This course will explore the scientific study of animal behavior in the context of natural selection and evolutionary theory following Rubenstein's text, "Animal Behavior," in addition to examples from contemporary literature. As a group, we will investigate functional and evolutionary bases of animal behavior in the context of reproductive behavior, mating systems, parental care, altruism, social behavior, communication, and cognition. Students will lead independent projects focused on a specific behavior or class of behaviors within and/or among species, emphasizing discovery, creative thinking, skills application, and knowledge communication to the broader community. Students will emerge with the ability to apply the concepts underpinning the study of animal behavior and its importance in the context of global change. Keywords:animal behavior, animal senses, biology, evolution
This course will explore the scientific study of animal behavior, in the context of natural selection and evolutionary theory, following Rubenstein's text, "Animal Behavior," in addition to, examples from contemporary literature. As a group, we will, investigate functional and evolutionary bases of animal behavior, in the context of reproductive behavior, mating systems, parental, care, altruism, social behavior, communication, and cognition., Students will lead independent projects focused on a specific, behavior or class of behaviors within and/or among species,, emphasizing discovery, creative thinking, skills application, and, knowledge communication to the broader community. Students will, emerge with the ability to apply the concepts underpinning the, study of animal behavior and its importance in the context of, global change., , Keywords:animal behavior, animal senses, biology, evolution} This course will explore the scientific study of animal behavior in the context of natural selection and evolutionary theory following Rubenstein's text, "Animal Behavior," in addition to examples from contemporary literature. As a group, we will investigate functional and evolutionary bases of animal behavior in the context of reproductive behavior, mating systems, parental care, altruism, social behavior, communication, and cognition. Students will lead independent projects focused on a specific behavior or class of behaviors within and/or among species, emphasizing discovery, creative thinking, skills application, and knowledge communication to the broader community. Students will emerge with the ability to apply the concepts underpinning the study of animal behavior and its importance in the context of global change. Keywords:animal behavior, animal senses, biology, evolution atFAC@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Animal Behavior, Author:Dustin Rubenstein, ISBN:0197564917, Cost: MIX, LC1 CS-0208-1 How People Learn Laura Wenk TTH 01:00PM-02:20PM FPHAs a result of cognitive psychology and education research, we have an excellent understanding of human learning, its social and cultural nature, and the varied approaches to teaching, testing and assessment that lead to success. There is strong evidence that implementing these ideas would improve learning for all, including those who have been under-resourced. In this seminar we worked to understand the findings by reading, discussing, and evaluating a selection of theoretical works and primary research from cognitive psychology and examine their practical applications to education. We used theory to reflect on our own educational experiences and the experiences of others. We critiqued classroom teaching and learned how to change classroom environments so that they are inclusive, with high levels of achievement for all. Students completed a final project on a question of their own related to the course.
As a result of cognitive psychology and education research, we, have an excellent understanding of human learning, its social and, cultural nature, and the varied approaches to teaching, testing, and assessment that lead to success. There is strong evidence, that implementing these ideas would improve learning for all,, including those who have been under-resourced. In this seminar we, will work to understand the findings by reading, discussing, and, evaluating a selection of theoretical works and primary research, from cognitive psychology and examine their practical, applications to education. We'll use theory to reflect on our own, educational experiences and the experiences of others. We will, critique classroom teaching and learn how to change classroom, environments so that they are inclusive, with high levels of, achievement for all. Students will do a final project on a, question of their own related to the course., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time As a result of cognitive psychology and education research, we have an excellent understanding of human learning, its social and cultural nature, and the varied approaches to teaching, testing and assessment that lead to success. There is strong evidence that implementing these ideas would improve learning for all, including those who have been under-resourced. In this seminar we will work to understand the findings by reading, discussing, and evaluating a selection of theoretical works and primary research from cognitive psychology and examine their practical applications to education. We'll use theory to reflect on our own educational experiences and the experiences of others. We will critique classroom teaching and learn how to change classroom environments so that they are inclusive, with high levels of achievement for all. Students will do a final project on a question of their own related to the course. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time As a result of cognitive psychology and education research, we, have an excellent understanding of human learning, its social and, cultural nature, and the varied approaches to teaching, testing, and assessment that lead to success. There is strong evidence, that implementing these ideas would improve learning for all,, including those who have been under-resourced. In this seminar we, will work to understand the findings by reading, discussing, and, evaluating a selection of theoretical works and primary research, from cognitive psychology and examine their practical, applications to education. We'll use theory to reflect on our own, educational experiences and the experiences of others. We will, critique classroom teaching and learn how to change classroom, environments so that they are inclusive, with high levels of, achievement for all. Students will do a final project on a, question of their own related to the course. As a result of cognitive psychology and education research, we have an excellent understanding of human learning, its social and cultural nature, and the varied approaches to teaching, testing and assessment that lead to success. There is strong evidence that implementing these ideas would improve learning for all, including those who have been under-resourced. In this seminar we will work to understand the findings by reading, discussing, and evaluating a selection of theoretical works and primary research from cognitive psychology and examine their practical applications to education. We'll use theory to reflect on our own educational experiences and the experiences of others. We will critique classroom teaching and learn how to change classroom environments so that they are inclusive, with high levels of achievement for all. Students will do a final project on a questi< on of their own related to the course. lwNS@hampshire.edu_ Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time MIX CS-0234-1 Psychology of Mental Health Kat Glick LC2 TTH 02:30PM-03:50PM CSC?This course provides a foundational and systems-based framework for the various theoretical, clinical, and experimental complex perspectives of the study of clinical mental health. The systems that give rise to what we call mental illness encompass a host of components across biological, psychological, and socio-cultural-political-economic levels. The role of society and culture in determining definitions of abnormal behavior and approaches to mental healthcare is addressed in this course from an intersectional and anti-oppressive lens and interwoven throughout discussions and experiential activities. Students will gain foundational knowledge of the various psychological disorders, from individual and systemic risk factors to symptom presentations, diagnostic considerations and language, and treatment considerations. The course will also critically examine how various systems of oppression intersect with the fields of mental, behavioral, and physical health, and provide students with empowerment tools for self-advocacy, self-education and individualized self-care.
This course provides a foundational and systems-based framework, for the various theoretical, clinical, and experimental complex, perspectives of the study of clinical mental health. The systems, that give rise to what we call mental illness encompass a host of, components across biological, psychological, and, socio-cultural-political-economic levels. The role of society and, culture in determining definitions of abnormal behavior and, approaches to mental healthcare is addressed in this course from, an intersectional and anti-oppressive lens and interwoven, throughout discussions and experiential activities. Students will, gain foundational knowledge of the various psychological, disorders, from individual and systemic risk factors to symptom, presentations, diagnostic considerations and language, and, treatment considerations. The course will also critically, examine how various systems of oppression intersect with the, fields of mental, behavioral, and physical health, and provide, students with empowerment tools for self-advocacy, self-education, and individualized self-care., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course provides a foundational and systems-based framework for the various theoretical, clinical, and experimental complex perspectives of the study of clinical mental health. The systems that give rise to what we call mental illness encompass a host of components across biological, psychological, and socio-cultural-political-economic levels. The role of society and culture in determining definitions of abnormal behavior and approaches to mental healthcare is addressed in this course from an intersectional and anti-oppressive lens and interwoven throughout discussions and experiential activities. Students will gain foundational knowledge of the various psychological disorders, from individual and systemic risk factors to symptom presentations, diagnostic considerations and language, and treatment considerations. The course will also critically examine how various systems of oppression intersect with the fields of mental, behavioral, and physical health, and provide students with empowerment tools for self-advocacy, self-education and individualized self-care. Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeJ This course provides a foundational and systems-based framework, for the various theoretical, clinical, and experimental complex, perspectives of the study of clinical mental health. The systems, that give rise to what we call mental illness encompass a host of, components across biological, psychological, and, socio-cultural-political-economic levels. The role of society and, culture in determining definitions of abnormal behavior and, approaches to mental healthcare is addressed in this course from, an intersectional and anti-oppressive lens and interwoven, throughout discussions and experiential activities. Students will, gain foundational knowledge of the various psychological, disorders, from individual and systemic risk factors to symptom, presentations, diagnostic considerations and language, and, treatment considerations. The course will also critically, examine how various systems of oppression intersect with the, fields of mental, behavioral, and physical health, and provide, students with empowerment tools for self-advocacy, self-education, and individualized self-care.9 This course provides a foundational and systems-based framework for the various theoretical, clinical, and experimental complex perspectives of the study of clinical mental health. The systems that give rise to what we call mental illness encompass a host of components across biological, psychological, and socio-cultural-political-economic levels. The role of society and culture in determining definitions of abnormal behavior and approaches to mental healthcare is addressed in this course from an intersectional and anti-oppressive lens and interwoven throughout discussions and experiential activities. Students will gain foundational knowledge of the various psychological disorders, from individual and systemic risk factors to symptom presentations, diagnostic considerations and language, and treatment considerations. The course will also critically examine how various systems of oppression intersect with the fields of mental, behavioral, and physical health, and provide students with empowerment tools for self-advocacy, self-education and individualized self-care. kgFAC@hampshire.edu MIX, LC2, RP CS-0278-1 Psychology of Eating TTH 10:30AM-11:50AMThis course provides a framework for analysis of current interacting sociocultural and psychosocial forces that combine to shape human's eating behaviors, food choices, and motivations towards food-based body modification. Topics covered in this course include developmental and behavioral learning mechanisms of food choice and eating patterns, sensory systems and eating experiences, biological, neurological, and biochemical mechanisms of hunger, satiety, and cravings, sociocultural influences on eating patterns, body image and gender, dieting behaviors and weight regulation, the development of cognitions and behaviors concerning food, eating, and our bodies, and how the mental health field conceptualizes and treats eating disorders. Various perspectives will be explored through an anti-oppressive lens, examining the intersections of capitalism and other systems of identity-based oppression and diet and weight-loss culture, food accessibility, marketing/advertising, and public health perceptions of what is "healthy" vs "unhealthy". The food system(s) will also be explored through a critical framework, examining themes of food politics, policies, and food activism
