Friday:1:30pm - 5:15pm
SIT instructor: Magui O'Neill
Sociology examines the external factors that act on individuals, the belief systems and group structures and how these factors relate to one another. In this class students will examine how groups operate, how and why people make decisions, and what goes on "behind the scenes" in society. Learning is facilitated through a variety of activities including small group and full class discussions, lectures/notes, simulations and role playing, research, reports, presentations, essays and projects.
This course is held at the Brattleboro Union HIgh School as part of the Dual Enrollment Program.
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.
*This course is held on the Brattleboro Union High School campus.
This course presents students with a series of problems to solve in the making of sculpture. Students will be asked to work in diverse materials and methods to develop their skills both in the conception and the completion of 4 major sculptures. They will also produce an artist’s journal chronically this effort. We will read several chapters from William Tucker’s the language of sculpture as well as a related poem by Wallace Stevens. Each student will make a presentation on a sculptor of his or her choice.
Students from BUHS will participate in critiques with Marlboro College Students both on the high school campus and on the Marlboro Campus.
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
PLEASE NOTE: THIS COURSE IS BEING HELD AT THE BRATTLEBORO UNION HIGH SCHOOL CAMPUS.
This course will focus on student involvement in the art community. Students will work with one, or many, local artists or craftsmen in a community based learning environment. Students will participate in a variety of online activities and meet weekly to discuss with their instructor and classmates. The ability to work independently in an online working environment is essential to this course. Fields of study within this course could include, but are not limited to, studies in the following: culinary art, sewing and textiles, the fine arts (drawing, painting, sculpture, and ceramics), graphic design and print production, video and film editing, or an advanced study in an art form of the student’s choice. Students will present their work at the end of the course. PLEASE NOTE: THIS COURSE IS BEING OFFERED ON THE BRATTLEBORO UNION HIGH SCHOOL CAMPUS.
What is a “good” life? What makes an action “good”? What is the foundation for moral action and ethics? Or, is there in fact no adequate foundation for morality? Through careful readings of classic and contemporary texts we will consider these questions, and other themes, including: the role of character, virtue and vice in a good life; the properties of right or wrong actions; how our understanding of what it means to be human guides our understanding of the good; the relation between reason and emotion in ethics; morality and happiness; ethics and the rejection of objective moral value; our obligations to distant others and to nonhuman animals; and the nature of normative reasoning. In the first part of the course, until Spring Break, we will explore the most important Western moral theories through the works of Aristotle (virtue theory), Epictetus (Stoicism), Hobbes (social contract theory), Hume (moral sentiment theory), Kant (deontology), Mill and Bentham (utilitarianism) and Nietzsche (critical genealogy). After spring break we will turn to contemporary debates on how, exactly, the empirical findings of the behavioral and brain sciences, and evolutionary biology, can inform our understand of morality.
The TESOL certificate internship consists of practice teaching and intercultural training. This will take the form of an internship in an ESOL context during Spring Break. It is required in order to qualify for the certificate. Working in teaching teams, students will: prepare a coherent 8-day course for their respective class level (Beginner 1, young adults, Beginner 1 – children, Intermediate 1 - adults); teach a minimum of 6 hours of classes individually, although planning is done collaboratively; observe peers teaching; give and receive feedback on each day’s lessons in teaching group with trainer; attend daily workshops (determined according trainee teachers’ needs) which may include: Compassionate Communication, Feedback or Inter-cultural communication.
Participants will continue to develop knowledge and skills as teachers of English to speakers of other languages. This term the focus will be on teaching the four skills (listening, reading, speaking and writing), lesson planning, classroom management, inter-cultural communication and receiving and giving feedback. They will design lessons for children and adults that use a communicative, interactive approach. They will implement these lessons in peer teaching sessions in class. In addition they will prepare for their teaching practice by compiling a portfolio of lesson plans and gathering information about their teaching context. After the internship they will critically explore the role of English in the world today, including socio-political factors that affect English language learning in other countries.
The certificate is designed for those 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 they will be living and studying in. In order to earn the certificate, participants must take both the TESOL Certificate courses (Fall & Spring), complete a TESOL teaching internship and compile a portfolio.
An introductory seminar designed to help students begin to think historically, culturally and geographically. We will cover a handful of theoretical approaches to contemporary history as well as trace the historical threads of a number of major events outwards in time and space. Students will select a region of the world to focus on, and provide presentations identifying the influence or resonance of these events on their area. The theoretical approaches will allow us to consider major themes of the recent past including: colonialism, genocide, human rights, socialism, globalization and environmental change. Required for WSP students; Open to non-WSP students. Prerequisite: None
While in this class, students will be asked to reflect on their personal and professional skills, values, interest and goals in order to prepare themselves to identify and pursue an internship or job that will be meaningful to them. Students will explore and identify themselves as an individual, as a member of a shared culture, and within the context of a foreign culture, as it relates to skills needed to succeed professionally and personally while crossing cultures. Expected outcomes of the course are a professional resume and cover letter, improved networking and interview skills and proposal writing preparation, as well as strategies for dealing with culture shock and professional differences in a multicultural workplace. The course consists of 8 classes, which each meet for 1.5 hours.
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.
Note: Course meeting time will be determined at the start of the semester based on the mutual agreement of those who wish to enroll
Economic reasoning can be powerful when used to develop and argue for policy to solve problems in our community. This lab is an opportunity for students to engage with their community. Students will select a social issue of interest to them at the college, local, state, national and/or international level and will develop an analysis of and potential response to the issue based on economic reasoning. Attention will be paid to increasing students' capability to advocate respectfully and effectively. Course can be taken for additional credit.
Measuring and Improving Human Welfare: An Exploration of the Tools and Policy of Economic Development
An introduction to the way economists approach development. The course will cover major goals and challenges related to the improvement of material welfare. Attention will be given to the both the UN's Millennium Development goals for 2015 and the new sustainable development goals adopted in September 2015. Students will explore the potential for policy to promote progress and consider important ethical considerations and philosophical assumptions that shape development policy.
In this course we will learn how photography, documentary film, video, performance, and different digital media are used as a research methodology to examine and interpret issues of anthropological concern, tell stories, and most importantly, raise issues of social injustice. We will engage in discussions of sociohistorically situated ethnographic perspectives to develop a more reflexive understanding of the position of the researcher and gain critical understanding of the ways different media are used in conducting and disseminating research. Most importantly, the course participants will engage in the production of a participatory visual ethnographic work that will receive caring and sustained critique from all class participants throughout the semester. This course is designed both for students interested in the Social Sciences and Visual Arts. It will be composed of readings, discussion and production-based learning.
The Nature of the International System remains a point of heated debate and intense consideration both in the academic literature as well as in popular political discourse. The consensus that existed between 1945 to 1990 concerning the bipolar structure of the global order has given way to a shifting controversy oscillating between uni-polar to multi-polar configurations of power. In order to better understand the world in which we live, it is important to consider the fundamental principles and contours which shape our world. This upper level offering will focus on the question of polarity as an analytical tool by which global politics is mentally constructed and in turn, therefore, empirically driven.
