing, light, and editing. 

During this class, we’ll screen, discuss, and study Hitchcock films including The Man Who Knew Too Much (1934), The 39 Steps (1935), Secret Agent (1936), Sabotage (1936), The Lady Vanishes (1938), Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), Lifeboat (1944), Spellbound (1945), Notorious (1946), Rope (1948), Strangers on a Train (1951), Dial M for Murder (1954), Rear Window (1954), To Catch a Thief (1955), The Trouble with Harry (1955), The Man Who Knew Too Much (1956), Vertigo (1958), North By Northwest (1959), Psycho (1960), The Birds (1963), Marnie (1964), Torn Curtain (1966), Frenzy (1972), and Family Plot (1976).

Students will be expected to attend all classes and screenings, read assigned materials, participate in class discussions, and complete writing assignments. Text: Alfred Hitchcock:A Life in Darkness and Light by Patrick McGilligan.  Prerequisite: No pre-requisites

A forum for discussion of cross-cultural experience and international work, with participation by faculty, visiting professionals, alumni and current students. The sessions include an introduction to international resources at Marlboro and SIT, with discussion of area studies, internships, and Plans in international studies. All students are welcome; required for new WSP students.

Course time may change based on the mutual agreement of those who wish to enroll.

A ten-week seminar addressing cultural differences and adaptation, and the integration of international field experiences into senior Plan work. Open for all students returning from study or fieldwork abroad; Required of WSP seniors. Graded on a Pass/Fail basis. Prerequisite: Study/field experience abroad

Course time will be determined based on the mutual agreement of those who wish to enroll.

Fair Trade is a trade-not-aid approach to sustainable development that uses the market to promote ethical production and consumption practices.This course will explore the history of the Fair Trade movement, from the Post-WWII world to today's economic realities. It will detail the theoretical foundations of the movement and its shifting priorities over time. This course will also explore how Fair Trade is implemented around the globe and what the outcomes have been thus far for producers, consumers, and the free market. Prerequisite: At least one prior college course in the social sciences or a related field

This course will cover the theory behind defining perception physiologically.  We will begin historically and end in modern neuroscience and cognitive neuroscience. Prerequisite: Permission of instructor

Human beings have a unique power over nature and are endlessly creative in the way they interact with the world around them.  The world provides individuals and communities with resources and opportunities to accomplish a wide variety of goals.  Economics is the study of the decisions we make to accomplish our goals and how these decisions affect our communities and environment. This course is designed to demystify economics and give you useful economic tools to evaluate and contribute to the economic health of your communities. You will engage with a comprehensive introduction to microeconomics and macroeconomics, acquainting yourself with the prevailing economic theories used to analyze the world’s economic problems.  We will appraise the strengths and limitations of simple economic models, with the ultimate goal of increasing your awareness and understanding of economic issues, improving your ability to evaluate various policy options, and helping you decipher political-economic discourse.  

Alcohol and other drug use. STIs. Eating disorders. Stress. Relationship violence. On their own, these issues of health and wellness can be difficult to discuss, but when placed within the context of a college campus, they take on an entirely different meaning. This course will allow participants to explore and reflect on the concepts of health and wellness through the lens of both their own experience as well as their peers around them. As we meet only once a week, attendence at all sessions is required. Prerequisite: None

A research methods seminar for upper class students thinking about plan work and/or going abroad to study. The course will focus on "levels of analysis" when approaching research issues and topics. We will examine relevant theoretical considerations and consider applied, empirical representations through student presentations of their case studies. Prerequisite: Permission of instructor

Throughout history communities have forged connections through trade, migration, and money.  The degree of connection varies and we are currently living in one of the major periods of globalization.  In the coming years, significant choices will be made to either increase the depth of connection between communities or increase the distance between them.  This course is designed to introduce you to the major economic theories related to international trade, international finance, and economic development.  Through this course you will learn to better understand the different ways communities are connected to each other, the reasons these connections have been created, and the impacts they have on communities.  Your knowledge will be applied through discussions concerning the political opposition to globalization that comes from its inherent tradeoffs.  This course will enable you to understand and contribute to discourse related to globalization, economic development, and international business activities.

This course introduces the student to the theories and perspectives of sociology. We will explore a variety of substantive areas within the field, touching on many of the major subfields. These include the social formation of behavior and identity, the sociology of emotions, gender and sexuality, race and ethnicity, social class and its reproduction, social structure and inequality, environmental justice, and social movements. Prerequisite: None

This course will examine the major contending theories in the field of international relations today. The philosophical origins and traditions of contemporary realist, pluralist, globalist and post-modernist approaches will be considered, as will be their more current formulations and contributions. Prerequisite: None

A seminar to define the principles and processes of an educational psychology. Prerequisite: Introduction of any social science

General Biology serves as an introduction to the scientific study of life and basic biological principles. We begin the semester with an examination of the molecular and cellular nature of life and then explore the genetic basis for life. This course serves as the foundation course for further work in life sciences. Prerequisite: Some chemistry recommended

Is there life in the universe beyond earth? How can we find it?  How life begun, evolved and distribute within the universe? How the existence of life beyond earth would affect us? Astrobiology is multidisciplinary field that aims to answer some of these questions. The first exobiology NASA project was in 1959, since then the interest of scientist in astrobiology has been always rising.  This seminar has the goal to create a space for a multidisciplinary discussion about introductory topics related with this subject. Guest faculty will be invited to assure a multidisciplinary view of this subject. Prerequisite: None