This course provides a framework for analysis of current, interacting sociocultural and psychosocial forces that, combine to shape human's eating behaviors, food choices, and, motivations towards food-based body modification., Topics covered in this course include developmental and, behavioral learning mechanisms of food choice and eating, patterns, sensory systems and eating experiences, biological,, neurological, and biochemical mechanisms of hunger,, satiety, and cravings, sociocultural influences on eating, patterns, body image and gender, dieting behaviors and, weight regulation, the development of cognitions and behaviors, concerning food, eating, and our bodies, and how, the mental health field conceptualizes and treats eating, disorders. Various perspectives will be explored through an, anti-oppressive lens, examining the intersections of capitalism, and other systems of identity-based oppression and, diet and weight-loss culture, food accessibility,, marketing/advertising, and publ< ic health perceptions of what is, "healthy" vs "unhealthy". The food system(s) will also be, explored through a critical framework, examining themes of, food politics, policies, and food activism, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time. This course provides a framework for analysis of current interacting sociocultural and psychosocial forces that combine to shape human's eating behaviors, food choices, and motivations towards food-based body modification. Topics covered in this course include developmental and behavioral learning mechanisms of food choice and eating patterns, sensory systems and eating experiences, biological, neurological, and biochemical mechanisms of hunger, satiety, and cravings, sociocultural influences on eating patterns, body image and gender, dieting behaviors and weight regulation, the development of cognitions and behaviors concerning food, eating, and our bodies, and how the mental health field conceptualizes and treats eating disorders. Various perspectives will be explored through an anti-oppressive lens, examining the intersections of capitalism and other systems of identity-based oppression and diet and weight-loss culture, food accessibility, marketing/advertising, and public health perceptions of what is "healthy" vs "unhealthy". The food system(s) will also be explored through a critical framework, examining themes of food politics, policies, and food activism Students should expect to spend 6-8 hours weekly on work and preparation outside of class time. This course provides a framework for analysis of current, interacting sociocultural and psychosocial forces that, combine to shape human's eating behaviors, food choices, and, motivations towards food-based body modification., Topics covered in this course include developmental and, behavioral learning mechanisms of food choice and eating, patterns, sensory systems and eating experiences, biological,, neurological, and biochemical mechanisms of hunger,, satiety, and cravings, sociocultural influences on eating, patterns, body image and gender, dieting behaviors and, weight regulation, the development of cognitions and behaviors, concerning food, eating, and our bodies, and how, the mental health field conceptualizes and treats eating, disorders. Various perspectives will be explored through an, anti-oppressive lens, examining the intersections of capitalism, and other systems of identity-based oppression and, diet and weight-loss culture, food accessibility,, marketing/advertising, and public health perceptions of what is, "healthy" vs "unhealthy". The food system(s) will also be, explored through a critical framework, examining themes of, food politics, policies, and food activism This course provides a framework for analysis of current interacting sociocultural and psychosocial forces that combine to shape human's eating behaviors, food choices, and motivations towards food-based body modification. Topics covered in this course include developmental and behavioral learning mechanisms of food choice and eating patterns, sensory systems and eating experiences, biological, neurological, and biochemical mechanisms of hunger, satiety, and cravings, sociocultural influences on eating patterns, body image and gender, dieting behaviors and weight regulation, the development of cognitions and behaviors concerning food, eating, and our bodies, and how the mental health field conceptualizes and treats eating disorders. Various perspectives will be explored through an anti-oppressive lens, examining the intersections of capitalism and other systems of identity-based oppression and diet and weight-loss culture, food accessibility, marketing/advertising, and public health perceptions of what is "healthy" vs "unhealthy". The food system(s) will also be explored through a critical framework, examining themes of food politics, policies, and food activism` Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time. CS-0279-1 Animal Behavior Research TH 02:30PM-05:20PMThis hands-on field course will cover research methods for observing, coding, and analyzing animal behavior. We will practice behavior sampling and recording techniques on domestic animals at the farm, wild animals in the campus woods, and captive animals in the lab. We will use tools and equipment for measuring and tracking behaviors, including social behavior, foraging and communication behavior. Students will carry out independent projects on a species in the 91è woods, the Farm, or the lab and will be expected to consult the primary scientific literature to learn about their species. We will examine how to summarize, analyze, and present data. Students will work with spreadsheets and basic R Statistical Software and make graphs to present their data. Papers and presentations will be due for each project. Keywords:Animal behavior, research methods, ethology, ecology, agriculture/aquaculture
This hands-on field course will cover research methods for, observing, coding, and analyzing animal behavior. We will, practice behavior sampling and recording techniques on domestic, animals at the farm, wild animals in the campus woods, and, captive animals in the lab. We will use tools and equipment for, measuring and tracking behaviors, including social behavior,, foraging and communication behavior. Students will carry out, independent projects on a species in the 91è woods, the, Farm, or the lab and will be expected to consult the primary, scientific literature to learn about their species. We will, examine how to summarize, analyze, and present data. Students, will work with spreadsheets and basic R Statistical Software and, make graphs to present their data. Papers and presentations will, be due for each project., , Keywords:Animal behavior, research methods, ethology, ecology,, agriculture/aquaculture, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Observing Animal Behaviour: Design and Analysis of, Quantitive Controls, Author:Miriam Stamp Dawkins, ISBN:019856936X, Cost:, , Title:Measuring Behaviour, Author:Melissa Bateson, ISBN:1108745725, Cost: This hands-on field course will cover research methods for observing, coding, and analyzing animal behavior. We will practice behavior sampling and recording techniques on domestic animals at the farm, wild animals in the campus woods, and captive animals in the lab. We will use tools and equipment for measuring and tracking behaviors, including social behavior, foraging and communication behavior. Students will carry out independent projects on a species in the 91è woods, the Farm, or the lab and will be expected to consult the primary scientific literature to learn about their species. We will examine how to summarize, analyze, and present data. Students will work with spreadsheets and basic R Statistical Software and make graphs to present their data. Papers and presentations will be due for each project. Keywords:Animal behavior, research methods, ethology, ecology, agriculture/aquaculture Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Title:Observing Animal Behaviour: Design and Analysis of Quantitive Controls Author:Miriam Stamp Dawkins ISBN:019856936X Cost: Title:Measuring Behaviour Author:Melissa Bateson ISBN:1108745725 Cost: This hands-on field course will cover research methods for, observing, coding, and analyzing animal behavior. We will, practice behavior sampling and recording techniques on domestic, animals at the farm, wild animals in the campus woods, and, captive animals in the lab. We will use tools and equipment for, measuring and tracking behaviors, including social behavior,, foraging and communication behavior. Students will carry out, independent projects on a species in the 91è woods, the, Farm, or the lab and will be expected to consult the primary, scientific literature to learn about their species. We will, examine how to summarize, analyze, and present data. Students, will work with spreadshe< ets and basic R Statistical Software and, make graphs to present their data. Papers and presentations will, be due for each project., , Keywords:Animal behavior, research methods, ethology, ecology,, agriculture/aquaculture This hands-on field course will cover research methods for observing, coding, and analyzing animal behavior. We will practice behavior sampling and recording techniques on domestic animals at the farm, wild animals in the campus woods, and captive animals in the lab. We will use tools and equipment for measuring and tracking behaviors, including social behavior, foraging and communication behavior. Students will carry out independent projects on a species in the 91è woods, the Farm, or the lab and will be expected to consult the primary scientific literature to learn about their species. We will examine how to summarize, analyze, and present data. Students will work with spreadsheets and basic R Statistical Software and make graphs to present their data. Papers and presentations will be due for each project. Keywords:Animal behavior, research methods, ethology, ecology, agriculture/aquaculture< Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Observing Animal Behaviour: Design and Analysis of, Quantitive Controls, Author:Miriam Stamp Dawkins, ISBN:019856936X, Cost:, , Title:Measuring Behaviour, Author:Melissa Bateson, ISBN:1108745725, Cost: MIX, D2P CSI CSI-0104-1* Changemaking in Urgent Times: Art/Politics Jina Fast, Javiera Benavente LC5# W 04:00PM-05:20PM F 10:30AM-11:50AM FPH, FPH, FPH, FPH MLHIn this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the Arts and Politics question: How can art and politics intersect to challenge dominant narratives and create new visions for community? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning
: In this class students will dive deep into the LC questions and, investigate theories and practices for community change, with, emphasis on praxis (the relationships(s) between theory, , practice, and reflection). Students will become conversant in, critical change theories to consider how to create liberatory, spaces, sustainable and just futures, and use art and politics to, create community change. Toward this end, the course will engage, critical theories of change across disciplines centering social,, political, environmental and economic movement building that is, actionable. Additionally, through a weekly lecture series,, accompanying common readings, small group discussion, and project, work students will examine social justice / social change, theories and practices of community change using a framework of, context, history, meaning, and possibility to examine theories, and work toward enacting practices of community change through, policy advocacy, activism, art-making, writing, research, etc. , Wednesdays 4-5:20 pm will be an LC learning event and Fridays, 10:30-11:50 am will be discussion groups with 16 students where, all will work on collaborative project development., Friday Discussion sessions and project work will center the Arts, and Politics question: How can art and politics intersect to, challenge dominant narratives and create new visions for, community?, , Keywords:Urgent Questions, Social Justice, Theory, Community, Change, Project-Based Learning, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time In this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the Arts and Politics question: How can art and politics intersect to challenge dominant narratives and create new visions for community? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning Students should expect to spend 6-8 hours weekly on work and preparation outside of class time In this class students will dive deep into the LC questions and, investigate theories and practices for community change, with, emphasis on praxis (the relationships(s) between theory, , practice, and reflection). Students will become conversant in, critical change theories to consider how to create liberatory, spaces, sustainable and just futures, and use art and politics to, create community change. Toward this end, the course will engage, critical theories of change across disciplines centering social,, political, environmental and economic movement building that is, actionable. Additionally, through a weekly lecture series,, accompanying common readings, small group discussion, and project, work students will examine social justice / social change, theories and practices of community change using a framework of, context, history, meaning, and possibility to examine theories, and work toward enacting practices of community change through, policy advocacy, activism, art-making, writing, research, etc. , Wednesdays 4-5:20 pm will be an LC learning event and Fridays, 10:30-11:50 am will be discussion groups with 16 students where, all will work on collaborative project development., Friday Discussion sessions and project work will center the Arts, and Politics question: How can art and politics intersect to, challenge dominant narratives and create new visions for, community?, , Keywords:Urgent Questions, Social Justice, Theory, Community, Change, Project-Based Learning In this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critic< al theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the Arts and Politics question: How can art and politics intersect to challenge dominant narratives and create new visions for community? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning' jmfCSI@hampshire.edu;jbDO@hampshire.edu MIX, LC5, D2P CSI-0104-2( Changemaking in Urgent Times: Env/ChangeIn this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the Environments and Change question: How do we envision sustainable and just futures in the face of a changing planet? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning
In this class students will dive deep into the LC questions and, investigate theories and practices for community change, with, emphasis on praxis (the relationships(s) between theory, , practice, and reflection). Students will become conversant in, critical change theories to consider how to create liberatory, spaces, sustainable and just futures, and use art and politics to, create community change. Toward this end, the course will engage, critical theories of change across disciplines centering social,, political, environmental and economic movement building that is, actionable. Additionally, through a weekly lecture series,, accompanying common readings, small group discussion, and project, work students will examine social justice / social change, theories and practices of community change using a framework of, context, history, meaning, and possibility to examine theories, and work toward enacting practices of community change through, policy advocacy, activism, art-making, writing, research, etc. , Wednesdays 4-5:20 pm will be an LC learning event and Fridays, 10:30-11:50 am will be discussion groups with 16 students where, all will work on collaborative project development., Friday Discussion sessions and project work will center the, Environments and Change question: How do we envision sustainable, and just futures in the face of a changing planet?, , Keywords:Urgent Questions, Social Justice, Theory, Community, Change, Project-Based Learning In this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the Environments and Change question: How do we envision sustainable and just futures in the face of a changing planet? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning] Students should expect to spend 8 hours weekly on work and, preparation outside of class time MIX, D2P, LC1 CSI-0104-3( Changemaking in Urgent Times: In/JusticeIn this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the In/Justice question: How can we create liberatory spaces against pervasive white supremacy and oppression? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning
In this class students will dive deep into the LC questions and, investigate theories and practices for community change, with, emphasis on praxis (the relationships(s) between theory, , practice, and reflection). Students will become conversant in, critical change theories to consider how to create liberatory, spaces, sustainable and just futures, and use art and politics to, create community change. Toward this end, the course will engage, critical theories of change across disciplines centering social,, political, environmental and economic movement building that is, actionable. Additionally, through a weekly lecture series,, accompanying common readings, small group discussion, and project, work students will examine social justice / social change, theories and practices of community change using a framework of, context, history, meaning, and possibility to examine theories, and work toward enacting practices of community change through, policy advocacy, activism, art-making, writing, research, etc. , Wednesdays 4-5:20 pm will be an LC learning event < and Fridays, 10:30-11:50 am will be discussion groups with 16 students where, all will work on collaborative project development., Friday Discussion sessions and project work will center the, In/Justice question: How can we create liberatory spaces against, pervasive white supremacy and oppression?, , Keywords:Urgent Questions, Social Justice, Theory, Community, Change, Project-Based Learning In this class students will dive deep into the LC questions and investigate theories and practices for community change, with emphasis on praxis (the relationships(s) between theory, practice, and reflection). Students will become conversant in critical change theories to consider how to create liberatory spaces, sustainable and just futures, and use art and politics to create community change. Toward this end, the course will engage critical theories of change across disciplines centering social, political, environmental and economic movement building that is actionable. Additionally, through a weekly lecture series, accompanying common readings, small group discussion, and project work students will examine social justice / social change theories and practices of community change using a framework of context, history, meaning, and possibility to examine theories and work toward enacting practices of community change through policy advocacy, activism, art-making, writing, research, etc. Wednesdays 4-5:20 pm will be an LC learning event and Fridays 10:30-11:50 am will be discussion groups with 16 students where all will work on collaborative project development. Friday Discussion sessions and project work will center the In/Justice question: How can we create liberatory spaces against pervasive white supremacy and oppression? Keywords:Urgent Questions, Social Justice, Theory, Community Change, Project-Based Learning MIX, LC2, RP, D2P CSI-0110-1 History of the Book James WaldStudents and teachers spend most of their time reading and writing, but how often do we stop to think about what these acts entail, where they originated, how they have changed? Is the media revolution that we are experiencing one of degree or kind? Will the shift to electronic media mean not just the end of the book, but also the radical transformation of authorship and publishing, indeed, of the very ways that we read, research, and think? In order to situate ourselves in the present, we will turn to history, studying oral culture, the transition from manuscript to print in the Middle Ages, the rise of mass literacy in the modern era, and the rise of new media today. The comparison of past and present will enable students to understand their own situation, in the process introducing them to historical reasoning and research. Class may include occasional local field trips. Keywords:books, technology, history
Students and teachers spend most of their time reading and, writing, but how often do we stop to think about what these acts, entail, where they originated, how they have changed? Is the, media revolution that we are experiencing one of degree or kind?, Will the shift to electronic media mean not just the end of the, book, but also the radical transformation of authorship and, publishing, indeed, of the very ways that we read, research, and, think? In order to situate ourselves in the present, we will turn, to history, studying oral culture, the transition from manuscript, to print in the Middle Ages, the rise of mass literacy in the, modern era, and the rise of new media today. The comparison of, past and present will enable students to understand their own, situation, in the process introducing them to historical, reasoning and research. Class may include occasional local field, trips., , Keywords:books, technology, history, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Students and teachers spend most of their time reading and writing, but how often do we stop to think about what these acts entail, where they originated, how they have changed? Is the media revolution that we are experiencing one of degree or kind? Will the shift to electronic media mean not just the end of the book, but also the radical transformation of authorship and publishing, indeed, of the very ways that we read, research, and think? In order to situate ourselves in the present, we will turn to history, studying oral culture, the transition from manuscript to print in the Middle Ages, the rise of mass literacy in the modern era, and the rise of new media today. The comparison of past and present will enable students to understand their own situation, in the process introducing them to historical reasoning and research. Class may include occasional local field trips. Keywords:books, technology, history Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Students and teachers spend most of their time reading and, writing, but how often do we stop to think about what these acts, entail, where they originated, how they have changed? Is the, media revolution that we are experiencing one of degree or kind?, Will the shift to electronic media mean not just the end of the, book, but also the radical transformation of authorship and, publishing, indeed, of the very ways that we read, research, and, think? In order to situate ourselves in the present, we will turn, to history, studying oral culture, the transition from manuscript, to print in the Middle Ages, the rise of mass literacy in the, modern era, and the rise of new media today. The comparison of, past and present will enable students to understand their own, situation, in the process introducing them to historical, reasoning and research. Class may include occasional local field, trips., , Keywords:books, technology, history Students and teachers spend most of their time reading and writing, but how often do we stop to think about what these acts entail, where they originated, how they have changed? Is the media revolution that we are experiencing one of degree or kind? Will the shift to electronic media mean not just the end of the book, but also the radical transformation of authorship and publishing, indeed, of the very ways that we read, research, and think? In order to situate ourselves in the present, we will turn to history, studying oral culture, the transition from manuscript to print in the Middle Ages, the rise of mass literacy in the modern era, and the rise of new media today. The comparison of past and present will enable students to understand their own situation, in the process introducing them to historical reasoning and research. Class may include occasional local field trips. Keywords:books, technology, history jjwSS@hampshire.edu CSI-0111-1 Intro to Political Economy Omar Dahi MW 09:00AM-10:20AMWhat are markets and how are they created and organized around the world? What is the appropriate relationship between society, governments and markets? How can we transform our economic systems to address climate change? What role has racism played in the development of global capitalism and how does it continue to impact economic outcomes? This course addresses these questions by introducing students to a variety of approaches and theories. The course begins with an introduction to core political economy ideas and concepts drawing upon both classical and modern thinkers, and then introduces contemporary themes and debates. We read foundational political economy thinkers as well as debate key questions and problems in the study of political economy.
f What are markets and how are they created and organized around, the world? What is the appropriate relationship between society,, governments and markets? How can we transform our economic, systems to address climate change? What role has racism played in, the development of global capitalism and how does it continue to, impact economic outcomes? This course addresses these questions, by introducing students to a variety of approaches and theories., The course begins with an introduction to core political economy, ideas and concepts drawing upon both classical and modern, th< inkers, and then introduces contemporary themes and debates. We, read foundational political economy thinkers as well as debate, key questions and problems in the study of political economy., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeX What are markets and how are they created and organized around the world? What is the appropriate relationship between society, governments and markets? How can we transform our economic systems to address climate change? What role has racism played in the development of global capitalism and how does it continue to impact economic outcomes? This course addresses these questions by introducing students to a variety of approaches and theories. The course begins with an introduction to core political economy ideas and concepts drawing upon both classical and modern thinkers, and then introduces contemporary themes and debates. We read foundational political economy thinkers as well as debate key questions and problems in the study of political economy. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time What are markets and how are they created and organized around, the world? What is the appropriate relationship between society,, governments and markets? How can we transform our economic, systems to address climate change? What role has racism played in, the development of global capitalism and how does it continue to, impact economic outcomes? This course addresses these questions, by introducing students to a variety of approaches and theories., The course begins with an introduction to core political economy, ideas and concepts drawing upon both classical and modern, thinkers, and then introduces contemporary themes and debates. We, read foundational political economy thinkers as well as debate, key questions and problems in the study of political economy. What are markets and how are they created and organized around the world? What is the appropriate relationship between society, governments and markets? How can we transform our economic systems to address climate change? What role has racism played in the development of global capitalism and how does it continue to impact economic outcomes? This course addresses these questions by introducing students to a variety of approaches and theories. The course begins with an introduction to core political economy ideas and concepts drawing upon both classical and modern thinkers, and then introduces contemporary themes and debates. We read foundational political economy thinkers as well as debate key questions and problems in the study of political economy. odSS@hampshire.edu CSI-0116-1 Global Middle Ages: Ethiopia Jutta Sperling TTH 07:40PM-09:00PM RWKWhy did Cuban and African-American abolitionists, seeking liberation in the Americas,look back in time and across the globe to Ethiopia? How was African sovereignty, as exemplified in Ethiopia, a beacon for later emancipation? These questions will lead us to explore Ethiopian imperial and religious politics but also the arts, architecture, and book culture of Ethiopia in Antiquity, the Middle Ages and the Early Modern Period. Case studies will include illuminated manuscripts, the practice of magic, monasticism, church architecture, the cult of the Virgin Mary, ancient Renaissances, encounters with Judaism and Islam, strategies of othering and racialization, visits and encounters, diplomatic gift exchanges. Moving into the early modern age, we will study military partnerships with the Portuguese, the expulsion of the Jesuits, and female royal patronage of the arts. The focus will be on primary sources whenever feasible. We will also study a magic scroll preserved at Amherst College and learn the G???z alphabet
t Why did Cuban and African-American abolitionists, seeking, liberation in the Americas,look back in time and across the globe, to Ethiopia? How was African sovereignty, as exemplified in, Ethiopia, a beacon for later emancipation? These questions will, lead us to explore Ethiopian imperial and religious politics but, also the arts, architecture, and book culture of Ethiopia in, Antiquity, the Middle Ages and the Early Modern Period., Case studies will include illuminated manuscripts, the practice, of magic, monasticism, church architecture, the cult of the, Virgin Mary, ancient Renaissances, encounters with Judaism and, Islam, strategies of othering and racialization, visits and, encounters, diplomatic gift exchanges. Moving into the early, modern age, we will study military partnerships with the, Portuguese, the expulsion of the Jesuits, and female royal, patronage of the arts., The focus will be on primary sources whenever feasible. We will, also study a magic scroll preserved at Amherst College and learn, the G???z alphabet, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time` Why did Cuban and African-American abolitionists, seeking liberation in the Americas,look back in time and across the globe to Ethiopia? How was African sovereignty, as exemplified in Ethiopia, a beacon for later emancipation? These questions will lead us to explore Ethiopian imperial and religious politics but also the arts, architecture, and book culture of Ethiopia in Antiquity, the Middle Ages and the Early Modern Period. Case studies will include illuminated manuscripts, the practice of magic, monasticism, church architecture, the cult of the Virgin Mary, ancient Renaissances, encounters with Judaism and Islam, strategies of othering and racialization, visits and encounters, diplomatic gift exchanges. Moving into the early modern age, we will study military partnerships with the Portuguese, the expulsion of the Jesuits, and female royal patronage of the arts. The focus will be on primary sources whenever feasible. We will also study a magic scroll preserved at Amherst College and learn the G???z alphabet Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Why did Cuban and African-American abolitionists, seeking, liberation in the Americas,look back in time and across the globe, to Ethiopia? How was African sovereignty, as exemplified in, Ethiopia, a beacon for later emancipation? These questions will, lead us to explore Ethiopian imperial and religious politics but, also the arts, architecture, and book culture of Ethiopia in, Antiquity, the Middle Ages and the Early Modern Period., Case studies will include illuminated manuscripts, the practice, of magic, monasticism, church architecture, the cult of the, Virgin Mary, ancient Renaissances, encounters with Judaism and, Islam, strategies of othering and racialization, visits and, encounters, diplomatic gift exchanges. Moving into the early, modern age, we will study military partnerships with the, Portuguese, the expulsion of the Jesuits, and female royal, patronage of the arts., The focus will be on primary sources whenever feasible. We will, also study a magic scroll preserved at Amherst College and learn, the G???z alphabet Why did Cuban and African-American abolitionists, seeking liberation in the Americas,look back in time and across the globe to Ethiopia? How was African sovereignty, as exemplified in Ethiopia, a beacon for later emancipation? These questions will lead us to explore Ethiopian imperial and religious politics but also the arts, architecture, and book culture of Ethiopia in Antiquity, the Middle Ages and the Early Modern Period. Case studies will include illuminated manuscripts, the practice of magic, monasticism, church architecture, the cult of the Virgin Mary, ancient Renaissances, encounters with Judaism and Islam, strategies of othering and racialization, visits and encounters, diplomatic gift exchanges. Moving into the early modern age, we will study military partnerships with the Portuguese, the expulsion of the Jesuits, and female royal patronage of the arts. The focus will be on primary sources whenever feasible. We will also study a magic scroll preserved at Amherst College and learn the G???z alphabet jsSS@hampshire.edu CSI-0125-1 Indigenous Anarchy< Noah Romero TTH 09:00AM-10:20AMThis course explores the interrelations between critical Indigenous studies and anarchism, examining how Indigenous communities resist colonialism and assert autonomy through decentralized, egalitarian practices. Students will investigate historical and contemporary examples of Indigenous resistance, focusing on how these movements challenge oppressive structures and promote self-determination.