This course combines sociological theories about race, racism and social movements with case studies of racial justice organizing efforts to explore contemporary issues surrounding racial oppression. Although racism is the main focus of the course, we will incorporate an intersectional approach that accounts for interlocking systems such as sexism, classism, ableism and so on. We will explore shifting forms of racial oppression in the US, including the rise of colorblind racism, the “Latino Threat Narrative,” the new Jim Crow, and post 9/11 Islamaphobia. In addition, we will both learn about and, if appropriate, participate in local organizing efforts such as Lost River Racial Justice, Vermont Workers Center and Migrant Justice/Justicia Migrante. Through classroom dialogue and written assignments, students will engage in reflection about their positions in the matrix of racial oppression and devise strategies to “stand up” for racial justice in the form of campus and/or community projects.
NOTE: This course is a combined offering with the Marlboro College Graduate and Professional Studies program. The course will meet bi-weekly at the undergraduate campus on Thursdays 5:45-7:00 p.m. as well as three Sunday afternoons at the Marlboro College Graduate and Professional Studies campus: 1/17, 2/21, and 3/20, time TBD. This last weekend date occurs during the undergraduate Spring Break when campus housing is closed. Students will have the option of participating in this session via Google Hangouts.
"Most of the great statements of political philosophy," writes Sheldon Wolin, "have been put forward in times of crisis; that is, when political phenomena are less effectively integrated by institutional forms." This junior seminar looks at how political theorists shape the conversations about power and control, democracy and justice and what is required to enhance a community's wellbeing. We'll investigate how old conversations cycle around to take on new meaning during times of political and social upheaval, and we'll practice close readings of both canonical texts as well as the arguments used in contemporary social movements.
This course provides an introduction to research methods often employed in the social sciences, including but not limited to anthropology, sociology, economics, psychology, political science and gender studies. Through a mix of readings and practice, students will learn the basics of survey design, participant observation, interviewing techniques, evaluation analysis and ethnography. We will emphasize the politics of knowledge production as well as the ethical conduct of research with human participants. Each student will leave this course having crafted a research proposal for use in their Plan, study abroad work, a fellowship, a research paper, and/or the campus Institutional Review Board (IRB).
This course will survey the anatomy and physiology of the brain with an emphasis on the brain's correlation to behavior.
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, attendance at all sessions is required. Prerequisite: None
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.
This intermediate level course concerns the market economy, in theory and practice. Topics include determination of prices, individual and collective decision-making, the organization and regulation of production and market failure. The course offers solid grounding in the theory and methods of economics as required for further work in the field.
In this introduction to winter ecology we will explore how our local environment changes throughout the winter and how life adapts, endures and survives to meet the challenges that the cold season brings. Skills covered will include winter tree ID, snow tracking and animal signs, snowshoeing and cross-country skiing, building snow structures, exploring the structure of snow, mammal and bird ID and sugaring. We will be outside a lot. Prerequisite: None
During this seminar we will explore a theme of environmental interest from multiple disciplinary perspectives. This semester's theme: water. Marlboro faculty with diverse curricular interests will present ideas on the theme during the first half of the semester. Students in the seminar will lead the second half of the semester; this may include presentations of work by others, original work, field trips, guest speakers or other ideas brought by students. The seminar is recommended to all students who intend to do Plan work in Environmental Studies but it is open to any interested students. The seminar offers an opportunity to engage with various Marlboro faculty members interested in the environment and to explore the interdisciplinary nature of Environmental Studies.
Note: Course meeting time will be determined at the start of the semester based on the mutual agreement of those who wish to enroll
A survey of modern astronomy, designed to be accessible to non-science students. Topics include the birth, life and death of stars as well as galaxies and their origin and evolution. This class will be an opportunity to explore fundamental physics concepts and quantitative thinking. As part of the class we will spend time conducting naked-eye observations, using binoculars, small telescopes and the MacArthur Observatory. The course will also meet on four evenings for two hours to perform observations of the sky.
Course meeting time will be determined at the start of the semester based on the mutual agreement of those who wish to enroll
A look at what goes on "under the hood" of a computer, in the implementation in machine code of a C program running on a Linux computer. Sometimes called "Computer Organization", a course like this one is a required part of most computer science degree programs, typically taken by sophomores after a course or two in basic programming concepts. Topics include the C programming language, machine-level data representation and assembly language, processor organization, system performance, memory caching, code compilation and linking and similar fun stuff. This course is likely to be offered every few years. Textbook: Computer Systems: A Programmer's Perspective, ISBN 0136108040.
Sexual reproduction in flowering plants involves a complex series of processes. How is pollen transferred among plants? How do seed and fruit production occur? How are seeds and fruits dispersed? How do seeds germinate and seedlings become established to begin the next generation of plants? We will explore physiological, ecological and evolutionary dimensions of these questions. Examples will include a diversity of plant taxa in ecosystems throughout the world, and we will engage in greenhouse and fieldwork projects.
This course covers 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 who 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. Prerequisite: None
The laboratory sessions for the second semester will continue to be an opportunity for students to hone their lab skills and to explore topics and ideas discussed in class. Students will work in teams to devise, conduct and analyze experiments on the synthesis and properties of biofuels and bio-remediation. We will use primary literature to provide some context for our experiments, and we will continue to focus on employing the principles of green chemistry in our lab experiments.
The central topic of general chemistry is the composition of matter and transformations of matter, and we will continue to focus on how these microscopic transformations underlie our macroscopic experiences. In the second half of this introductory chemistry course we will examine in detail models of chemical bonds, reaction kinetics, acid-base equilibria and electrochemistry. We will also explore some aspects of thermodynamics, and environmental chemistry will continue to be a secondary theme of the course as we relate all of these topics to the effects of human activity on our environment. We will start each chapter with a discussion of selected topics, followed by in-class projects, problem-solving sessions and homework review.
This course will improve your programming skills and practice, bridging the gap between a beginner's understanding of the craft and an intermediate to advanced understanding. Expect project-based work with students or groups of students developing and commenting on each other's code as well as assigned readings and exercises on topics such as object oriented programming, functional programming, recursion, scope, threads and forks, graphics and graphical user interfaces, version control, API's, documentation, testing and so on. We may explore more than one programming language, depending on the background and experience of the participants. Candidate languages include Python, C, a Lisp, R, Ruby, Java, Julia, Go, and Haskell. We may also do some web programming with internet technologies. May be repeated for credit and taken for 2 to 4 credits.
An introduction to the major topics in modern physics, including wave-particle duality, the Schrodinger equation and its application to the structure of atoms and molecules and other topics.
Put on your safari shirt and pith helmet because we’re going hunting...for DNA sequences. We’ll use a technique called DNA barcoding to identify a range of organisms on the Marlboro campus. For example, what species of bacteria are in the soil around the college? Are there any coyotes around? To answer these questions students will learn a variety of basic molecular biology techniques, including DNA purification and quantification. Students will also build thermal cyclers for performing more advanced techniques such as the polymerase chain reaction (PCR), an important step in DNA barcoding. Students will also learn basic concepts and techniques in bioinformatics and use these tools to analyze DNA sequence data.