An introduction to the physics, mathematics, and coding ideas behind computer audio. Topics include waves, frequency, decibels, Fourier analysis, audio synthesis, microphones, speakers, audio file formats, compression, and working with audio in the context of a programming language. Prerequisite: calculus or equivalent math competence and some exposure to computer programming

In this class we will examine the biological principles that underlie some controversial issues in today's society. Students will gain an understanding of the scientific approach and learn to think critically about issues that affect our lives. Topics may include GMO's, vaccines, climate change, endocrine disruptors, stem cell research, and identity. Prerequisite: None

This laboratory will develop your ability to measure, quantify and assess the behavior of animals. You will receive extensive training on the scientific method and hypothesis testing. Students will gain experience in the research techniques and critical thinking through an independent research topic. Prerequisite: NSC 344

Animals have evolved a remarkable diversity of behavioral patterns used in wide ranging ecological and social contexts. In this course, we will examine the mechanisms that underlie the expression of behavior (neurological, hormonal, genetic, and developmental) as well as the evolutionary bases of behavior by utilizing a variety of real-world examples from a broad range of taxa. Prerequisite: Permission of instructor

Most internet content is generated dynamically by computer programs. We will explore the various technologies used to do this, including CGI scripts, SQL databases, and a bunch of other acronyms. The specific programming language(s) and tools we will look at will depend on the background and skills of the participants, but will include at least HTML, CSS, JavaScript. PHP, Ruby, and frameworks such as Rails are other likely possibilities.  Prerequisite: Some programming and internet experience

A follow-up to Statistics (NSC123) in which students acquire and hone the statistical skills needed for their work on Plan or simply pursue more advanced topics within the field. Course content is driven by the interests and requirements of those taking the class. Variable credit (1-4). May be repeated for credit. Prerequisite: Statistics (NSC123) or permission of the instructor

Additional individual meetings for this course may be arranged.

A wide range of math topics prerequisite for further study in mathematics and science and of interest in their own right. The course is divided into 10 units, listed on the course web page. One credit will be earned for each unit completed. Students select units depending on their interest and need. The course is especially designed for students who plan to study calculus or statistics, would like to prepare for the GRE exam, or just want to learn some math. Over the semester, 3-4 units will be offered in the timetabled sessions. Individual tutorial-style arrangements can be made with students who want to study the non-timetabled units, or who want to study units at their own pace.

A first class in computer programming, and as such a foundation class 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. Python is a modern, elegant, high level scripting language, popular at Google among other places. In addition to learning about "object oriented programming", loops, input/output and all that, expect to also learn a variety of computer skills and basics. Prerequisite: None

We will study the writing and presentation of mathematics. All skills needed for writing Plan-level math will be discussed, from the overall structure of a math paper down to the use of the typesetting package LaTeX. Much of the time will be spent working on writing proofs. Short papers, based on material in your other math classes, will be read and discussed as a group. May be repeated for credit. Prerequisite: Passed Clear Writing Requirement; concurrent course or tutorial that includes substantial mathematical content; permission of instructor

A one semester course covering differential and integral calculus and their applications. This course provides a general background for more advanced study in mathematics and science. Prerequisite: Topics in Algebra, Trigonometry and Pre-Calculus (NSC556) or equivalent

Science is a process, not a collection of facts. In this laboratory we will combine the study of chemistry with the process of science by exploring the production of biofuels. We will begin by developing some basic quantitative skills and familiarity with laboratory techniques. The activities for these early parts of the lab will be fairly structured. As you develop your ability to approach a problem scientifically the activities will be less structured and you will have more responsibility for designing and conducting your own experiments on the production and analysis of biofuels. Students will work on projects in groups but each student will keep their own laboratory notebook and write their own laboratory reports. Co-requisite: General Chemistry I

An 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.  Prerequisite: General Physics I and Calculus I (Calculus II also recommended as a co-requisite) or permission of the instructor

An introductory physics class involving some laboratory work; suitable for students considering a plan in physics, science students, or non-science students who want a physics foundation. Topics include vector algebra, kinematics, dynamics of single and many-particle systems, gravitation, energy, momentum, conservation laws, circular and rigid body motion. Prerequisite: Mathematical proficiency up through, but not necessarily including, calculus

An exploration of biological principles and biological diversity in a laboratory setting. We will study such organisms as bacteria, yeast, molds, mammalian cell cultures including cancer cells, plants, fish, and others.  Skill in basic laboratory techniques in biology will be acquired throughout the semester. Recommended for prospective life science Plan students. Prerequisite: Concurrent enrollment in General Biology I or permission of instructor

In the laboratory you will apply the concepts and analytical skills you develop in the classroom. You will continue to hone problem-solving skills and become familiar with organic chemistry laboratory equipment and procedures. Laboratory sessions will be designed to allow you to explore ideas discussed in class through structured protocols as well as through more open-ended inquiry. Initial laboratory sessions will guide you through the isolation and identification of various compounds of interest, preparing you for your own more in-depth research. By using these techniques you will become comfortable working in a laboratory and familiar with techniques commonly used by organic chemists.  Prerequisite: Organic Chemistry I (NSC12)

Next to Calculus, this is the most important math course offered. It is important for its remarkable demonstration of abstraction and idealization on the one hand, and for its applications to many branches of math and science on the other. This course will cover linear algebra in n-dimensional space.  Matrices, vector spaces and transformations are studied extensively.Next to Calculus, this is the most important math course offered. It is important for its remarkable demonstration of abstraction and idealization on the one hand, and for its applications to many branches of math and science on the other. This course will cover linear algebra in n-dimensional space.  Matrices, vector spaces and transformations are studied extensively. Prerequisite: Calculus 1 (NSC515) or permission of instructor