W This course explores the interrelations between critical, Indigenous studies and anarchism, examining how Indigenous, communities resist colonialism and assert autonomy through, decentralized, egalitarian practices. Students will investigate, historical and contemporary examples of Indigenous resistance,, focusing on how these movements challenge oppressive structures, and promote self-determination., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:No Spiritual Surrender, Author:Klee Benally, ISBN:978-1-948501-28-6, Cost:$20G This course explores the interrelations between critical Indigenous studies and anarchism, examining how Indigenous communities resist colonialism and assert autonomy through decentralized, egalitarian practices. Students will investigate historical and contemporary examples of Indigenous resistance, focusing on how these movements challenge oppressive structures and promote self-determination. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Title:No Spiritual Surrender Author:Klee Benally ISBN:978-1-948501-28-6 Cost:$20 This course explores the interrelations between critical, Indigenous studies and anarchism, examining how Indigenous, communities resist colonialism and assert autonomy through, decentralized, egalitarian practices. Students will investigate, historical and contemporary examples of Indigenous resistance,, focusing on how these movements challenge oppressive structures, and promote self-determination. This course explores the interrelations between critical Indigenous studies and anarchism, examining how Indigenous communities resist colonialism and assert autonomy through decentralized, egalitarian practices. Students will investigate historical and contemporary examples of Indigenous resistance, focusing on how these movements challenge oppressive structures and promote self-determination. nerCSI@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:No Spiritual Surrender, Author:Klee Benally, ISBN:978-1-948501-28-6, Cost:$20 CSI-0128-1 Choreographies of Protest Amy JordaneChoreographies of Protest: African American Social and Performance History explored how African American dance and music traditions sustained their humanity through Africanist movement vocabularies and a particular relationship to rhythm. This class examined the forms, contents and contexts of black dance traditions and the roles they played in shaping American dance; focusing on how expressive cultural forms from the African diaspora have been transferred from the religious and social spaces to the concert stage. To examine American cultural history through the lens of movement and performance, we began with an exploration of social and spiritual dances during slavery and the late nineteenth century when vibrant social dances insisted that black bodies, generally relegated to long hours of strenuous labor, devote themselves to pleasure as well. We paid particular attention to the creation of protest choreographies among popular music artists, social dance contexts and modern dance idioms. Students were required to participate in class viewings of choreographic works, write 2 fictional letters, 2 critical essays and a final research paper. This course provided a strong foundation for students who want to pursue Africana Studies, cultural or social movement history or pursue transdisciplinary arts based research or performance studies.
Choreographies of Protest: African American Social and, Performance History: African American dance and music traditions, have played a critical role in how African-Americans chose to, convey and sustain their humanity and express joy and pain, corporeally and through a particular relationship to rhythm. This, class will explore the forms, contents and contexts of black, dance traditions that played a crucial role in shaping American, dance; focusing on how expressive cultural forms from the African, diaspora have been transferred from the religious and social, spaces to the concert stage. Viewing American cultural history, through the lens of movement and performance, we will begin with, an exploration of social and spiritual dances during slavery and, the late nineteenth century when vibrant social dances insisted, that black bodies, generally relegated to long hours of strenuous, labor, devote themselves to pleasure as well. We will also, explore the creation of protest choreographies among popular, music artists, social dance contexts and modern dance idioms., This course will provide a strong foundation for students who, want to pursue Africana Studies , cultural or social movement, history or pursue transdisciplinary arts based research or, performance studies , , KEYWORDS:Africana Studies, dance history, performance studies,, African American history,Race and Power, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Choreographies of Protest: African American Social and Performance History: African American dance and music traditions have played a critical role in how African-Americans chose to convey and sustain their humanity and express joy and pain corporeally and through a particular relationship to rhythm. This class will explore the forms, contents and contexts of black dance traditions that played a crucial role in shaping American dance; focusing on how expressive cultural forms from the African diaspora have been transferred from the religious and social spaces to the concert stage. Viewing American cultural history through the lens of movement and performance, we will begin with an exploration of social and spiritual dances during slavery and the late nineteenth century when vibrant social dances insisted that black bodies, generally relegated to long hours of strenuous labor, devote themselves to pleasure as well. We will also explore the creation of protest choreographies among popular music artists, social dance contexts and modern dance idioms. This course will provide a strong foundation for students who want to pursue Africana Studies , cultural or social movement history or pursue transdisciplinary arts based research or performance studies KEYWORDS:Africana Studies, dance history, performance studies, African American history,Race and Power Students should expect to spend 6-8 hours weekly on work and preparation outside of class timer Choreographies of Protest: African American Social and, Performance History: African American dance and music traditions, have played a critical role in how African-Americans chose to, convey and sustain their humanity and express joy and pain, corporeally and through a particular relationship to rhythm. This, class will explore the forms, contents and contexts of black, dance traditions that played a crucial role in shaping American, dance; focusing on how expressive cultural forms from the African, diaspora have been transferred from the religious and social, spaces to the concert stage. Viewing American cultural history, through the lens of movement and performance, we will begin with, an exploration of social and spiritual dances during slavery and, the late nineteenth century when vibrant social dances insisted, that black bodies, generally relegated to long hours of strenuous, labor, devote themselves to pleasure as well. We will also, explore the creation of protest choreographies among popular, music artists, social dance contexts and modern dance idioms., This course will provide a strong foundation for students who, want to pursue Afr< icana Studies , cultural or social movement, history or pursue transdisciplinary arts based research or, performance studies , , KEYWORDS:Africana Studies, dance history, performance studies,, African American history,Race and Power[ Choreographies of Protest: African American Social and Performance History: African American dance and music traditions have played a critical role in how African-Americans chose to convey and sustain their humanity and express joy and pain corporeally and through a particular relationship to rhythm. This class will explore the forms, contents and contexts of black dance traditions that played a crucial role in shaping American dance; focusing on how expressive cultural forms from the African diaspora have been transferred from the religious and social spaces to the concert stage. Viewing American cultural history through the lens of movement and performance, we will begin with an exploration of social and spiritual dances during slavery and the late nineteenth century when vibrant social dances insisted that black bodies, generally relegated to long hours of strenuous labor, devote themselves to pleasure as well. We will also explore the creation of protest choreographies among popular music artists, social dance contexts and modern dance idioms. This course will provide a strong foundation for students who want to pursue Africana Studies , cultural or social movement history or pursue transdisciplinary arts based research or performance studies KEYWORDS:Africana Studies, dance history, performance studies, African American history,Race and Power akjSS@hampshire.edu CSI-0143-1 Indigenous Education`How has compulsory education been used to perpetuate colonialism and its associated discourses, like racism, cisheteronormativity, white supremacy, anti-Blackness, ableism, and Indigenous dispossession? Conversely, how can radical and ancestral approaches to teaching and learning insurrect subjugated knowledge and unite people in a shared struggle for liberation? This course introduces students to the critical study of education through the historical examination of colonial schooling, as well as Indigenous efforts to reclaim Land+, languages, and lifeways through community-sustaining pedagogy.