Scientists' ability to explore, understand and manipulate DNA has increased dramatically in the past 20 years. In this course we will explore the structure of nucleic acids and the organization of genes and chromosomes. We will also examine DNA "packaging" and replication, the roles of DNA and RNA in protein synthesis and the control of gene expression. A major theme of this course will be how experimental evidence supports our current understanding of the structure and function of genes. This course will include discussions of how these processes can be manipulated to yield powerful laboratory techniques for the study of the organization and function of genes and gene products. The central structure of the course will be discussions based on selected readings, including journal articles, and in-class projects. We will also discuss homework assignments, and both of sets of discussions will be informed by readings from the text.
Further exploration of biological principles and biological diversity in a laboratory setting with independent student projects and a survey of campus vernal pool ecosystems. Co-requisite: Concurrent enrollment in General Biology II
General Biology serves as an introduction to the scientific study of life and basic biological principles. In this second semester we will explore biological concepts at the organismal and population level. Topics will include evolution, the diversity of life, plant structure and function, animal structure and function and ecology.
Second semester of the introductory physics class, suitable for students considering a plan in physics, science students or non-science students who want a physics foundation. Topics include fluids, thermodynamics, oscillations, waves and optics.
We build on the theory and techniques developed in Calculus (NSC515). Topics include techniques and applications of integration, epsilon/delta definitions, power series, parametric equations and differential equations.
Next to Calculus, Linear Algebra 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. Whereas Calculus introduces undergraduates to a large warehouse of constantly used mathematical items, Linear Algebra has the power to use and manipulate those items. Matrices, vector spaces and transformations are studied extensively (most work is done in the n-dimensional real case).
Statistics is the science--and art--of extracting data from the world around us and organizing, summarizing and analyzing it in order to draw conclusions or make predictions. This course provides a grounding in the principles and methods of statistics as commonly used in the natural and social sciences. Topics include: probability theory, data collection, description, visualization, probability, hypothesis testing, correlation and regression and analysis of variance. We will use the open source statistical computing package R (no prior computing experience is assumed).
While Asia is still often stereotypically pictured as agricultural, it is now home to most of the world's largest cities. And while these cities are rightly seen as places for coming together, they also depend on social and physical segregations. In “dark twins” such as ghettos, squatter settlements, unregulated sweatshops, jails and sewer systems, much of the work that allows these newly prosperous cities to function takes place. Using history, sociology, anthropology, journalism and urban planning, we will peer into the history of these hidden spaces. What institutions, formal and informal, create and preserve urban enclaves? How does the study of these “dark twins” change our understanding of cosmopolises such as Shanghai, Hong Kong, Bangkok, Mumbai, Naypyidaw and Chandigarh? Prerequisite: None, but knowledge of Asian history helpful
Continuation of Greek IA.
Writing seminar for seniors completing their Plan in religious studies. This course can be taken for two to six redits.
Continuation of Latin IA.
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.
As it does for cinema studies, the Movies from Marlboro production of Wetware also prompts a consideration of literature that explores related themes, narrative constructions, characters and relationships, period, mood and tone and sense of place. This class will allow us to explore a number of these ideas, through our reading and discussion of several novels that will invite further discussion. This class will aim to create an expanded dialogue that allows us to interrogate ideas actively associated with the near future. How do we assess the conflicting ideas of decline or progress? How are we evolving as a human race? How must we adapt and are we capable of doing so? How do we sort through and process optimistic and pessimistic views about where we’re headed? How can we imagine characters living in the future? How will their issues and challenges be similar to ours? How will they be different? What kinds of social structures and power centers are evolving? What ethical considerations are important to consider? What roles will be played by government? By the private sector? We’ll read and discuss these novels along with commentary and criticism related to them. Students will also be expected to write critical pieces that provide a well-articulated personal response to the readings and discussion. Novels under consideration include Wetware by Craig Nova, The Dispossessed by Ursula Laguin, Do Androids Dream of Electric Sheep by Philip K. Dick, and Brave New World by Aldous Huxley.
This class is open to Marlboro students in addition to Movies from Marlboro students.
This class is an interdisciplinary study of the history and multiple material and compositional techniques of European Renaissance painting. Students will have the opportunity to learn about the various techniques of painting in the Renaissance and then develop their understanding of those techniques in studio practice. The course will begin in the 14th century focusing not just on material techniques but also on compositional ones such as different methods of perspectival rendering, and modeling the figure. We will study paintings produced in a number of different contexts from church commissions to public art to the vast schemes of private palace decoration. Introductory and Intermediate level; 4credits with a linked additional 2 credit tutorial for students who wish to go further with their studio work.
This class is an introductory level study of art and architecture with a particular focus on the painting and sculpture produced in Europe, the United States and the Ottoman empire from the peak of the colonial period to the present day. We will be paying particular attention to the interconnections between artists and art movements throughout this time period as they both reflect and try to influence social and political practice.
A consideration of political authority and process will be our primary focus. Other themes will be stylistic techniques (scenic structure, metaphor, plot and subplot, etc.) and an analysis of Shakespeare's women and their social roles.
This course will begin with Virginia Woolf and then turn to examine her themes of memory, "moments of being," ethical choice and the establishment of meaning in other fictional works from writers grappling with violence and the political state in the chaotic modern world. Novels will include works by Kafka, Camus, Daoud and Sebald.
The Chinese term xin is both nominal (heart-mind) and verbal (think-feel), both intellectual (mind-think) and emotive (heart-feel). In this one-credit seminar, students will join the teacher in exploring the extent of this concept through physical and meditative practice along with short readings and journaling. Students should already have some experience with self-cultivation and be willing both to share this experience and to delve into new experiences.
Note: Course meeting time will be determined at the start of the semester based on the mutual agreement of those who wish to enroll
This seminar for Marlboro faculty and advanced students seeks to engage the latest, most comprehensive challenge for rethinking ways of conceptualizing "Islam." In summarizing the contents of the book, the back cover states: “What is Islam? How do we grasp a human and historical phenomenon characterized by such variety and contradiction? What is "Islamic" about Islamic philosophy or Islamic art? Should we speak of Islam or of islams? Should we distinguish the Islamic (the religious) from the Islamicate (the cultural)? Or should we abandon "Islamic" altogether as an analytical term? In What Is Islam?, Shahab Ahmed presents a bold new conceptualization of Islam that challenges dominant understandings grounded in the categories of "religion" and "culture" or those that privilege law and scripture. He argues that these modes of thinking obstruct us from understanding Islam, distorting it, diminishing it and rendering it incoherent. What Is Islam? formulates a new conceptual language for analyzing Islam. It presents a new paradigm of how Muslims have historically understood divine revelation--one that enables us to understand how and why Muslims through history have embraced values such as exploration, ambiguity, aestheticization, polyvalence and relativism, as well as practices such as figural art, music and even wine drinking as Islamic. It also puts forward a new understanding of the historical constitution of Islamic law and its relationship to philosophical ethics and political theory.” Although the seminar will meet twice a week, faculty need only attend the Friday sessions. The first weekly session on Tuesday will be focused on studying some of the important Islamic thinkers, texts and artistic expressions that Shahab Ahmed references in his book. For the last session of the semester on Friday, April 29, we will attend a conference organized for discussing What Is Islam? at Harvard University.