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. For example, models of chemical bonds explain why carbon dioxide and methane are greenhouse gases, and some of the colors we see in the Aurora Borealis. We will explore these topics as we learn about atomic structure and the periodic table, reaction stoichiometry, chemical bonds, molecular structure, and other concepts central to modern chemistry. Many of these 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 aquatic organisms. Co-requisite: General Chemistry I Laboratory

A study of the evolutionary and ecological relationships of the dominant flowering plant families of Vermont. Fieldwork will take place during class and several longer field trips. Limited to 12 students. Prerequisite: None

A mathematical approach to logic, of interest to philosophy, linguistics, and computer science. We will cover the main concepts of symbolic logic and apply these tools to arguments we find in a variety of contexts, from math proofs to popular media. This is the starting point of a vast field. The choice of more advanced topics will depend on the interests of the class.  Prerequisite: None

Carbon can form bonds with itself and almost all of the other elements, giving rise to an enormous variety of carbon-containing molecules. Early organic chemists struggled with the structure of one – a cyclic molecule called benzene - until Friedrich Kekulé solved the puzzle in a dream: he saw the carbon atoms “twisting in a snake-like motion. But look! What was this? One of the snakes had seized hold of its own tail, and the form whirled mockingly before my eyes.” In this course we study the chemistry of these carbon-based compounds – their structures, properties and reactions. Many of these concepts will be discussed in the context of biological systems, and class sessions will frequently be devoted to problem-solving sessions and small group projects. This is an intermediate chemistry course and provides essential background for biology, chemistry, pre-med, and pre-veterinary students. Prerequisite: General Chemistry I (NSC158)

Students will master the fundamental elements of running a nonprofit agency. Topics include: Sustainable Leadership, Conflict Resolution, Authentic Marketing, Measuring Impact, Donor Fundraising, Grants and Earned Income, Financial Management for Nonprofits, Volunteer & Staff Management, and Boards and Governance. The class will meet at the Marlboro College Graduate School in downtown Brattleboro on 10 Fridays during the term, each time from 8:30 am to 4:00 pm. Students will be assessed on the basis of three elements: (1) participation in the face-to-face workshops, (2) active engagement in ten time-limited online discussion forums, and  (3) submission of a 3-5 page reflective essay synthesizing the knowledge gained in the workshop and other undergraduate coursework. Upon successful completion of the course, students will receive a professional development certificate in nonprofit management issued by the Marlboro College Graduate School, and will be better prepared to take a leadership role in any mission-driven organization.

Undergraduate enrollment in Fundamentals of Nonprofit Management will be capped at 4 students. Priority will be given to students for whom this could be a Plan course; sophomores or juniors; and students with experience working in the nonprofit sector.

Enrollment by permission of instructor: please go to http://bit.ly/NPM-Undergrads to request permission, or email katej@gradschool.marlboro.edu with questions.

Writing seminar for seniors completing their Plan in religious studies. This course can be taken for 2 to 6 credits.  Prerequisite: Seniors on Plan in Religious Studies

This course offers a wide ranging exploration of the multiple and often conflicting meanings of the democratic tradition in the U.S. from the colonial era through the Civil War. Areas of inquiry include the history of slavery, the intellectual and social milieux of the Revolutionary generation, the struggle to ratify the Constitution, the rise of mass political organizations in the nineteenth century, the expansion of a market economy, and the ideology of providential mission and destiny as a force in American politics. This course is strongly recommended for students anticipating future work in American Studies. Prerequisite: None

A year-long course, reading and discussing some of the major works of Western culture from Homer to Shakespeare. Heavy reading schedule, regular discussions, papers required. This course is designed for Sophomores and Juniors, as a broad background both for Plan students in any of the three fields and for students intending to work in other areas who nonetheless want a comprehensive introduction to many of the issues and genres that inform Western culture.

This course is for beginners. It is meant for students to develop the basic skills in French language competency including listening, speaking, reading and writing. The course is designed to facilitate active learning about the francophone world through study of its language and cultures. Emphasis is on vocabulary building, basic grammar structures, cultural and historical knowledge.

Required Textbook: The 2014 edition of Chez Nous: Branché sur le monde francophone, Media-Enhanced version, 4/E  by Albert Valdman, Cathy Pons and Mary Ellen Cullen.

No Partial credit offered for this class!!

 

 

In this course, we will examine the strategies and tactics that American political campaigns employ to elect candidates to public office. We’ll study the various roles inside a political campaign, evaluate the most successful methods, and question the impact of political campaigns on the political process and democracy as a whole. The 2014 midterm elections will provide a laboratory for the course. This is a student taught course by Brandon Batham. Prerequisite: None

This course will center on the "passing novel," a distinctly American literary genre that grows out of a distinctly American racial experience:  the phenomenon of "passing for white."   The genre is as old as American literature and still exists today.   (Uncle Tom's Cabin is a passing novel) but it took off just after the Civil War, at a moment when American law and American culture sruggled to create stable definitions for the critically unstable category of race.  The passing figure by turns explores, reimagines, is victimized by and, ultimately, subverts all racial categorizations:  as such, passing characters, and the novels that frame them, collapse the whole complex dilemma of race in 20th Century America into the lived experience of a human being.