How has compulsory education been used to perpetuate colonialism, and its associated discourses, like racism, cisheteronormativity,, white supremacy, anti-Blackness, ableism, and Indigenous, dispossession? Conversely, how can radical and ancestral, approaches to teaching and learning insurrect subjugated, knowledge and unite people in a shared struggle for liberation?, This course introduces students to the critical study of, education through the historical examination of colonial, schooling, as well as Indigenous efforts to reclaim Land+,, languages, and lifeways through community-sustaining pedagogy., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time How has compulsory education been used to perpetuate colonialism and its associated discourses, like racism, cisheteronormativity, white supremacy, anti-Blackness, ableism, and Indigenous dispossession? Conversely, how can radical and ancestral approaches to teaching and learning insurrect subjugated knowledge and unite people in a shared struggle for liberation? This course introduces students to the critical study of education through the historical examination of colonial schooling, as well as Indigenous efforts to reclaim Land+, languages, and lifeways through community-sustaining pedagogy. Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeb How has compulsory education been used to perpetuate colonialism, and its associated discourses, like racism, cisheteronormativity,, white supremacy, anti-Blackness, ableism, and Indigenous, dispossession? Conversely, how can radical and ancestral, approaches to teaching and learning insurrect subjugated, knowledge and unite people in a shared struggle for liberation?, This course introduces students to the critical study of, education through the historical examination of colonial, schooling, as well as Indigenous efforts to reclaim Land+,, languages, and lifeways through community-sustaining pedagogy.Y How has compulsory education been used to perpetuate colonialism and its associated discourses, like racism, cisheteronormativity, white supremacy, anti-Blackness, ableism, and Indigenous dispossession? Conversely, how can radical and ancestral approaches to teaching and learning insurrect subjugated knowledge and unite people in a shared struggle for liberation? This course introduces students to the critical study of education through the historical examination of colonial schooling, as well as Indigenous efforts to reclaim Land+, languages, and lifeways through community-sustaining pedagogy. CSI-0150-1 Philosophy of Sexuality Jina Fast MW 01:00PM-02:20PMEmploys an intersectional philosophical approach to the study of human sexuality. Specific topics include ethical, epistemological (knowledge), and political questions related to sexual orientation, lust, casual sex, adultery, love, sexual orientation and practice, different types of relationships, and the intersectionality of sexual identity and orientation with other identities such as race, gender, and disability status. As we consider these questions, we will challenge assumptions regarding human sexuality, consider the importance of sexuality and friendship to the good life, and discuss what, if any, is the appropriate role of the state in human sexual behavior. Keywords:Ethics, Sex, Sexuality, Sexual Orientation, Relationships
Employs an intersectional philosophical approach to the study of, human sexuality. Specific topics include ethical, epistemological, (knowledge), and political questions related to sexual, orientation, lust, casual sex, adultery, love, sexual orientation, and practice, different types of relationships, and the, intersectionality of sexual identity and orientation with other, identities such as race, gender, and disability status. As we, consider these questions, we will challenge assumptions regarding, human sexuality, consider the importance of sexuality and, friendship to the good life, and discuss what, if any, is the, appropriate role of the state in human sexual behavior., , Keywords:Ethics, Sex, Sexuality, Sexual Orientation,, Relationships, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Plato's Symposium, (Hackett Classic), Author:Plato (Nehamas and Woodruff Translators), ISBN:0872200760, Cost:$7-15 Employs an intersectional philosophical approach to the study of human sexuality. Specific topics include ethical, epistemological (knowledge), and political questions related to sexual orientation, lust, casual sex, adultery, love, sexual orientation and practice, different types of relationships, and the intersectionality of sexual identity and orientation with other identities such as race, gender, and disability status. As we consider these questions, we will challenge assumptions regarding human sexuality, consider the importance of sexuality and friendship to the good life, and discuss what, if any, is the appropriate role of the state in human sexual behavior. Keywords:Ethics, Sex, Sexuality, Sexual Orientation, Relationships Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Title:Plato's Symposium (Hackett Classic) Author:Plato (Nehamas and Woodruff Translators) ISBN:0872200760 Cost:$7-15 Employs an intersectional philosophical approach to the study of, human sexuality. Specific topics include ethical, epistemological, (knowledge), and political questions related to sexual, orientation, lust, casual sex, adultery, love, sexual orientation, and practice, different types of relationships, and the, intersectionality of sexual identity and orientation with other, identities such as race, gender, and disability status. As we, consider these questions, we will challenge assumptions regarding, human sexuality, conside< r the importance of sexuality and, friendship to the good life, and discuss what, if any, is the, appropriate role of the state in human sexual behavior., , Keywords:Ethics, Sex, Sexuality, Sexual Orientation,, Relationships Employs an intersectional philosophical approach to the study of human sexuality. Specific topics include ethical, epistemological (knowledge), and political questions related to sexual orientation, lust, casual sex, adultery, love, sexual orientation and practice, different types of relationships, and the intersectionality of sexual identity and orientation with other identities such as race, gender, and disability status. As we consider these questions, we will challenge assumptions regarding human sexuality, consider the importance of sexuality and friendship to the good life, and discuss what, if any, is the appropriate role of the state in human sexual behavior. Keywords:Ethics, Sex, Sexuality, Sexual Orientation, Relationships jmfCSI@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Plato's Symposium, (Hackett Classic), Author:Plato (Nehamas and Woodruff Translators), ISBN:0872200760, Cost:$7-15 CSI-0154-1 Paths to the Past"Everything has a history," the American Historical Association tells us. In order to understand why something is the way it is today, we need to understand how it began and how it got to be this way. This seems so obvious to historians that they are surprised to find not everyone thinks like this. Historical reasoning needs to be taught. We begin by looking at the ways that historians formulate questions, evaluate evidence, and draw conclusions. We then explore the many styles of historical writing. And the fact that something was not "always this way" means it can change. Understanding history is thus also essential to active citizenship. Finally, then, we consider major historical issues with a bearing on life today: experience of American Black and Jewish soldiers during World War II: fighting fascism abroad and discrimination at home and in the military. Keywords:US, World War II, African American, Jewish, History
"Everything has a history," the American Historical Association, tells us. In order to understand why something is the way it is, today, we need to understand how it began and how it got to be, this way. This seems so obvious to historians that they are, surprised to find not everyone thinks like this. Historical, reasoning needs to be taught. We begin by looking at the ways, that historians formulate questions, evaluate evidence, and draw, conclusions. We then explore the many styles of historical, writing. And the fact that something was not "always this way", means it can change. Understanding history is thus also essential, to active citizenship. Finally, then, we consider major, historical issues with a bearing on life today: experience of, American Black and Jewish soldiers during World War II: fighting, fascism abroad and discrimination at home and in the military., , Keywords:US, World War II, African American, Jewish, History, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time "Everything has a history," the American Historical Association tells us. In order to understand why something is the way it is today, we need to understand how it began and how it got to be this way. This seems so obvious to historians that they are surprised to find not everyone thinks like this. Historical reasoning needs to be taught. We begin by looking at the ways that historians formulate questions, evaluate evidence, and draw conclusions. We then explore the many styles of historical writing. And the fact that something was not "always this way" means it can change. Understanding history is thus also essential to active citizenship. Finally, then, we consider major historical issues with a bearing on life today: experience of American Black and Jewish soldiers during World War II: fighting fascism abroad and discrimination at home and in the military. Keywords:US, World War II, African American, Jewish, History Students should expect to spend 6-8 hours weekly on work and preparation outside of class time "Everything has a history," the American Historical Association, tells us. In order to understand why something is the way it is, today, we need to understand how it began and how it got to be, this way. This seems so obvious to historians that they are, surprised to find not everyone thinks like this. Historical, reasoning needs to be taught. We begin by looking at the ways, that historians formulate questions, evaluate evidence, and draw, conclusions. We then explore the many styles of historical, writing. And the fact that something was not "always this way", means it can change. Understanding history is thus also essential, to active citizenship. Finally, then, we consider major, historical issues with a bearing on life today: experience of, American Black and Jewish soldiers during World War II: fighting, fascism abroad and discrimination at home and in the military., , Keywords:US, World War II, African American, Jewish, History "Everything has a history," the American Historical Association tells us. In order to understand why something is the way it is today, we need to understand how it began and how it got to be this way. This seems so obvious to historians that they are surprised to find not everyone thinks like this. Historical reasoning needs to be taught. We begin by looking at the ways that historians formulate questions, evaluate evidence, and draw conclusions. We then explore the many styles of historical writing. And the fact that something was not "always this way" means it can change. Understanding history is thus also essential to active citizenship. Finally, then, we consider major historical issues with a bearing on life today: experience of American Black and Jewish soldiers during World War II: fighting fascism abroad and discrimination at home and in the military. Keywords:US, World War II, African American, Jewish, History CSI-0162-1 Student Partners in Higher Ed Kristen LuschenHigher education institutions have long operated within structures and norms that position professors as experts and students as learners. In response, educators influenced by critical perspectives have sought to empower 'student voice' in the academy as a radical and transformative intervention. How can we understand these efforts in a post-truth, neoliberal education context in which notions of expertise are increasingly unsettled? In this course, students examined scholarship on student voice and partnership in higher education contexts. We examined cases of SaP programs in U.S., Australian, and British colleges and universities to consider how socio-political and institutional contexts influence the creation and shape of these initiatives. At the relational level of partnership, we explored the complexities of power-sharing between faculty and students and how positionality with regard to race, gender, and class influences the lived experience of partnership.
f Higher education institutions have long operated within, structures and norms that position professors as experts and, students as learners. In response, educators influenced by, critical perspectives have sought to empower 'student voice' in, the academy as a radical and transformative intervention. How can, we understand these efforts in a post-truth, neoliberal education, context in which notions of expertise are increasingly unsettled?, We will examine case studies of SaP programs across U.S. and, Australian colleges and universities to consider how, socio-political and institutional contexts influence the creation, and shape of these initiatives. At the relational level of, partnership, we will explore the complexities of power-sharing, between faculty and students, especially in the context of, evolving attacks on the academy, and how positionality (with, regard to race, gender, first gen college, etc) influences the, lived experienc< e of partnership, , Keywords:education, higher education, policy, teaching, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeR Higher education institutions have long operated within structures and norms that position professors as experts and students as learners. In response, educators influenced by critical perspectives have sought to empower 'student voice' in the academy as a radical and transformative intervention. How can we understand these efforts in a post-truth, neoliberal education context in which notions of expertise are increasingly unsettled? We will examine case studies of SaP programs across U.S. and Australian colleges and universities to consider how socio-political and institutional contexts influence the creation and shape of these initiatives. At the relational level of partnership, we will explore the complexities of power-sharing between faculty and students, especially in the context of evolving attacks on the academy, and how positionality (with regard to race, gender, first gen college, etc) influences the lived experience of partnership Keywords:education, higher education, policy, teaching Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Higher education institutions have long operated within, structures and norms that position professors as experts and, students as learners. In response, educators influenced by, critical perspectives have sought to empower 'student voice' in, the academy as a radical and transformative intervention. How can, we understand these efforts in a post-truth, neoliberal education, context in which notions of expertise are increasingly unsettled?, We will examine case studies of SaP programs across U.S. and, Australian colleges and universities to consider how, socio-political and institutional contexts influence the creation, and shape of these initiatives. At the relational level of, partnership, we will explore the complexities of power-sharing, between faculty and students, especially in the context of, evolving attacks on the academy, and