In the American imagination, Islam is invariably associated with the Middle East, but the religion’s adherents can be found in every corner of the world.In this class we will explore the contemporary political and cultural expressions of Islam in China and Indonesia.By examining art and architecture, diet, trade and pilgrimage networks, Shari’a courts and relations with neighboring non-Muslim populations, we will develop an understanding of how the faith has shaped these tremendously diverse and important nations. This class will serve as a complement to the course “Reading Shahab Ahmed's What is Islam? The Importance of Being Islamic.”Students who have taken “Introduction to Islam” in the fall of 2015 or who simultaneously enroll in the “What is Islam?” class will be assumed to have the requisite background knowledge and may take this seminar for two credits.Those who wish to take the seminar without having previously studied Islam at Marlboro may take the seminar for three credits and will be required to do foundational reading on the religion’s history and principles at the start of the term. Students on either of these tracks may do an optional research paper at the end of the term for an additional one credit.
This course is an introduction to the ways in which myths have been told, preserved, embodied and studied over the course of human history.We will begin the semester by asking:What is the difference, if any, between a story and a myth?Students will engage with the range of current theoretical approaches that seek to understand and explain the nature and function of myth and archetype.There will be ample opportunity for students to pursue their own interests through research and presentations.
This course is the continuation of Intermediate French I. In this course, students will continue to increase their capacity to communicate in oral and written French in formal and informal situations while acquiring an important knowledge of the francophone world. In class, we will concentrate on using the language in creative ways rather than on studying grammar rules (literary texts, films and culture). Required textbook: Imaginez, 3rd loose-leaf text and access codes, by Séverine Champeny. Vista Higther Learning (2016).
"You want to do good?" asks Willie Stark, the mephistophelian politician in Robert Penn Warren's All the King's Men. "Well, you have to make the good out the bad. Because that's all you have to make it out of." Governor Stark here utters Penn Warren's answer to the enduring moral question of modern life: how does one act morally in a world that seems to have no underlying moral structure at all? Where does one seek meaning in a world in which we seem--dismally, insistently--never to mean but simply to exist?
This is one way of framing the "existential dilemma" framed by much of the art and literature of the late 19th and 20th centuries. In this course, we will explore the ways American and European writers negotiated this dilemma: from the tortured religious faith of Kierkegaard's Fear and Trembling to the equally tortured atheism of Camus's Myth of Sisyphus; from the complex depths of Dostoyevsky to stark postwar vision of the French existentialists; from Faulkner's meditations on death and meaning-making to Richard Wright's tragic hero Bigger Thomas. We will read the "existentialists" (Sartre, Camus) but we will carry the idea forward to consider existential themes in the works of a range of European and American authors, including Heinrich Boll, Penn Warren, Marilynne Robinson and as many others as we can.
This semester we will examine how close the connections between literacy and religion were in the period c. 31 BCE - 387 CE. With the advent of the Roman Empire, an extraordinary variety of new modes of religious thought and behavior came into being. The changes included profound transformations in thinking about the divine in philosophy and literature; the role of religion in disparate and diaspora communities; the religious order of the Roman state; and new types of religious competition, conflict and self-definition. We will examine religious phenomena from the pagan mystery cult of Isis to the conversion of Augustine through the lens of the period's rich and diverse literary evidence. There will be an opportunity at the end of the course for students to undertake guided specialist research in an area of their choice. Prerequisite: None
Linguistics is the study of language. At the core, it concerns the relation between sound and meaning mediated by structure. As one of the core courses of linguistics, with the other two being syntax and phonology, Analyzing Meaning is an introduction to formal semantics. Semantics is the study of the literal meaning of words and the meaning of the way words are combined. This course is a practical introduction to topics in formal semantics. It aims to provide a good understanding of a range of semantic phenomena and issues in semantics, using a truth-conditional account of meaning. Students who wish to study how language works will benefit from this course both the theory and practice of semantics.This is an introductory level course with 4 credits. TextbookSemantics by Kate Kearns, (Second Edition) 2011, Palgrave Macmillan. Prerequisite: None
Questions of the nature of the self are at the heart of much modern philosophy. Is the self autonomous? Does it arise in relation with others? Are we always already social beings before we are individuals? How are we to understand the self in relation to the body, language, culture and history? This course will address these questions by focusing on the self in relation to its others. We will study both classic texts in European philosophy as well as more recent figures whose understanding of the subject is grounded in the lived experience of race, sex and the postcolonial condition.
What is race? How did the idea of race arise and what are the many ways in which ideas of race function today? How have ideas of race operated in the construction of knowledge across the disciplines, especially in biology, anthropology, sociology, philosophy, medicine and history? In what way is race constitutive of our identities? What is the relationship between racial categories and racism? This course will explore these questions through a careful analysis of historic and contemporary texts across a broad range of disciplines that address white, American Indian, Asian American, African American and Latino racial categories. We will also investigate the resources of critical concepts such as the epistemology of ignorance, whiteness, white privilege, the racial contract, etc. Prerequisite: None
This is the second semester of 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. New Practical Chinese Reader 1/æ–°å®žç”¨æ±‰è¯è¯¾æœ¬ 1, Textbook & Workbook, by Xun Liu/åˆ˜ç?£. Publisher: Beijing Language and Culture University Press.
This course is for seniors on Plan in Philosophy who will be engaging with each other, and with selected texts, to develop their work.
This course is the continuation of Elementary French I. This course builds on and expands language and cultural skills learned in the first semester. Students will continue to develop their 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 and cultural and historical knowledge. Required textbook: Chez Nous: Branché sur le monde francophone, 4/E, 2014.
This course covers the basic grammar structures of the Spanish language through extensive use of video, classroom practice and weekly conversation sessions with a native-speaking language assistant. It is a continuation of Spanish I.
Intermediate Spanish II builds on and expands the language skills acquired in Intermediate Spanish I. It combines an extensive grammar review while focusing on all relevant language skills: listening, speaking, reading and writing. Culture is integrated in all aspects of the program. We will have critical discussions about the culture of different countries of the Spanish speaking world. Frequent compositions, selected literary readings, class discussions and debates on films and current events.
Intermediate Spanish II is a course for students who have completed Intermediate Spanish or have been deemed to be proficient enough for this class after taking an introductory Spanish placement test and talking to the professor about prior course work.