Passing novels were written by everybody, and we'll consider as many of them as we can by as diverse an array of authors as we can manage -- Mark Twain, Charles Chesnutt, Nella Larsen, James Weldon Johnson, William Faulkner, Toni Morrison, Danzy Senna, Phillip Roth and others -- contextualized with a range of literary and race theory.

In this class we will explore the way that film has framed the ethical and moral dilemmas that have shaped the century.  We will consider a range of genres -- war films, films noirs, westerns, gangster films, romantic comedies -- that shape or challenge our attitudes about the social and existential questions that define us:  questions about race, gender, poverty, crime, charity, kindness, violence and faith.  Along the way we'll consider work by Martin Scorsese, Clint Eastwood, Sofie Coppola, Katrhyn Bigelow, Stanley Kubrick, Spike Lee and others.

And, as this will be a writing seminar, we will write about it a lot. Expect to write every day, wtih major papers and revisions due every couple of weeks.  Discussions of films will alternate with discussions on revision strategies, style and structure.

This course offers a multi-disciplinary investigation of aging as a social, historical and personal process. What does it mean to grow old in a culture that celebrates youth and independence? How have the values and practices associated with aging changed over time? How do social policies and social institutions define and shape old age? How can the experiences of different elderly populations bring to light inequalities of race, ethnicity, class and gender and how does ageism intersect with other forms of oppression?  How have particular individuals navigated the complexities and challenges of aging?

In exploring these questions, the course opens up central issues and methods in the Social Sciences and Humanities, and offers an opportunity to integrate theory and practice.  All students will spend 2 to 3 hours per week working with a local organization that provides care for older adults. Students will also learn and apply methods of oral history.  The class will meet on Tuesdays, with only an occasional Friday meeting.  The schedule is designed to create time and space for community engagement.

In a society that will age rapidly over the next three decades, critically informed engagement with aging is vital for students anticipating work in the social service and health fields, family members who will care for aging parents and grandparents, and citizens who will be called on to consider the needs of an aging population. Wherever we are in the life course, the topic of aging invites us to consider fundamental questions of what we value and how we care for one another.

Visual material is arguably now a more prevalent means of communication than language. But like language it is not always clear that the message being sent is the one that is received. This class takes as a given that it is essential for us to be cognizant of the way in which images act in the world from propaganda to news photographs and from famous paintings to contemporary music videos. Thus the aim of the class will be to develop skills of critical image assessment, we will also think through choices that artists and others make about media, juxtapositions of text and image, delivery systems such as the internet and print media, and questions of universal applicability of an image. Prerequisite: None

This course is designed for an advanced study of French through literary texts, comics, music and film. The class aims to develop students' ability to analyze and comprehend more elaborate materials and to write critically on a broad range of topics. In addition, there will be a study of vocabulary and syntax, with emphasis on stylistic devices.

This course may not be audited or taken for partial credit.

This course is the continuation of first-year Chinese. Students will continue to learn more skills of listening, speaking, reading, and writing for daily communication. A broad variety of expressions and complicated sentence structures will be taught so that you can participate in conversations on various topics related to modern Chinese society. While equal emphasis will still be given to both characters and structures, you 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: First-year Chinese or permission of the instructor

This is a Chinese language course for beginners. It aims to help you develop communicative competence in Chinese, focusing on the four basic skills of listening, speaking, reading, and writing. You will learn basic vocabulary and sentence structures for use in 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. You 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. Prerequisite: None

This writing seminar will examine the choices that contemporary nature writers--including urban nature writers and writers of color--are making in the face of climate change and habitat destruction. Students will write their own nonfiction of place, working to understand where and how their voice fits into the surprisingly varied styles and approaches of today's most innovative and influential nature writers. 

 

This course aims to develop awareness and use of the conventions of academic English among students from other learning cultures who are studying at Marlboro. The goal is for students to become autonomous and reflective learners who are able to learn through the medium of English, developing language strategies to cope efficiently with their academic workload. Its focus is on listening, note-taking, writing, reading and speaking skills as well as communicating in everyday situations within the college context. Grammar will be given some attention, but will mainly be incorporated into the development and practice of skills. We will try to make the classroom activities and homework tasks as relevant as possible to the language of students’ own subject areas so that they become familiar with the discourse patterns.

How can non-specialists make sense of today's revolutionary advances in technology, mobility, food production and more? In this class, we'll examine how popular science writers translate technical information into stories that anybody can understand and find compelling. We'll look at a variety of texts that repackage scientific knowledge into accessible, jargon-free narratives, practicing our own hand along the way. Our class is centered on the goal of clear communication driven by curiosity.

After centuries of invisibility and marginalization, Latino culture and literature exploded on the American scene in the 60s. Chicanos, Cubans, Nuyoricans, and lately Dominicans and Central Americans have all contributed to create a diversified body of literature characterized by its bilingualism, biculturalism, and hybridity. This course will center on how U.S. Latino / a literature bears witness to identity formation, self-representation, and celebration of Latino culture and its people. It will explore a series of critical issues that define "latinidad" in the U.S. including language (bilingualism, Spanglish, code-switching, and "dialect"), race/ethnnicity/color, gender migration, racism, and difference. The texts in the course are representative of a great body of oral and written literature that articulates the experience of being Latina / o in the U.S. Although the course is taught in English, familiarity with Spanish is useful. This course requires the careful reading of the assigned materials, therefore, class participation, attendance and preparation is of utmost importance, continued absences and lack of preparation will reflect negatively on the grade. Prerequisite: None