how positionality (with, regard to race, gender, first gen college, etc) influences the, lived experience of partnership, , Keywords:education, higher education, policy, teaching Higher education institutions have long operated within structures and norms that position professors as experts and students as learners. In response, educators influenced by critical perspectives have sought to empower 'student voice' in the academy as a radical and transformative intervention. How can we understand these efforts in a post-truth, neoliberal education context in which notions of expertise are increasingly unsettled? We will examine case studies of SaP programs across U.S. and Australian colleges and universities to consider how socio-political and institutional contexts influence the creation and shape of these initiatives. At the relational level of partnership, we will explore the complexities of power-sharing between faculty and students, especially in the context of evolving attacks on the academy, and how positionality (with regard to race, gender, first gen college, etc) influences the lived experience of partnership Keywords:education, higher education, policy, teaching kvlSS@hampshire.edu CSI-0198-1 Gaming the System Professor Loza EDHThis course explores race, queerness, and the politics of play within the games industry and games community. By critically investigating racial stereotypes, gendered constructs, and ableist assumptions within the varied field of gaming (digital, table-top, LARPing), we can begin to understand and analyze how race, gender, and normativity structure our desires and code our cultures. This course will employ Game Studies, Cultural Studies, Queer Studies, Critical Race Theory, and Disability Studies. Questions to be considered include: What role does capitalism play in the production of games? Do games reinforce racist, ableist, and misogynist stereotypes? Can games be used to ethically explore difference? How do BIPOC/queer/disabled game designers reimagine tired tropes and create new realms for us to inhabit? What do games reveal about the complex relationships between marginalized bodies, history, and technology? How can we harness the power of gaming to disrupt and dismantle white supremacy, settler colonialism, and cisheteropatriarchy? Keywords:Game Studies, Popular Culture, Disability Studies, Critical Race Theory, Queer Studies
This course explores race, queerness, and the politics of play, within the games industry and games community. By critically, investigating racial stereotypes, gendered constructs, and, ableist assumptions within the varied field of gaming (digital,, table-top, LARPing), we can begin to understand and analyze how, race, gender, and normativity structure our desires and code our, cultures. This course will employ Game Studies, Cultural Studies,, Queer Studies, Critical Race Theory, and Disability Studies., Questions to be considered include: What role does capitalism, play in the production of games? Do games reinforce racist,, ableist, and misogynist stereotypes? Can games be used to, ethically explore difference? How do BIPOC/queer/disabled game, designers reimagine tired tropes and create new realms for us to, inhabit? What do games reveal about the complex relationships, between marginalized bodies, history, and technology? How can we, harness the power of gaming to disrupt and dismantle white, supremacy, settler colonialism, and cisheteropatriarchy? , , Keywords:Game Studies, Popular Culture, Disability Studies,, Critical Race Theory, Queer Studies, , Students should expect to spend 8-10 hours weekly on work and, preparation outside of class time This course explores race, queerness, and the politics of play within the games industry and games community. By critically investigating racial stereotypes, gendered constructs, and ableist assumptions within the varied field of gaming (digital, table-top, LARPing), we can begin to understand and analyze how race, gender, and normativity structure our desires and code our cultures. This course will employ Game Studies, Cultural Studies, Queer Studies, Critical Race Theory, and Disability Studies. Questions to be considered include: What role does capitalism play in the production of games? Do games reinforce racist, ableist, and misogynist stereotypes? Can games be used to ethically explore difference? How do BIPOC/queer/disabled game designers reimagine tired tropes and create new realms for us to inhabit? What do games reveal about the complex relationships between marginalized bodies, history, and technology? How can we harness the power of gaming to disrupt and dismantle white supremacy, settler colonialism, and cisheteropatriarchy? Keywords:Game Studies, Popular Culture, Disability Studies, Critical Race Theory, Queer Studies Students should expect to spend 8-10 hours weekly on work and preparation outside of class time This course explores race, queerness, and the politics of play, within the games industry and games community. By critically, investigating racial stereotypes, gendered constructs, and, ableist assumptions within the varied field of gaming (digital,, table-top, LARPing), we can begin to understand and analyze how, race, gender, and normativity structure our desires and code our, cultures. This course will employ Game Studies, Cultural Studies,, Queer Studies, Critical Race Theory, and Disability Studies., Questions to be considered include: What role does capitalism, play in the production of games? Do games reinforce racist,, ableist, and misogynist stereotypes? Can games be used to, ethically explore difference? How do BIPOC/queer/disabled game, designers reimagine tired tropes and create new realms for us to, inhabit? What do games reveal about the complex relationships, between marginalized bodies, history, and technology? How can we, harness the power of gaming to disrupt and dismantle white, supremacy, settler colonialism, and cisheteropatriarchy? , , Keywords:Game Studies, Popular Culture, Disability Studie< s,, Critical Race Theory, Queer Studies This course explores race, queerness, and the politics of play within the games industry and games community. By critically investigating racial stereotypes, gendered constructs, and ableist assumptions within the varied field of gaming (digital, table-top, LARPing), we can begin to understand and analyze how race, gender, and normativity structure our desires and code our cultures. This course will employ Game Studies, Cultural Studies, Queer Studies, Critical Race Theory, and Disability Studies. Questions to be considered include: What role does capitalism play in the production of games? Do games reinforce racist, ableist, and misogynist stereotypes? Can games be used to ethically explore difference? How do BIPOC/queer/disabled game designers reimagine tired tropes and create new realms for us to inhabit? What do games reveal about the complex relationships between marginalized bodies, history, and technology? How can we harness the power of gaming to disrupt and dismantle white supremacy, settler colonialism, and cisheteropatriarchy? Keywords:Game Studies, Popular Culture, Disability Studies, Critical Race Theory, Queer Studies slHA@hampshire.edu` Students should expect to spend 8-10 hours weekly on work and, preparation outside of class time CSI-0215-1 Trans Film Reuven Goldberg;This course takes, as its critical object, trans representation in film. We will consider how visibility functions and operates in trans films, from The Silence of the Lambs (which shaped trans representation in the mainstream media for decades), to early trans films like Behind Every Good Man (which served as pseudo-documentaries for a curious cis public, exposing the lives of Black and Brown trans people), to contemporary trans film (geared to both arthouse and mainstream audiences). We will discuss the various tropes that have congealed into popularly circulating stereotypes about trans people and read theoretical texts that engage the material and technical aspects of film to understand the various complicated lives of these tropes. Together we will ask: what are the stakes of trans visual representation? How do these tropes evolve over time? In a largely white archive how is whiteness as power figured? When race, class, citizenship, or HIV status are thematized, what forms do these representations take? Keywords:Trans, film, archives, moving image, theory
J This course takes, as its critical object, trans representation, in film. We will consider how visibility functions and operates, in trans films, from The Silence of the Lambs (which shaped trans, representation in the mainstream media for decades), to early, trans films like Behind Every Good Man (which served as, pseudo-documentaries for a curious cis public, exposing the lives, of Black and Brown trans people), to contemporary trans film, (geared to both arthouse and mainstream audiences). We will, discuss the various tropes that have congealed into popularly, circulating stereotypes about trans people and read theoretical, texts that engage the material and technical aspects of film to, understand the various complicated lives of these tropes., Together we will ask: what are the stakes of trans visual, representation? How do these tropes evolve over time? In a, largely white archive how is whiteness as power figured? When, race, class, citizenship, or HIV status are thematized, what, forms do these representations take?, , Keywords:Trans, film, archives, moving image, theory, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Library Materials:, , A Kid Like Jake, Queens at Heart, Boy Meets Girl, Shinjuku Boys, Tangerine, Orlando, My Political Biography, Sleepaway Camp, All About My Mother, Some Like It Hot, Women in Revolt, In a Year with 13 Moons, Glen or Glenda?, Pink Flamingos, Orlando (91è has DVD - this can be made available via, Hampflix), By Hook or By Crook (91è has DVD - this can be made, available on Hampflix), Silence of the Lambs (VHS at 91è - this can be made, available on Hampflix, , Books:, , Title:Corpses, Fools, and Monsters: The History and Future of, Transness in Cinema , Author:Caden Mark Gardner & Willow Catelyn Maclay, ISBN:1914420586, Cost: This course takes, as its critical object, trans representation in film. We will consider how visibility functions and operates in trans films, from The Silence of the Lambs (which shaped trans representation in the mainstream media for decades), to early trans films like Behind Every Good Man (which served as pseudo-documentaries for a curious cis public, exposing the lives of Black and Brown trans people), to contemporary trans film (geared to both arthouse and mainstream audiences). We will discuss the various tropes that have congealed into popularly circulating stereotypes about trans people and read theoretical texts that engage the material and technical aspects of film to understand the various complicated lives of these tropes. Together we will ask: what are the stakes of trans visual representation? How do these tropes evolve over time? In a largely white archive how is whiteness as power figured? When race, class, citizenship, or HIV status are thematized, what forms do these representations take? Keywords:Trans, film, archives, moving image, theory Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Library Materials: A Kid Like Jake Queens at Heart Boy Meets Girl Shinjuku Boys Tangerine Orlando, My Political Biography Sleepaway Camp All About My Mother Some Like It Hot Women in Revolt In a Year with 13 Moons Glen or Glenda? Pink Flamingos Orlando (91è has DVD - this can be made available via Hampflix) By Hook or By Crook (91è has DVD - this can be made available on Hampflix) Silence of the Lambs (VHS at 91è - this can be made available on Hampflix Books: Title:Corpses, Fools, and Monsters: The History and Future of Transness in Cinema Author:Caden Mark Gardner & Willow Catelyn Maclay ISBN:1914420586 Cost:G This course takes, as its critical object, trans representation, in film. We will consider how visibility functions and operates, in trans films, from The Silence of the Lambs (which shaped trans, representation in the mainstream media for decades), to early, trans films like Behind Every Good Man (which served as, pseudo-documentaries for a curious cis public, exposing the lives, of Black and Brown trans people), to contemporary trans film, (geared to both arthouse and mainstream audiences). We will, discuss the various tropes that have congealed into popularly, circulating stereotypes about trans people and read theoretical, texts that engage the material and technical aspects of film to, understand the various complicated lives of these tropes., Together we will ask: what are the stakes of trans visual, representation? How do these tropes evolve over time? In a, largely white archive how is whiteness as power figured? When, race, class, citizenship, or HIV status are thematized, what, forms do these representations take?, , Keywords:Trans, film, archives, moving image, theory5 This course takes, as its critical object, trans representation in film. We will consider how visibility functions and operates in trans films, from The Silence of the Lambs (which shaped trans representation in the mainstream media for decades), to early trans films like Behind Every Good Man (which served as pseudo-documentaries for a curious cis public, exposing the lives of Black and Brown trans people), to contemporary trans film (geared to both arthouse and mainstream audiences). We will discuss the various tropes that have congealed into popularly circulating stereotypes about trans people and read theoretical texts that engage the material and technical aspects of film to understand the various complicated lives of these tropes. Together we will ask: what are the stakes of trans visual representation? How do these tropes evolve over time? In a largely white archive how is whiteness as power figured? When race, class, citizenship, or HIV status are thematized, what form< s do these representations take? Keywords:Trans, film, archives, moving image, theory rlgFC@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Library Materials:, , A Kid Like Jake, Queens at Heart, Boy Meets Girl, Shinjuku Boys, Tangerine, Orlando, My Political Biography, Sleepaway Camp, All About My Mother, Some Like It Hot, Women in Revolt, In a Year with 13 Moons, Glen or Glenda?, Pink Flamingos, Orlando (91è has DVD - this can be made available via, Hampflix), By Hook or By Crook (91è has DVD - this can be made, available on Hampflix), Silence of the Lambs (VHS at 91è - this can be made, available on Hampflix, , Books:, , Title:Corpses, Fools, and Monsters: The History and Future of, Transness in Cinema , Author:Caden Mark Gardner & Willow Catelyn Maclay, ISBN:1914420586, Cost: MIX, LC5, RP CSI-0216-1 Economic Development1Economic Development is the process of structural transformation in developing countries, or more simply, the ways that poor countries can become rich. In the course we will survey the theory and practice of economic development since World War II, including such topics as development ethics (e.g. what is development? development by whom and for what?), industrialization, agricultural development, rural-urban migration, and a global Green New Deal including such issues as Climate Reparations. Student research teams will choose a developing country at the beginning of the course to study in depth, applying the ideas discussed in class. The groups will periodically present their research to the class to help us achieve a larger sense of the challenges faced in seeking effective, equitable development.