Not a history of the many cultures that have existed around the Mediterranean--Roman, European, Arab, Turkish--but rather a course about the sea itself, we will look at what and why scholars have written with fascination and even love about the "Middle Sea." 20th century historiography has often sought to portray the multitude of nations and peoples who have populated the Mediterranean since ancient Rome as inextricably linked, through geography, environment, economy and even in anthropological descriptions of culture. The discourse of interconnectedness in turn influenced thinkers and writers studying everything from Japan to the 17th century Atlantic. In this course we will survey the idea of Mediterranean unity, debates about the nature of "Europe" and some of the philosophical assumptions that make up large historical narratives. The final project for this course is a group research project.
“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—Art Spiegelman, Craig Thompson, Alison Bechdel, Marjane Satrapi, Will Eisner and others—use words, pictures and narratives to tell stories of their lives. We will be writing about all of this in several formats: in-class exercises and shorter assignments leading up to a longer documented essay. 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
Virginia Woolf describes the essay as a form that "must lap us about and draw its curtain across the world." But what, she questions, "can the essayist use in these short lengths of prose to sting us awake and fix us in a trance which is not sleep but rather an intensification of life--a basking, with every faculty alert, in the sun of pleasure?" Her answer is a simple one: "He must know--that is the first essential--how to write." From David Quamman's "The Face of the Spider" to Scott Russell Sanders' "Under the Influence" to Wallace Stegner's "The Town Dump" to Annie Dillard's "Sight and Insight" to George Saunders' "The Braindead Megaphone," we will explore how contemporary essayists--in personal essays, nature writing, literary journalism, and science writing--look closely at everyday objects, practices and experiences. We will analyze what makes these essayists effective, entertaining and enlightening. And, of course, we will be writing about all of this in several formats: in-class exercises and shorter assignments leading up to two 4-6 page papers and one 8-10 page research paper. Peer response workshops, writing conferences and in-class work on style, revision and editing will alternate with our class discussion of the essays. Prerequisite: None
In this course, the focus is on vocabulary building, basic grammar structures and some cultural and historical knowledge . The course is also designed to primarily develop conversation skills. Available only to students with prior Arabic instruction.
This course is the continuation of Intermediate Modern Arabic IIA. Students will continue to learn more essential skills of listening, speaking, reading and writing for daily communication. A broad variety of expressions and complicated sentence structures will be taught so that students can participate in conversations on various topics related to Arabic society. More emphasis will be given to speaking,structures and writing. Students will be guided to write more at the paragraph level. A language table will take place twice a week to help learners improve their communication skills.
An examination of available sources and current methodologies in the study of religion. Required for juniors on Plan in religion.
Political Ecology, explains Paul Robbins, "seeks to unravel the political forces at work in environmental access, management, and transformation." Where an ecology class might ask you to study the natural dynamics in a given environment, political ecology asks you to look at the political strategies and policy choices that allowed that particular piece of property to remain undeveloped. These questions are not unknown to ecologists--Aldo Leopold continuously highlighted the effects of political decisions in his descriptions of Wisconsin sand dunes and New Mexico cattle ranches--but political ecologists are as apt to use Karl Marx or Immanuel Kant as they are to study the particularities of any given ecosystem. This class will provide an overview of this emerging field, including its external critics and internal controversies. We'll also study the essays of Rebecca Solnit and Aldo Leopold to see how they unravel political forces through poetic and descriptive writing. For a case study, we’ll focus on the rhetoric of access to and protection of Yellowstone National Park. (Note: Jaime Tanner and Randy Knaggs will be offering a trip to Yellowstone over Spring Break through the Winter Ecology in Yellowstone course).
In this course, we will look at community as a living organism that is fluid, changing, adaptable and abundant. At the same time, this course seeks to acknowledge our interconnected relationship to all living beings. Our work will investigate and explore how human systems and other living systems interact and inform one another. This course is an outdoor immersion to explore the multiple meanings of “wild”: our inner and outer relationship to transitions and uncertainty. In addition, we will learn concrete skills on how to effectively and positively work within human communities/systems. This course aims to further develop our awareness and appreciation for each other and the environments we live and work in both human and non-human made. It is our intention to also deepen our ability to listen, adapt, build consensus and co-create solutions.
Note: This is a cross-campus course that will be open to both undergraduate and graduate students . The course will meet during five days of spring break: Wednesday, March 23rd through Sunday, March 27th with overnight stays.
This course will cover a wide variety of research techniques and develop the students' knowledge of the many databases and search platforms available at the college. We will also spend some time looking at persistent questions in research such as the role of online information, plagiarism and others. This course can compliment any year of course work. Much of the practice use of databases and search systems can be used directly for work being done in other courses; it is our hope that this course will generally make your life easier. Prerequisite: None
Thriving in Teams and Organizations addresses theory and practice of how individuals and groups act and interact in an organizational context with a focus on distributed and virtual teams. The course draws from research and theories in Organizational Behavior and Positive Psychology to shed light on such human dynamics as motivation, perception, decision-making and conflict management. It addresses questions such as: What makes teams and organizations effective and sustainable? What are the challenges to effective teams and organizations? How can you understand your personal predilections as a team member and organizational "player"?
Classes meet on the following weekends for two 3-hour sessions (exact time TBD): January 15-17; February 19-21; March 18-20 at the Marlboro Graduate School in Brattleboro.
In this interdisciplinary course we will explore the ways in which contemporary playwrights portray a vision of the secular apocalyptic. As with Vaçlav Havel’s assessment of Absurdism, apocalyptic plays can be read as “not scenes from life, but theatrical images of the basic modalities of humanity in a state of collapse.” We’ll take an expansive perspective on the definition of “apocalyptic” and read/view works from other disciplines such as Margaret Atwood’s novel Oryx and Crake, the poetry of Japanese women following the bombings of Hiroshima and Nagasaki in White Flash/Black Rain and the BBC docudrama Threads. Students will also take a field trip to NYC as part of the class and the final project will be an expression of their own apocalyptic vision. Prerequisite: None
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.
This course is designed for advanced level students in the visual arts either on Plan or intending to soon be so, incorporating photography 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.
Long weekly classes devoted to an analysis and discussion of poems written for the class. Students encouraged to experiment with forms and techniques. Variable credit, 2-5.
An opportunity for students to meet on a weekly basis to read and rehearse music from the standard chamber music repertoire. Woodwind, string and brass instruments welcome. 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 - 5:20 except the five days there will be visiting artists when the meeting time is 4:00 - 8:00 p.m.
This course will consist of rehearsing, organizing logistics and participating in the KACTF regional competition. The result will be multiple scenes and monologues to be performed in CT as part of the week-long festival.
Course meeting time will be determined at the start of the semester based on the mutual agreement of those who wish to enroll
A study of the development of musical forms during the period 1600-1800 and its importance in the society of this period. Ability to read music recommended. Prerequisite: None
Sculptures will introduce students to a broad range of traditional and contemporary sculpture practices. This course builds upon the study of formal and spatial problems with an approach that emphasizes conceptual thinking. Students will apply research and experiment with concepts and materials while displaying a competent understanding of form and craft. The primary goals of the course are: to develop vocabulary and the verbal articulation of ideas; to enhance critical thinking and problem solving skills; to further develop aesthetic sensibilities; and to expose students to basic sculptural ideas and materials. Students will learn a variety of practical techniques and processes while studying the approach of sculptors of the 20th and 21st century, and will gain an understanding of the role of art and artists in contemporary society.