This course will provide an introduction of the study of history focused on Europe from the end of the medieval period till the beginning of the modern Era. Prior to mid-terms, we will cover major elements in the development of European nations and peoples including religious changes, imperial expansion, economic systems, and cultural identity. After having covered the basic timeline, students in the course will choose and present on several areas that will be covered in greater depth. Options might include but are not limited to: Early Navigation, the Reformation, Enlightenment Philosophy, the 17th Century Crisis, Sex and Gender, the French Revolution, the Industrial Revolution or others.  These topics will involve the presentation of a historiographic debate and will frequently be student led. Prerequisite: None

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

This is a language course for first-year students of Spanish and is designed to aid development of listening, speaking, reading, and writing skills. It is part of a year long course that covers basic grammar along with a variety of vocabulary and cultural topics, and it prepares students for the second-semester Spanish course to be offered in Spring 2015. In addition to written work and exercises, students are expected to complete home-work assignments in the Vistas web-site.

Prerequisite: None

This course is an introduction to prominent questions and themes in environmental philosophy. We will begin with a study of moral and metaphysical approaches to philosophical questions of animals, nature, and the place of human beings in the environment. Then we will consider a number of related issues in environmental philosophy, including questions of place, education, food, living well, biology, gender, and the role of philosophy in the context of environmental crisis. 
Prerequisite: Permission of instructor

Fall 2014                                                                                                         HUM  1254

WRITING SEMINAR

COMICS OF THE SELF: READING GRAPHIC MEMOIRS

                                               


                                               
Art Spiegelman, Maus II, back book jacket

                                                   

Class: Wednesday/Friday, 11:30-12:50, DAL 42

Instructor: Gloria Biamonte

Office: DAL 24, x269

E-mail: gbiamont@marlboro.edu

 

"When I was a little kid,” writes Scott McCloud, "I knew exactly what comics were. Comics were those bright colorful magazines filled with bad art, stupid stories and guys in tights.”  With these words, McCloud launches into his exploration of the art-form of comics--a form whose potential and "hidden power” we will explore in this writing seminar.   Using McCloud's Understanding Comics as our starting point, we will examine how several contemporary graphic artists/writers--Art Spiegelman, Alison Bechdel, Marjane Satrapi, Craig Thompson and others--combine words and pictures to create narratives of their lives, "to leave,” as Craig Thompson says, "a mark on a blank surface.  To make a map of [our] movement--no matter how temporary.”  We will be writing about all of this in several formats: in-class exercises and shorter assignments leading up to 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.

 

And, of course, we will write.  During this semester, we will explore writing as an activity that we learn by doing, with some coaching.  For this reason, our class time will be spent generally doing, not listening to lectures about writing.  The way we will work toward our goal is through lots of practice in writing, critiquing, and rewriting.  A long distance runner improves her or his times by running faster, more frequently, and through good coaching.  A painter spends long hours in the studio, reworking line and color--getting it just right.  This class will be your writing studio. You will work on your craft, rewriting, revising, rethinking, polishing; and I will be your coach, your advisor, and your supporter, but not the only coach.  All of your writing will be read by other students, and each of you will become a coach.  We will take seriously the opening line of Patricia Hampl's book, I Could Tell You Stories: "A writer is, first and last, a reader.” 

           

More specifically we will try to accomplish these goals:

(1)    build up your writing confidence so that you can tackle a variety of writing tasks

(2)    help you find a writing process that works well for you

(3)   let you experience the benefits of writing teamwork--the encouragement, advice, and response of prepared readers and writers

(4)   increase your ability to generate a topic and a controlling idea

(5)   help you to write a documented essay that paraphrases as well as integrates quoted material

(6)   provide you with the skills to support an evaluative statement by establishing criteria

(7)   enable you to strengthen your analytic reading skills by learning to recognize the writer's intention, central ideas, organization, and use of language

(8)   help you to understand the importance of unity, organization and supporting evidence

(9)   allow you to experience the value of language as a tool for thinking deeply and clearly  

 

We will work toward our goal through lots of practice in writing, critiquing, and rewriting.

 

REQUIRED TEXTS

 

Understanding Comics, Scott McCloud

Maus I: My Father Bleeds History, and Maus II: And Here My Troubles Began, Art Spiegelman

Blankets, Craig Thompson

Fun Home: A Family Tragicomic, Alison Bechdel

Persepolis: The Story of a Childhood and Persepolis 2: The Story of a Return, Marjane Satrapi

Contract With God, Will Eisner

 

The above texts are available at the College Bookstore. All secondary materials will be in the form of handouts.

 

What you need to do

 

Well, first off and of most importance--keep up with the reading and writing.   Since each discussion and assignment will grow from the preceding one, it is important that you attend class regularly and come prepared to share your ideas.

 

Papers:  You will be writing 1-2 page weekly responses for each of our readings.  Topics will be generated by our discussion and brought to each of our Wednesday classes (with the exception of those classes when we are working on longer essays).  You will also be writing three longer papers: one personal/critical narrative; one critical essay that will respond to/interact with one of our writers; a third documented essay that will help you understand the context of a particular topic.  Each of these essays will be revised at least twice, and my comments as well as your peers' comments will provide reader response that leads to revision.  Since I am concerned with the process you move through to reach your final version, I am asking you to attach to your completed work all preliminary notes, drafts, diagrams, and outlines leading to your final copy.  Since other students in class will come to depend on your writing and feedback, being on time with drafts is crucial.  If you are unable to attend class the day a draft is due, please make sure someone brings your paper to class or puts it in my mailbox

                                                                                                          

In addition to your essays, each of you will be responsible for peer reviews of other students' papers. Much of the class time will be spent working in groups, giving and getting feedback from your peers.  I will be looking at these peer reviews for enthusiastic, honest, and constructive criticism.  We will be discussing helpful ways in which to do this in class.