Economic Development is the process of structural transformation, in developing countries, or more simply, the ways that poor, countries can become rich. In the course we will survey the, theory and practice of economic development since World War II,, including such topics as development ethics (e.g. what is, development? development by whom and for what?),, industrialization, agricultural development, rural-urban, migration, and a global Green New Deal including such issues as, Climate Reparations. Student research teams will choose a, developing country at the beginning of the course to study in, depth, applying the ideas discussed in class. The groups will, periodically present their research to the class to help us, achieve a larger sense of the challenges faced in seeking, effective, equitable development., , Students should expect to spend 8 hours weekly on work and, preparation outside of class time Economic Development is the process of structural transformation in developing countries, or more simply, the ways that poor countries can become rich. In the course we will survey the theory and practice of economic development since World War II, including such topics as development ethics (e.g. what is development? development by whom and for what?), industrialization, agricultural development, rural-urban migration, and a global Green New Deal including such issues as Climate Reparations. Student research teams will choose a developing country at the beginning of the course to study in depth, applying the ideas discussed in class. The groups will periodically present their research to the class to help us achieve a larger sense of the challenges faced in seeking effective, equitable development. Students should expect to spend 8 hours weekly on work and preparation outside of class time7 Economic Development is the process of structural transformation, in developing countries, or more simply, the ways that poor, countries can become rich. In the course we will survey the, theory and practice of economic development since World War II,, including such topics as development ethics (e.g. what is, development? development by whom and for what?),, industrialization, agricultural development, rural-urban, migration, and a global Green New Deal including such issues as, Climate Reparations. Student research teams will choose a, developing country at the beginning of the course to study in, depth, applying the ideas discussed in class. The groups will, periodically present their research to the class to help us, achieve a larger sense of the challenges faced in seeking, effective, equitable development.* Economic Development is the process of structural transformation in developing countries, or more simply, the ways that poor countries can become rich. In the course we will survey the theory and practice of economic development since World War II, including such topics as development ethics (e.g. what is development? development by whom and for what?), industrialization, agricultural development, rural-urban migration, and a global Green New Deal including such issues as Climate Reparations. Student research teams will choose a developing country at the beginning of the course to study in depth, applying the ideas discussed in class. The groups will periodically present their research to the class to help us achieve a larger sense of the challenges faced in seeking effective, equitable development. MIX, LC2 CSI-0222-1 Thinking With Animals Nathalie ArnoldThinking with Animals: a transdisciplinary inquiry into human relations with animals: Across the world, humans have viewed animals as: ancestors, teachers, friends, members of the family, meat, workers, pests, and threats. Everywhere, the 'human' is defined in relation to the 'animal.' Yet this relation is construed in diverse and contradictory ways. Ideas about what it means to 'be (an) animal' have long structured visions of belonging and otherness, as well as violence, racism, and oppression. As more-than-human others vanish or recede from human settlements, their images proliferate around us. Drawing on cultural, legal, and gender studies, multispecies ethnography, literature, and history, this seminar looks at varied human relationships to 'animal' beings, their diverse roles in society, history, and the arts, and how ideas about them shape our sense of 'being human.' While we will write and research regularly, major assignments include: a personal essay, an annotated bibliography and an independent project in a form of students' choice. Keywords:animal studies, anthropology, ethnography, transpecies, multispecies
Thinking with Animals: a transdisciplinary inquiry into human, relations with animals: Across the world, humans have viewed, animals as: ancestors, teachers, friends, members of the family,, meat, workers, pests, and threats. Everywhere, the 'human' is, defined in relation to the 'animal.' Yet this relation is, construed in diverse and contradictory ways. Ideas about what it, means to 'be (an) animal' have long structured visions of, belonging and otherness, as well as violence, racism, and, oppression. As more-than-human others vanish or recede from human, settlements, their images proliferate around us. Drawing on, cultural, legal, and gender studies, multispecies ethnography,, literature, and history, this seminar looks at varied human, relationships to 'animal' beings, their diverse roles in society,, history, and the arts, and how ideas about them shape our sense, of 'being human.' While we will write and research regularly,, major assignments include: a personal essay, an annotated, bibliography and an independent project in a form of students', choice. , , Keywords:animal studies, anthropology, ethnography, transpecies,, multispecies, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Thinking with Animals: a transdisciplinary inquiry into human relations with animals: Across the world, humans have viewed animals as: ancestors, teachers, friends, members of the family, meat, workers, pests, and threats. Everywhere, the 'human' is defined in relation to the 'animal.' Yet this relation is construed in diverse and contradictory ways. Ideas about what it means to 'be (an) animal' have long structured visions of belonging and otherness, as well as violence, racism, a< nd oppression. As more-than-human others vanish or recede from human settlements, their images proliferate around us. Drawing on cultural, legal, and gender studies, multispecies ethnography, literature, and history, this seminar looks at varied human relationships to 'animal' beings, their diverse roles in society, history, and the arts, and how ideas about them shape our sense of 'being human.' While we will write and research regularly, major assignments include: a personal essay, an annotated bibliography and an independent project in a form of students' choice. Keywords:animal studies, anthropology, ethnography, transpecies, multispecies Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Thinking with Animals: a transdisciplinary inquiry into human, relations with animals: Across the world, humans have viewed, animals as: ancestors, teachers, friends, members of the family,, meat, workers, pests, and threats. Everywhere, the 'human' is, defined in relation to the 'animal.' Yet this relation is, construed in diverse and contradictory ways. Ideas about what it, means to 'be (an) animal' have long structured visions of, belonging and otherness, as well as violence, racism, and, oppression. As more-than-human others vanish or recede from human, settlements, their images proliferate around us. Drawing on, cultural, legal, and gender studies, multispecies ethnography,, literature, and history, this seminar looks at varied human, relationships to 'animal' beings, their diverse roles in society,, history, and the arts, and how ideas about them shape our sense, of 'being human.' While we will write and research regularly,, major assignments include: a personal essay, an annotated, bibliography and an independent project in a form of students', choice. , , Keywords:animal studies, anthropology, ethnography, transpecies,, multispeciesr Thinking with Animals: a transdisciplinary inquiry into human relations with animals: Across the world, humans have viewed animals as: ancestors, teachers, friends, members of the family, meat, workers, pests, and threats. Everywhere, the 'human' is defined in relation to the 'animal.' Yet this relation is construed in diverse and contradictory ways. Ideas about what it means to 'be (an) animal' have long structured visions of belonging and otherness, as well as violence, racism, and oppression. As more-than-human others vanish or recede from human settlements, their images proliferate around us. Drawing on cultural, legal, and gender studies, multispecies ethnography, literature, and history, this seminar looks at varied human relationships to 'animal' beings, their diverse roles in society, history, and the arts, and how ideas about them shape our sense of 'being human.' While we will write and research regularly, major assignments include: a personal essay, an annotated bibliography and an independent project in a form of students' choice. Keywords:animal studies, anthropology, ethnography, transpecies, multispecies naIA@hampshire.edu MIX, LC1, RP CSI-0224-1 Emp, Race,& the Philippines Richard Chu'What is an empire? Is the United States an empire? These are just some of the questions we are dealing with throughout the semester. We are going to learn about the concept of "empire" (and all its attendant themes and topics) through the lens of Philippine history. This course therefore provides you with a chance to learn not only about the culture and history of a non-U.S./non-Western country, but also the way empires are created, sustained, and maintained. The study of Philippine history can give us an idea of how colonialism worked/works as it was colonized by Spain (1565-1898), then the U.S. (1898-1946), and by Japan (1942-1945). Furthermore, studying its history also fills a gap in our understanding of U.S. history. Keywords:Philippines, empire, colonialism, race, ethnicity