During the 1950s, with the invention of light, portable cameras, filmmakers were able to take filmmaking out of the studios and into people’s homes. One result of this new technology was direct cinema, a genre of documentary filmmaking that practices close observation and eschews interviews, added music and voice over. Direct cinema relies on the inspired capturing and editing of unstaged, unscripted moments. Film classics like the Maysles’s GIMME SHELTER and Wiseman’s TITICUT FOLLIES still resonate today, and new films such as Bécue-Renard’s OF MEN AND WAR, the Ross Brothers’ WESTERN and Robert Greene’s FAKE IT SO REAL continue this tradition or take it as inspiration. Still, to this day there exists a wide range of opinions about what it means to create a film that falls into the category of direct cinema. What is it, exactly, and how is it done? Is direct cinema a ‘purist’ cinema, as is its reputation? What does it mean to document and portray the real? To find the uninflected truth in a moment of discovery. Through film studies, hands-on workshops and the production of 3-4 short films, students will develop an in-depth understanding of direct cinema. They will also interact with the Wetware film production in a way that seeks to tell an original and authentic story that reveals a variety of aspects, conditions, personalities, dynamics, and truths. We will watch and discuss examples from the past and present including: the Maysles’s SALESMAN, King’s WARRENDALE, Bécue-Renard’s OF MEN AND WAR, Wiseman’s WELFARE, DeMott’s SEVENTEEN, along with films that do not follow the rules of direct cinema but will inform our study, including: Rouch’s CHRONICLE OF A SUMMER, Cassavetes’s FACES, Rogosin's ON THE BOWERY, the Ross’s 45365, the Dardenne’s LES FILS and the Safdie’s HEAVEN KNOWS WHAT. We will discuss important issues to do with direct cinema filmmaking such as the presence of the filmmaker(s) during shooting and the myth of ‘fly on the wall,’ objective and subjective perspectives when portraying the real, shaping unscripted footage and relationships with subjects. Students will go through workshops on how to shoot, capture sound, log footage and edit direct cinema footage. Working on their own or in groups of two, they will create short direct cinema or direct cinema inspired films. Award-winning direct cinema filmmaker and mentor Amanda Rose Wilder’s documentary APPROACHING THE ELEPHANT (2014) was nominated for the Independent Spirit Award’s Truer Than Fiction Award and the IFP’s Gotham Award. It won several awards including the Cinema Eye Honors Debut Feature Award, Camden International Film Festival’s Emerging Cinematic Vision Award, DocAviv’s Best International Film Award and Belfast Film Festival’s Maysles Brothers Documentary Award. The film has played Rotterdam, CPH:DOX, True/False, BAMcinemaFest, among other festivals, and was part of Museum of Modern Art’s series, “Best Films Not Playing at a Theater Near You.”
Amanda Wilder spent years writing poems, then, under the mentorship of Jay Craven, started making documentary and experimental films at Marlboro College where she graduated with a Plan of Concentration titled ‘The Poetic Documentary and the Documentary Poem.’ She worked as second camera alongside Albert Maysles for Maysles Films Inc. features and commissioned works. She now lives in Brooklyn, New York, and is working on a film about figure models.
This class is open to Marlboro students in addition to Movies from Marlboro students.
Actors and directors form a crucial partnership for any narrative film production, developing a personal mode of communication and building trust as they navigate the distinctive landscape of a screenplay that can often be interpreted in a variety of ways. Like every other fruitful partnership in production, this relationship depends on conversations that are imaginative, simple and direct. An effective director creates conditions where an actor can take risks in an effort to articulate fresh expressions of character emotion and behavior. For an inventive actor, it is impossible to “know” what is being sought. It is only possible to discover it.
This weekly master class will include scene studies and performances along with conversations, readings and screenings that explore the many facets of effective performance. Students will direct—and they will perform. Several student roles will be available in the Wetware production. Student actors in this class will have the opportunity to audition for these parts. Student directors will also have opportunities during the Wetware production to rotate into positions where they shadow the director and participate in discussions related to scene preparation and evaluation. They will also have the opportunity to audition for positions directing second unit scenes.
This class is open to Movies from Marlboro students AND, with permission from the instructor, Marlboro College students.
This acting class will be an intensive seminar in traditions and techniques of performing Shakespeare’s plays. Students will work on monologues and scenes throughout the semester and perform a favorite as the final project in an informal public showing. Some of the pieces chosen for acting work will parallel the offerings in the Literature classes taught this semester by Geraldine Pittman de Batlle.
Production design works to unify and shape the elements of set and location so that viewers are transported into a distinctive world of the film. Costume design articulates character details and individual moments that enlarge narrative, using color, style, fabric, condition of clothing and relationship to other costumes in the film. Hair and make-up set the time and place—and also help to express character. Within these larger frameworks, design personnel work to explore relationships between various scenic elements (e.g costume and setting). Students will work with professional mentors and teachers to populate their created world of the film with costumes, props, set dressing, vehicles, animals, signs, hair and make-up and other scenic elements. They will interact with the director and director of photography to express story themes—and to develop a color palette and texture to mark each scene. Students will work with the production designer, costume designer, hair and make-up artist and lead art department personnel to explore the ways in which design, in all of its various applications, can create the visual world within which the filmed story takes place. Classes will include theoretical readings and discussions, case studies of production design and costume design in notable films, and guided work assignments that will provide hands-on research to develop the visual representations that will anchor Wetware in world that is largely familiar but distinctive through its details suggesting a near future. Because there is no “record” to visually conjure the near future we seek to represent, students and mentors will look at renderings and other films—and they will research trends, speculation and evolving looks and technologies. The key challenge: to create a unified look to the world we create. Students will take on substantial roles where they apply their theoretical knowledge to the design practices and creation required for Wetware. Positions will include props, set decoration, design research, scenic painting, costume assistants, dressers, set construction, assistant hair and make-up and more. Working under the guidance of mentors, they will thoroughly analyze the screenplay, identify and produce needed design elements, solve problems, respond to production developments and collaborate. All art department students will share certain aspects of the dialogue needed to develop “the big picture.”
In addition to learning about the theory and practice of design for film and advancing work for Wetware, students will also develop individual portfolios that showcase their work under the mentorship of working professionals and artists.