 

Finally, each of you will be responsible for leading one or more of the class discussions.  More will be said about this in class.

 

Attendance: Because of our workshop format, attendance is extremely important.  Two absences from class can be tolerated--no effect on your grade and no questions asked. More than two absences will affect your final grade. (In extraordinary cases of proven emergency, this provision will be modified).  Whether or not you are absent, you are still responsible for the work covered, and essays are still due on the date requested.  Chronic lateness will also affect your grade.

 

Conferences/Workshops: During the semester, each of you will meet with me for at least three conferences or writing workshops.  These meetings will provide individual time for you to discuss your writing.  A missed conference is considered an absence.

 

Evaluation:  Grades will be placed on each of your final drafts.  There will be no final examination for this course, though we will have a final portfolio review during the last week of classes.  So--don't throw any of your work away. 

 

In assessing your writing I look for the following qualities: (1) Competence: how thoroughly you introduced your topic, and developed and supported your ideas; (2) Creativity: how much you exerted yourself in being inventive, in taking a risk and trying something new or difficult, in approaching the assignment as more than just an assignment, in making what you write interesting to your readers; (3) Clarity: how clearly you were able to get your ideas across to your readers by focusing your topic and using effective organization, sentences, and words: (4) Correctness: how well you followed grammatical and mechanical conventions (punctuation, syntax, spelling), and  how clearly you documented your footnotes and bibliography; (5) Care: how well you incorporated suggestions and comments from your readers, and to what extent you presented a neat, readable paper.

 

Don't let this overwhelm you.  I guarantee that it is not as much as it sounds.  The writings will be fun, thought provoking, and even entertaining. 

 

"How do I know what I think until I see what I say.”

                                                                                    E.M Forster

 

CALENDAR (all dates subject to change)  The following is a list of our readings for the semester.  All secondary materials are in the form of handouts. The reading must be completed by the date listed.

 

F 9/5 - Understanding Comics, Scott McCloud, pgs. 1-23. Bus writing prompt due.

 

W 9/10--Understanding Comics, pgs.24-117

 

F 9/12--Understanding Comics,  pgs. 118-215

 

W 9/17--Maus I, Art Spiegelman

 

F 9/19--Maus II, Art Spiegelman

 

W 9/24-- "The Holocaust as Vicarious Past: Art Spiegelman;s Maus and the Afterimages of History,” James E. Young  (handout)

 

F 9/26--Draft of essay #1 due.  Please bring three copies to class.

 

W 10/1- Writing Workshops (no class)

 

F 10/3-- Blankets, pgs. 8-261, Craig Thompson.   ESSAY #1 DUE with drafts, peer response sheets, and my comments. 

 

W 10/8--Blankets, pgs. 262-582, Thompson

 

F 10/10--Fun Home, pgs. 2-120, Alison Bechdel

 

W 10/15--Fun Home, pgs. 121-232 and "Animating an Archive: Repetition and Regeneration in Alison Bechdel's Fun Home,” Hillary L. Chute

 

F 10/17-- Draft of essay #2 due.  Please bring three copies to class.

 

W 10/22 -- Writing Workshops (no class)

 

F 10/24 - CONFERENCES (no class).    

 

W 10/29--Library research class.     ESSAY #2 DUE with drafts, peer response sheets, and my comments. Please bring two copies of completed essay to class.    

 

F 10/31-- Persepolis: The Story of a Childhood, Marjane Satrapi  

 

W 11/5-- Persepolis 2: The Story of a Return, Satrapi and "Graphic Narrative as Witness: Marjane Satrapi and the Texture of Retracing, " Hillary L. Chute

 

F 11/7--RESEARCH PROSPECTUS DUE 

 

W 11/12-- A Contract With God, Will Eisner

 

F 11/14--FIRST DRAFT OF ESSAY #3 DUE.  Please bring 3 copies to class.

 

W 11/19--CONFERENCES

 

F 11/21--Workshop on documentation. COMPLETE DRAFT ESSAY #3 DUE

 

M 11/24-- CONFERENCES

 

W 11/26--Thanksgiving Recess (no class)

 

W 12/3--Research Workshop

 

F 12/5-- ESSAY #3 DUE with drafts, peer response sheets, and my comments.

Portfolio checks

 

W 12/10-- Portfolio checks

 

TH 12/11--Portfolios due at 8:30 in DAL 38

 

 

"The mind is its own place, the visible world is another,

 and visual and verbal images sustain the dialogue between them.”  

 Wright Morris

 


This course will pick up roughly where Apocalyptic Hope left off last semester: out of the American Renaissance, into the Gilded Age, the Modernist period, and through the two world wars. Beginning with Mark Twain's, The Adventures of Huckleberry Finn, we will go on to consider the works of novelists, poets and playwrights as various as Kate Chopin, Sherwood Anderson, Willa Cather, Robert Frost, Eugene O'Neill, William Faulkner, Zora Neale Hurston, Flannery O'Connor, Ralph Ellison, and Adrienne Rich. In exploring a range of 2oth century literature--richly diverse and original, radically expeimental--we will consider the writers' attempts to resond to major social, economic and political events that shaped their lives. NOTE: This course covers the same material as John Sheehy's "What Will Suffice."  Prerequisite: Must have passed the writing requirement

Examination of available sources and current methodologies in the study of religion. Required for juniors on Plan in religion. Prerequisite: Plan in Religious Studies

This course will examine the development of Chinese culture from the earliest divination rites to the court intrigues of the Ming dynasty. Along the way we will study the creation and growth of the imperial institution and meritocratic civil service that made it work; we will discuss China’s complex relations with its central Asian neighbors; 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.

The cultural aims and ambitions of imperial civilizations are often displayed in the urban design and architectural embellishment of their capital city. From Antiquity through the Renaissance, and beyond, these two cities alternated with each other as key sites of the concrete manifestation of cultural dominance, displaying in their buildings and urban design, religious and secular, the ideals, aspirations and ideology of the Roman, Byzantine, papal and Ottoman empires. This class is a survey of the architecture and urban design of these two cities beginning with the reign of the emperor Augustus in Rome in the first century BC and ending with the reign of Sultan Suleiman the Magnificent in sixteenth-century Constantinople. Intermediate Level some knowledge of architecture and built form is recommended.

Political theorists do not just analyze existing political phenomena, they have a hand in creating it. This class looks at three world builders – Machiavelli, Madison, and Marx – and how they each provide a radically new way of using political and social power. All three of these writers demand that we look at the world “as it really is” not as it should be. Part of the work of this class will be to study how each of them change the terms of contemporary politics, allowing for a new world to emerge.

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: Ability to read music helpful

A beginning course designed to develop skills and knowledge in seeing. A variety of tools and materials will be explored while working from the still life, landscape and the figure. Fundamental issues of line, shape, tonal value, composition and design elements will be our basis of investigation. Materials fee: $50. 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 

Offered every fall, this class is devoted to student writing of original work in various literary genres. Most commonly, students are writing short stories or literary non-fiction, but occasionally someone may be working on a novel, week to week. Members of the class read each other's submissions extremely closely and offer critiques and suggestions during our weekly classes. The class may include exercises geared towards improving your attention to such things as character, plot, rising and falling action, voice, tone, angle of vision, and point of view. Students are expected to produce new work for class steadily and to participate in class discussions. Admission to the class is on the basis of manuscripts. May be repeated for credit. Variable credits, 2-5. Prerequisite: Permission of instructor, based on manuscripts.

This course is designed for advanced level students in the visual arts either on Plan or intending to soon be so, incorporating still photography or time based imagery into their visual plan work. We will spend the vast majority of our meeting times critiquing student works in progress. It is not required that all the work being critiqued be solely photographic or even photographic at all. If a student is doing a portion of plan work, which is not at all photographic but is intended to relate to their photographic work they should feel comfortable bringing it in for critique. We will also discuss all issues concerning the preparation of the Plan Exhibition.

The class will explore the medium of photography and its possibilities as an art form. We will also consider issues and approaches that concern the contemporary photographer. Prerequisite: Visual Arts Plan application on file or by permission of instructors

Additional Fee: $100

This course explores 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

Additional Fee: $80

This is a course in the identification of and action on sculptural ideas. Projects in conceptual development, figure modeling, and the interaction of drawing and sculpture will be given. Technical areas such as waste-mold making will be introduced. Prerequisite: Sculpture I or permission of instructor

Additional Fee: $70

This is a practical theatre course that explores various skills and techniques to assist in developing an understanding of the processes of acting. Analysis, interpretation, collaboration, improvisation, relaxation, and critique all contribute to the composite demands required in performance. The course will consist of various exercises, monologue work, and attendance at performance events. Prequisite: None

An opportunity for students to meet on a weekly basis to read and rehearse music from the standard chamber music repertoire. Woodwind, string, brass instruments welcome. Prerequisite: Ability to play an instrument and read music. Course may be repeated for credit.

This course provides a forum for students to share their Plan Work with each other and to engage in critical dialogue. Student will share work and writing as well as present on artists of influence.  An overview of professional practices will also be included.  

This is a required course for seniors on plan in the Visual Arts. 

The class meets Tuesdays from 3:30 - 5:30 except the five days there will be visiting artists when the meeting time is 4:00 - 8:00. Prerequisite: Plan application on file or by permission of instructors

This course will introduce students to the primary forming methods in ceramics as well as providing the building blocks for a technical understanding of the material and processes. Students will be encouraged in a variety of making techniques working both sculpturally and functionally. Prerequisite: None

Additional Fee: $100

Play, joy, and positivity can deeply affect one's ability to learn, especially when learning with/through the body. As such, this class is a space in which we reclaim pleasure and abandon from the club, party, and living room in order to support the process of attaining technical facility and ease as dancers. Yoga, ballet, and Body Mind Centering inform the warm up, which invites students to develop greater kinesthetic awareness as they build strength, increase flexibility, and develop complex coordination. Reflecting the hybrid nature of this moment in contemporary dance, exercises across the floor and in center draw movement vocabulary from Modern, Jazz, Hip Hop, and West African dance, allowing students to explore both linear and circular movement, flow and interruption, as well as undulations, spirals, weight transfer, gesture, isolations, falls, turns, and jumps. Throughout class we move fluidly between improvised and "set” material, allowing the attention and curiosity cultivated through improvising to enliven set work and the structure of set work to clarify our improvising. 

This class will also include a repertory component in which students will have a chance to contribute to and perform in a collaboratively created performance to be performed at an end of semester showing. Taking our daily lives and dancing bodies as our subject, this performance will operate as a kind of auto-ethnography, arrived at through embodied experimentation and collaboration.