Post-production provides the challenge and opportunity for a filmmaker to shape a picture’s narrative and even re-make all or parts of it. Through literally thousands of choices, an editor can calibrate tension, shift relationship dynamics, shade characters and connect them to their physical worlds, articulate themes, adjust rhythm and pacing and much more. A film can be discovered, re-imagined or even saved in post-production. In this elective course, students will work with a professional mentor who will help guide them through the post-production process that will take place during our preparation and filming of Wetware. Early in the semester, classes will include instruction on editing systems along with readings, demonstrations, and discussions on editing practices and techniques. Further discussion and review will examine films screened for the Movies from Marlboro Cinema Studies class and earlier MfM projects. Special attention will be paid to the role of editing on these films. Students will also take on editing assignments related to the production of student short films and projects developed by the Direct Cinema Documentary unit. Once Wetware production commences, students will work with mentor Evan Schwenterly to organize the post-production workflow and outfit the editing room. Daily activities will include logging and capturing of raw footage, organization of material and development of rough scene assemblies and rough cuts that will be presented, along with film dailies, to other members of the production team. Sessions will include critiques of filmed material for artistic, narrative and continuity purposes—and discussions about how what’s being captured in production will influence ongoing production. Weekly updates of edited material will be posted online, through the Marlboro College and Kingdom County websites and blogs. We are also in conversation with local media, including Vermont PBS, to post material on their website that serves Vermont, northern New York, and southern Quebec including Montreal. Students will take on substantial roles where they apply their theoretical knowledge to the work of post-production. They will be expected to maintain a post-production diary that outlines daily work and insights gained through the semester-long process. They will also create individual reels of edited material for open presentation.
Production management works to ensure a production that remains on budget, on schedule, and properly resourced with everything from props, camera, lights and trucks to actors, set decorators, grips and electrics. It’s a huge job and the people who work here include Line Producer, Production Coordinator, Transportation Coordinator, Production Accountant, Associate Producer, Assistant Director, 2nd Assistant Director, 2nd 2nd AD, Script Supervisor, Casting Director, Location Manager, Key Production Assistant, Food and Housing Coordinator, Publicity, Marketing and Fundraising personnel—and more. The main goal of this elective seven-week intensive is to immerse students into the theory and collaborative practice of narrative feature film production. Topics to be covered, through readings, class discussions, and assignments will include: breaking down a script, organizing casting sessions, location scouting, budgeting, scheduling, cashflow management, financing, set operations, shot listing, development of daily call sheets and more. We will also have a running conversation focused on the question of effective motivation of production personnel to advance the daily and weekly goals of feature filmmaking. We will also focus on the various demands of running a production from idea conception and script development through casting, pre-production, production, post-production and distribution. The entire set of learning objectives will be drawn from established and previous Movies from Marlboro practice—and applied to the production of Wetware. Students will develop skills and working relationships that will carry them into production where they will play substantial roles in the production management section. During pre-production, students will also carry out dozens of specific tasks that will mobilize the resources and set the organizational needs and parameters of production. Students in this electcive will also need to learn and help to teach set etiquette practices to others on the production team.
Cinematography is positioned at the center of narrative feature film production. The Director of Photography (DP) manages a large crew that must be mobilized to facilitate each shot, each lighting scenario and each staging of essential equipment used to shape the light for each frame of the film. The DP is the film director’s closest collaborator for the overall goal of realizing a coherant vision for the film. This class will examine the role and specific practice of the cinematographer. We’ll throughly review questions of shot composition, lighting strategies, camera exposures, visual language, cinematic aesthetics, scene coverage, visual storytelling, shot matching, shot listing and more. Special attention will also be paid to each position within the camera, lighting and grip departments, where each crew member performs an essential task, in sync with each other and the production as a whole. The main goal of this production class is to immerse students into the theory and practice of cinematography and lighting for narrative feature film production. Based on student participation, specific interests and faculty evaluations for their pre-production work and study, each student will be assigned to a position within the camera, grip, and electric departments according to to his/her interests and skills. These assignments will be made in the interests of maximizing each student’s learning potential and to ensure the effective production of Wetware. Students working in this department will be assigned to positions and/or rotations including camera operators, 2nd assistant camera, second unit director of photography, second unit assistant camera, clapper/loader, best boy grip, 3rd grip, 3rd electric, grip/electric swing and sound boom operators. Students will be expected to know these positions and their role within the feature film unit, for effective placement and performance of camera, lights, grip equipment and sound—and to facilitate efficient and time-effective production. Students will be encouraged to ask questions and collaborate alongside professionals who will be expected to be clear and supportive mentors to them. Readings will include Masters of Light (Schaefer), Three C's of Cinematography (Mascelli), Cinematography: Theory and Practice (Brown), Master Shots (Kenworthy) and Cinematography for Directors (Frost).
Sound as Material students will explore sound creation and manipulation ranging from performance to installation and audio technologies. Modes of listening and audition will be addressed in respect to the history of sound art. Assignments will be driven by lectures, reading and listening. Our main text for the course will be Audio Culture: Readings in Modern Music edited by Christoph Cox and Daniel Warner. Students will learn the audio software Usine Hollyhock and Audacity.
Effective screenwriting requires an understanding of story structure and an ability to shape character, theme, tone, and incident to dramatic effect. A place-based screenplay or one working to place narrative in the near future, as ours does, also needs to engage these additional elements of setting, to inform characters and relationships from the inside and without allowing these elements to dominate. A film director takes the screenplay as a starting point for understanding complex characters. He/she uses it as a blueprint to effectively shape each scene for production and works to enlarge upon the script, to tell an original story by creating conditions that facilitate each of his collaborators’ best work. Through these interactions with actors, the cinematographer, producers, production designer and key set personnel, the director works to draw everyone’s creative work into a unified whole. This class will use the Wetware screenplay—and ancillary research materials—as the starting point to analyze, discuss, critique and revise story and character details and plan an efficient and imaginative film production, within the limits of our production. Each session will track new developments and discuss creative and logistical choices as we work to advance production. Students will deliberate on script issues, based on semester screenings and their reading of Craig Nova’s novel–and they will draft suggested scene notes and revisions. Students will have the opportunity to attend casting sessions or view casting tapes, where the first glimpses of emerging characters can be seen—and they will review location photos and the paintings, film clips and photo images that inform discussions between director, cinematographer and production designer, as the film’s proposed look takes shape. Students will also read and discuss relevant critical essays and interviews with leading film writers and directors, to better understand feature film theory and the range of possible cinematic approaches. Discussions from other film intensive classes will also be extended here, to foster an open dialogue that creates shared space for the development of our creative community. Visiting artists will come to campus for special sessions—and students will be asked to work in small groups to develop their own short films. Wetware is intended as a transparent production where students and professionals share in the discussions that develop each step of the production. This class will serve as the gathering place for those ideas—and a meeting place to better understand each step of the production.
As part of this class, students will also work in small groups to develop a producible script for a short narrative film. The student group will then prepare, shoot and edit their film, based on the script, for screening at our student film festival in early March.