Play, joy, and positivity can deeply affect one's ability to learn, especially when learning with/through the body. As such, this class is a space in which we reclaim pleasure and abandon from the club, party, and living room in order to support the process of attaining technical facility and ease as dancers. Yoga, ballet, and Body Mind Centering inform the warm up, which invites students to develop greater kinesthetic awareness as they build strength, increase flexibility, and develop complex coordination. Reflecting the hybrid nature of this moment in contemporary dance, exercises across the floor and in center draw movement vocabulary from Modern, Jazz, Hip Hop, and West African dance, allowing students to explore both linear and circular movement, flow and interruption, as well as undulations, spirals, weight transfer, gesture, isolations, falls, turns, and jumps. Throughout class we move fluidly between improvised and "set” material, allowing the attention and curiosity cultivated through improvising to enliven set work and the structure of set work to clarify our improvising.

This seminar will focus on the use of original source research as the inspiration and foundation for papers and performances. Students will conceive primary projects and then find locations that offer a depth of original source materials around which the projects can be constructed – materials ranging from ephemera at the Billy Rose Collection at Lincoln Centre in NYC, a performance installation in Boston, to the Tewksbury State Hospital cemetery will function as research elements for compilation and transformation into theatre projects. Prerequisite: Theatre Plan application on file and permission of instructor, as well as flexibility in your schedule for travel to off-campus sites

What are "musical roots"? What happens to music as it migrates? Does cultural identity manifest through music?  Those are the kinds of questions that guide this course, setting forth an exploration into the human world as reflected in people's musical practice and the manifold ways music interacts with culture and cultural clash.  Primarily focused on the last century roughly speaking, we will track how cultural identity, colonialism, migration, cultural hegemony and the resistence it generates manifest through music.  

What is the most ecological course of action in the production of ceramics when seeking to shrink the carbon footprint of the practice?  How may one harvest local raw materials and fire with alternative feuls?  This course will explore issues in and around the studio through a hands-on seminar model.  Research will include an examination of our current practices in the studio and how these may be improved in the establishment of a new studio. Working together, the course will generate a working document to steer the evolution of the ceramics studio infrastructure at Marlboro College.
 
Additional Fee: $75

This course is designed to facilitate active learning and critical analysis of immigration in French-speaking communities around the world. The course surveys, through the filmic medium, sociopolitical and economic issues of immigration. Emphasis is on the following:

  • Economic and political situation in the home country
  • Gender in immigration
  • Identity (hybrid, transnational, etc.)
  • Integration of immigrants in host countries (success, discrimination, xenophobia, etc.)
  • Heritage language of second or third-generation immigrants

Selected films from Africa, Europe, Canada and the Caribbean will be studied from an aesthetic and sociopolitical perspective. In addition to film screening and discussion, there will also be study of theoritical texts on displacement, identities and local vs. global. 

 This course may not be audited or taken for partial credit. 

Any image juxtaposed against others takes on new meaning. The content based discussion in half of the course will explore the possibilities and transformations created in visual imagery when presented in combination with other imagery. The work may incorporate text and literal narrative or may be based in more abstract and formal relationships. The course will also explore analog and digital photography techniques, as well as, various genres of subject matter and approaches to artistic content creation. This course will require a real commitment and a great deal of time outside of class periods.

 There will be four large personal photographic projects throughout the term, in addition to smaller assignments. The larger projects and their due dates are as follows. However, students must be prepared to do smaller assignments between class sessions.

  1. Creating a body of work tied together upon formal visual terms
  2. Art for Social Change
  3. Photography as an integral element of an installation or mixed  media artwork
  4. Final Project of your choice using topics from the course

Prerequisite: Introduction to Photography on the college level or permission of the instructors

Additional Fee: $100

This choreography class will focus on extensive, embodied practice, inviting you to expand possibilities of movement, voice, and states of consciousness. We will also examine and employ a number of approaches for organizing and translating these experiments into choreographic works to be shared with an audience in a variety of contexts (from the stage to outdoor public locations). Drawing from live art, conceptual art, and experimental music in addition to dance, the class will call on choreographic techniques as well as compositional strategies not traditionally considered for application to dance.
 

Taking as a given that experimentalism and increasing the variability of embodied experience empowers democratic society, this course builds on the grounds that our work as body-based artists is inherently political. As such we will turn to multidisciplinary thought, in addition to live performance and video viewing and texts explicitly on performance, to inform our experiential work. You'll have the opportunity to create several small, individual pieces, a collaborative project, and a more involved final project to be shared in an end of the semester showing. A considerable amount of dedication to work outside of class will be required. There will be a final written assignment and showing for this class, but no final exam.

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, or Drawing 1, Studio Art, or permission of the instructor  Additional Fee: $75

We will engage in improvised music practices and the conceptual frameworks, techniques and musical vocabulary associated with them. As a general rule, we will divide our time between improvisation in workshop format and a seminar setting with readings on and by improvisers, intensive listening to recordings, and discussion of the topics - equal parts practical music making and academic enquiry. Proficiency with a musical instrument or in singing is required for the course. Prerequisite: Music Fundamentals 1 or permission of instructor

This course will be an introduction to  photography with an emphasis given both to visual communication and technique. Students will learn basic procedures of analog and digital photography including; camera operation, exposure of film and digital images, development and enlargement of the image, while exploring the visual and expressive qualities of the medium. 

Additional Fee: $100

A study of musical practice and theory from basic notation to species counterpoint. Work concentrates on intense practice of singing, rhythm and music reading. Prerequisite: None