The main goal of this six-week intensive is to immerse students into the theory and collaborative practice of narrative feature film production. Based on their specific interests and faculty evaluations for their production work and study, each student will be assigned to a department and position(s) that are appropriate to his/her interests and skills. These assignments will be made in the interests of maximizing each student’s learning potential and substantive participation—and to ensure the effective production of Wetware. The film production will be organized into a 28-day shooting schedule for principal photography, followed by a 2- or 3- day second unit shoot, executed exclusively by students. The Wetware crew will include 22 professionals mentoring and working alongside 32 students working as camera operators, script supervisor, sound boom operator, production coordinator, wardrobe supervisor, set dressers, editors, assistant directors, props, second assistant camera, location managers and other vital positions. The film’s cast has not yet been determined. For the 2012 Movies from Marlboro picture, Northern Borders, actors included Academy Award nominees Bruce Dern and Genevieve Bujold, 2009 Tony nominee Jessica Hecht, and 12 year-old Seamus Davey-Fitzpatrick (Moonrise Kingdom). Peter and John actors included 2014 Golden Globe winner Jacqueline Bisset and Emmy-winner Gordon Clapp as well as Christian Coulson (Harry Potter: Chamber of Secrets, The Hours) and Diane Guerrero (Orange is the New Black, Jane the Virgin). Students will be expected to arrive on set at the designated call time and to work with their department and department heads to organize, prepare and carry out the shooting assignments indicated on that day’s call sheet. They will also be responsible for the daily wrap for their department. Students will receive close mentoring from professionals and will be expected to develop skills, responsibilities and accountabilities as working peers in their department and as part of the creative community developed during the class, workshop and pre-production period of this project. Students will also be expected to understand and practice industry standard set etiquettes, as explained and demonstrated during pre-production.
In this Intermediate course students will participate in the creation of functional pottery. Through a series of demonstrations and presentations, students will see historic and contemporary approaches to the creation of functional wares and develop ideas and practices that will help them to achieve a body ow work that will be used in a service to be put on by enrolled students.
Additional Fee: $100
Our production of Wetware prompts a variety of thoughts about films that explore related themes, narrative constructions, characters and relationships, period, mood and tone and sense of place. This class will allow us to explore a number of these ideas, through our viewing and imaginative consideration of sixteen pictures that will invite far-ranging discussion. This class will aim to create an expanded dialogue that allows us to interrogate and re-visit each picture screened for the class—and to connect our discussion to our own planned film. We’ll investigate place and theme-specific characters, themes, and narratives—and the ways each director chooses to employ film language and aesthetics to express each film’s meaning. We’ll look at the various creative roles played in each film, through cinematography, direction, performance, production design, lighting, editing, music and sound. Written materials, including weekly hand-outs and screenplays, where available, will be distributed to advance classroom discussion and critical writing. Films scheduled for screening include Blade Runner, Black Mirror, The Man Who Fell to Earth, Her, Alphaville, The Handmaid's Tale, Children of Men, Ex Machina, Akira, Time of the Wolf, Gattaca, Brazil, On Top of the Whale, Stalker, La Jetee, 2046.
This class is open to Marlboro students in addition to Movies from Marlboro students.
In this introductory drawing course students will participate in a survey in beginning drawing practices. Students will draw from life in order to develop the necessary experience to move on to more individual approaches to drawing. Fundamental issues of line, shape, tonal value, composition and design elements will be our basis of investigation. As the semester progresses, students will propose and complete more individual projects that derive from a combination of research and personal experience. Prerequisite: None
Additional Fee: $50
This course will focus on developing expansive, articulate and powerful dancing through a study of the principles of contemporary release technique. Core concepts will include weight, momentum, alignment, breath, focus and muscular efficiency. We will work on finding center, playing off balance, moving in and out of the floor, going upside down and finding ease and clarity in our bodies. Through our practice, we will develop strength, range of motion, balance, flexibility, stamina, self-awareness and coordination. Each class will consist of a warm-up, exercises across the floor and longer combinations of movement. Through studio practice, students will build physical coordination, strength, flexibility, balance, body awareness and an understanding of principles of modern dance. Some readings and video viewings will be used to help students contextualize their studio practice. The course will also include some creative work.
This course is both a hands-on songwriting workshop and a detailed exploration of the making of songs at the basic level of melody meeting word. As general practice we will alternate between academically oriented analysis of both melodic and lyrical aspects of songs and work in workshop format of songs from music and lyrics created by students. The course is open to musician and lyricists alike.
This is an ensemble theater course in which students work together throughout the semester to theatrically address a current socio-political issue. As a collective, students will research the chosen issue and then develop an original political satire. Based on students' backgrounds and skills, the piece could evolve into a musical, a circus, a talk show, a melodrama or whatever else the collective ensemble decides. The course will culminate in a performance for both the college and the greater community. No previous acting background is required. Prerequisite: None
In this hands-on course, students will learn the theories and approaches to directing plays and then put them into practice. Each student director will learn how to analyze a script, audition and cast actors, design a show and create and implement a production schedule. In addition, directors will learn to manage and work with stage crew, an assistant stage manager and a stage manager. Throughout the semester, students will gain specific directing skills while discovering their own unique directing style. This is a beginning directing class that will culminate in a directing a play for the Ten Minute Play Festival, to be performed at the end of the semester. Prerequisite: None
This class will focus on learning the basic drum techniques and rhythms of Senegal, West Africa. With an emphasis on Sabar and Saouruba, students will explore rhythms from Dakar, the capital of Senegal, to Casamance, a rural village in south Senegal. Students will learn to play on authentic drums and will accompany dancers, learning the give and take between drummer and dancer that is inherent to the musical culture of West African. The course will culminate with a live performance, including both drummers and dancers.
- Course Contributer: Lily Kane
This course will introduce students to a range of printmaking techniques including relief, intaglio and monoprinting. In addition there will be opportunity to experiment with alternative processes such as collagraph and large scale work. The class will work from direct observation to include still life, landscape, the figure as well as a range of historical and contemporary sources. Active parallel work in drawing will be required. This class requires collaboration and the ability to focus and sustain work outside of class time. Some experience with drawing is helpful.
Additional Fee: $100
This course is a continuation of study of skills presented in Music Fundamentals I and includes the study of rhythm, meter, basic harmony and beyond.
This course provides an introductory foundation to black and white photography and a select introduction to digital photographic processes. Students will learn basic camera operation, film exposure, black and white film development and enlargement printing, along with some digital skills such as negative scanning and inkjet printing. Through the course of the semester students will complete photographic assignments, give an artist presentation and produce a final project of their own design. Student work will be discussed regularly in critique where visual communication will be emphasized alongside technique. Materials fee required. Having use of a camera with full manual operation capabilities is required, although the school has some to loan out.
The course will provide an introduction to concepts, techniques, history and ideological frameworks informing electronic music. Designed as equal parts hands-on practice and academic enquiry, the course will alternate between readings and listening to works done in various periods and genres of electronic music and practicing basic techniques of sequencing, sampling, synthesis and recording. Coursework will constitute on-going etudes, a final project and paper and weekly readings and listening assignments. The course is designed primarily for students who are or plan to engage with music or sound design as part of their on-going course of study at Marlboro.
In this course we will explore what dance means in a variety of cultures around the world while considering the challenges inherent in viewing and analyzing dance that comes from outside one's own cultural traditions. Class work will be based in discussion of readings and dance films, but the course will also include a number of studio master classes with guest artists. At the end of the semester, we will journey to Senegal to experience Senegalese dance culture first hand.
Additional Fee: $875-$2,625 depending on trip financial aid support