W h a t i s a n e m p i r e ? I s t h e U n i t e d S t a t e s a n e m p i r e ? T h e s e a r e j u s t , s o m e o f t h e q u e s t i o n s w e a r e d e a l i n g w i t h t h r o u g h o u t t h e , s e m e s t e r . W e a r e g o i n g t o l e a r n a b o u t t h e c o n c e p t o f " e m p i r e " , ( a n d a l l i t s a t t e n d a n t t h e m e s a n d t o p i c s ) t h r o u g h t h e l e n s o f , P h i l i p p i n e h i s t o r y . T h i s c o u r s e t h e r e f o r e p r o v i d e s y o u w i t h a , c h a n c e t o l e a r n n o t o n l y a b o u t t h e c u l t u r e a n d h i s t o r y o f a , n o n - U . S . / n o n - W e s t e r n c o u n t r y , b u t a l s o t h e w a y e m p i r e s a r e , c r e a t e d , s u s t a i n e d , a n d m a i n t a i n e d . T h e s t u d y o f P h i l i p p i n e , h i s t o r y c a n g i v e u s a n i d e a o f h o w c o l o n i a l i s m w o r k e d / w o r k s a s i t , w a s c o l o n i z e d b y S p a i n ( 1 5 6 5 - 1 8 9 8 ) , t h e n t h e U . S . ( 1 8 9 8 - 1 9 4 6 ) , , a n d b y J a p a n ( 1 9 4 2 - 1 9 4 5 ) . F u r t h e r m o r e , s t u d y i n g i t s h i s t o r y a l s o , f i l l s a g a p i n o u r u n d e r s t a n d i n g o f U . S . h i s t o r y . , , K e y w o r d s : P h i l i p p i n e s , e m p i r e , c o l o n i a l i s m , r a c e , e t h n i c i t y , , S t u d e n t s s h o u l d e x p e c t t o s p e n d 6 - 8 h o u r s w e e k l y o n w o r k a n d , p r e p a r a t i o n o u t s i d e o f c l a s s t i m e , , L i b r a r y M a t e r i a l : , , H o w e , S t e p h e n . I n t r o d u c t i o n a n d C h a p t e r 1 " W h o ' s a n I m p e r i a l i s t . " , O x f o r d U n i v e r s i t y P r e s s , p p . 1 - 3 4 . , C h i r i n o , P e d r o . 1 6 0 4 . " O f M a r r i a g e s , D o w r i e s , a n d D i v o r c e s A m o n g , t h e F i l i p i n o s . " R e p r i n t e d i n J o c a n o , F . L a n d a , e d . 1 9 7 5 . T h e , P h i l i p p i n e s a t t h e S p a n i s h C o n t a c t . Q u e z o n C i t y : R . P . G a r c i a , P u b l i s h i n g C o m p a n y , p p . 1 2 5 - 1 4 6 . , " I n s t r u c t i o n s g i v e n b y t h e R o y a l A u d i e n c i a t o G e n e r a l M i g u e l , L o p e z d e L e g a z p i f o r h i s v o y a g e t o t h e I s l a n d s o f t h e W e s t . A n d , t h e o a t h o f a l l e g i a n c e h e t o o k u p o n r e c e i v i n g i t . " I n L i c u a n a n , , V i r g i n i a B e n i t e z a n d J o s e L l a v a d o r M i r a , e d s . 1 9 9 0 . T h e , P h i l i p p i n e s U n d e r S p a i n : A C o m p i l a t i o n a n d T r a n s l a t i o n o f , O r i g i n a l D o c u m e n t s . B o o k I I ( 1 5 6 4 - 1 5 7 3 ) . M a n i l a : N a t i o n a l T r u s t , f o r H i s t o r i c a l a n d C u l t u r a l P r e s e r v a t i o n o f t h e P h i l i p p i n e s , p p . , 2 9 - 5 2 . , R e y e s , R a q u e l A . G . 2 0 1 2 . " S o d o m y i n S e v e n t e e n t h - C e n t u r y M a n i l a : , T h e l u c k o f a m a n d a r i n f r o m T a i w a n . " I n B l a s i u s , M a r k a n d R i c h a r d , T . C h u , M o r e T o m b o y , M o r e B a k l a T h a n W e A d m i t ( Q u e z o n C i t y : V i b a l , P u b l i s h i n g , 2 0 2 1 ) , p p . 1 4 4 - 1 6 1 . , B a n k o f f , G r e g . 1 9 9 9 . D e v i l s , F a m i l i a r s a n d S p a n i a r d s : S p h e r e s o f , P o w e r a n d t h e S u p e r n a t u r a l i n t h e W o r l d o f S e b e r i n a C a n d e l a r i a , a n d H e r V i l l a g e i n E a r l y 1 9 t h C e n t u r y P h i l i p p i n e s . J o u r n a l o f , < S o c i a l H i s t o r y , 3 3 : 1 ( F a l l ) , p p . 3 7 - 5 5 . , d e l P i l a r , M a r c e l o H . 1 8 8 9 . " M o n a s t i c S u p r e m a c y i n t h e , P h i l i p p i n e s . " I n A g o n c i l l o , T e o d o r o . F i l i p i n o N a t i o n a l i s m . 1 9 7 4 . , Q u e z o n C i t y : R . P . G a r c i a P u b l i s h i n g C o . , p p . 1 8 4 - 2 0 1 . , L o p e z J a e n a , G r a c i a n o . 1 8 8 9 . " L a S o l i d a r i d a d : O u r P u r p o s e s . " I n , E n c a r n a c i o n A l z o n a , t r a n s . 1 9 7 4 . G r a c i a n o L o p e z J a e n a : , s p e e c h e s , a r t i c l e s , a n d l e t t e r s . M a n i l a : N a t i o n a l H i s t o r i c a l , C o m m i s s i o n , p p . 2 2 0 - 2 2 . , F r a n c i a , L u i s , " J o s e R i z a l : A M a n f o r A l l G e n e r a t i o n s , " T h e , A n t i o c h R e v i e w , 7 2 . 1 ( 2 0 1 4 ) : 4 4 - 6 0 . , N o l i M e T a n g e r e , C h a p t e r 4 0 , " D o n a C o n s o l a c i o n , " b y J o s e R i z a l . , T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a U n i v e r s i t y , P r e s s , 1 9 9 6 ) , 2 5 9 - 2 6 8 . , E l F i l i b u s t e r i s m o , C h a p t e r 3 9 , " T h e F i n a l C h a p t e r , " b y J o s e , R i z a l . T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a , U n i v e r s i t y P r e s s , 1 9 9 7 ) . , J o s e R i z a l , T h e M o v i e d i r e c t e d b y M a r i l o u D i a z - A b a y a , M i l l e r , S t u a r t C r e i g h t o n . 1 9 8 2 . C h a p t e r 1 " A m e r i c a n I m p e r i a l i s m : , A b e r r a t i o n o r H i s t o r i c a l C o n t i n u i t y ? " p p . 1 - 1 2 ; a n d C h a p t e r 2 , " E n t e r t h e P h i l i p p i n e s , " p p . 1 3 - 3 0 ; 2 7 7 - 2 8 2 i n B e n e v o l e n t , A s s i m i l a t i o n : T h e A m e r i c a n C o n q u e s t o f t h e P h i l i p p i n e s , , 1 8 9 9 - 1 9 0 3 . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . , T o C o n q u e r o r R e d e e m : M a n i f e s t D e s t i n y , S a n B u e n a v e n t u r a , S t e f f i . 1 9 9 8 . " T h e C o l o r s o f M a n i f e s t D e s t i n y : , F i l i p i n o s a n d t h e A m e r i c a n O t h e r ( s ) . I n A m e r a s i a J o u r n a l , 2 4 : 3 : 1 - 2 6 . , H o g a n s o n , K r i s t i n L . 1 9 9 8 . F i g h t i n g f o r A m e r i c a n M a n h o o d : H o w , G e n d e r P o l i t i c s p r o v o k e d t h e S p a n i s h - A m e r i c a n a n d , P h i l i p p i n e - A m e r i c a n W a r . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . C h . 6 , , p p . 1 3 3 - 1 5 5 . , I l e t o , R e y n a l d o . 1 9 9 5 . " C h o l e r a a n d t h e O r i g i n s o f t h e A m e r i c a n , S a n i t a r y O r d e r i n t h e P h i l i p p i n e s " " i n D i s c r e p a n t H i s t o r i e s , , e d i t e d b y V i c e n t e R a f a e l , p p . 5 1 - 8 1 . , R y d e l l , R o b e r t . 1 9 8 5 . " T h e L o u i s i a n a P u r c h a s e E x p o s i t i o n , S t . , L o u i s , 1 9 0 4 : ' T h e C o r o n a t i o n o f C i v i l i z a t i o n ' " i n A l l t h e W o r l d ' s , a F a i r V i s i o n s o f E m p i r e a t A m e r i c a n I n t e r n a t i o n a l E x p o s i t i o n s , , 1 8 7 6 - 1 9 1 6 ( U n i v e r s i t y o f C h i c a g o P r e s s ) , 1 5 4 - 1 8 3 , 2 7 0 - 2 7 9 . , Y o u n g , K e n n e t h R a y . 1 9 7 9 . " G u e r r i l l a W a r f a r e : B a l a n g i g a , R e v i s i t e d , " a n d " A t r o c i t i e s a n d W a r C r i m e s : T h e C a s e s o f M a j o r , W a l l e r a n d G e n e r a l S m i t h . " I n V i l c h e s , M a . L u z . R e a d i n g s i n , L e y t e - S a m a r H i s t o r y . T a c l o b a n C i t y : D i v i n e W o r d U n i v e r s i t y o f , T a c l o b a n , p p . 2 4 9 - 2 7 4 . , P a u l K r a m e r ' s " R a c e - M a k i n g a n d C o l o n i a l V i o l e n c e i n t h e U . S . , E m p i r e : T h e P h i l i p p i n e - A m e r i c a n W a r a s R a c e W a r " i n D i p l o m a t i c , H i s t o r y 3 0 ( 2 ) : 1 6 9 - 2 1 0 . A p r i l 2 0 0 6 . , J o s e p h F r y , " I m p e r i a l i s m , A m e r i c a n S t y l e , 1 8 9 0 - 1 9 1 6 , " i n G . , M a r t e l , A m e r i c a n F o r e i g n R e l a t i o n s R e c o n s i d e r e d ( L o n d o n , 1 9 9 4 ) , , 5 2 - 7 0 . , B a l d o z , R i c k , " I t i s t h e F i g h t o f T h i s N a t i o n A g a i n s t t h e , F i l i p i n o s , " T h e T h i r d A s i a t i c I n v a s i o n : M i g r a t i o n a n d E m p i r e i n , F i l i p i n o A m e r i c a , 1 8 9 8 - 1 9 4 6 ( N Y U P r e s s , 2 0 1 1 ) . , P a r e d e s , R u b y . 1 9 8 9 . " T h e O r i g i n s o f N a t i o n a l P o l i t i c s : T a f t , a n d t h e P a r t i d o F e d e r a l . " I n P h i l i p p i n e C o l o n i a l D e m o c r a c y . , Q u e z o n C i t y : A t e n e o d e M a n i l a U n i v e r s i t y P r e s s , p p . 4 1 - 6 9 . , C o n s t a n t i n o , R e n a t o . " T h e M i s e d u c a t i o n o f t h e F i l i p i n o . " I n , V e l a s c o S h a w , A n g e l a n d F r a n c i a , L u i s , e d s . V e s t i g e s o f W a r . T h e , P h i l i p p i n e - A m e r i c a n W a r a n d t h e A f t e r m a t h o f a n I m p e r i a l D r e a m , 1 8 9 9 - 1 9 9 9 . N e w Y o r k : N e w Y o r k U n i v e r s i t y P r e s s , p p . 1 7 7 - 1 9 2 . , H a y a s e , S h i n z o , " J a p a n a n d t h e P h i l i p p i n e s , " P h i l i p p i n e S t u d i e s , 4 7 . 1 ( 1 9 9 7 ) : 3 0 - 4 7 . , " C i v i l i z a t i o n a n d E n l i g h t e n m e n t , " S o u r c e s o f J a p a n e s e T r a d i t i o n , , C h a p t e r 3 8 , p p . 6 9 4 - 7 1 1 . , A k i r a I r i y e ' s e s s a y : " J a p a n e s e E x p a n s i o n i s m i n C a l i f o r n i a , " M a j o r , P r o b l e m s i n A s i a n A m e r i c a n H i s t o r y , K u r a s h i g e a n d Y a n g , 8 7 - 9 5 . , E m p e r o r T o j o a n d G r e a t e r E a s t C o - P r o s p e r i t y s p h e r e , i n J a p a n ' s , G r e a t e r E a s t A s i a C o - P r o s p e r i t y S p h e r e i n W o r l d W a r I I : S e l e c t e d , R e a d i n g s a n d D o c u m e n t s ( O x f o r d U n i v e r s i t y P r e s s , 1 9 7 5 ) , p p . , 7 8 - 8 1 . , G o o d m a n , G r a n t , " T h e J a p a n e s e O c c u p a t i o n o f t h e P h i l i p p i n e s : , C o m m o n w e a l t h S u s t a i n e d , " P h i l i p p i n e S t u d i e s 3 6 ( 1 9 8 8 ) : 9 8 - 1 0 4 . , W a l d e n B e l l o , " N e o l i b e r a l i s m a s H e g e m o n i c I d e o l o g y i n t h e , P h i l i p p i n e s : R i s e , A p o g e e , a n d C r i s i s , " P h i l i p p i n e S o c i o l o g i c a l , R e v i e w 5 7 ( 2 0 0 9 ) : 9 - 1 9 . , C h o y , C a t h e r i n e C e n i z a . 2 0 0 0 . " E x p o r t e d t o C a r e : A T r a n s n a t i o n a l , H i s t o r y o f F i l i p i n o N u r s e M i g r a t i o n t o t h e U n i t e d S t a t e s , " i n , F o n e r , N a n c y , e t . a l , e d s . I m m i g r < ation Research for a New, Century: Multidisciplinary Perspectives. New York: Russel Sage, Foundation., Anak (Child). Directed by Rory Quintos (2000)., Paredes, Oona. "Between Rights Protection and Development, Aggression," Routledge Handbook of the Contemporary Philippines,, edited by Mark R. Thompson and Eric Vincent C. Batalla, 341-351., New York and London: Routledge, 2018., Mabry, Tristan James, "Religious Community Versus Ethnic, Diversity: The Moros of the Philippines" in Nationalism,, Language, and Muslim Exceptionalism (UPenn Press, 2015), 177-196., Chu, Richard T. "From 'Sangley' to "Chinaman,' "Chinese Mestizos', to 'Tsinoy': Unpacking 'Chinese' identities in the Philippines at, the Turn of the Twentieth-Century" in Asian Ethnicity (2021., Josef, JJ. "Pinoy Tomboys and Lesbians, Their Gender and Sexual, Identities and Activism in the Last 25 Years" in More Tomboy More, Bakla Than We Admit (Vibal Foundation, 2021), 242-292., Baytan, Ronald, "Crazy Planets: Notes on Filipino Bisexuals," in, More Tomboy More Bakla Than We Admit (Vibal Foundation, 2021),, 204-241., Alcedo, Patrick. "Sacred Camp: Transgendering Faith in a, Philippine Festival" in More Tomboy More Bakla Than We Admit, (Vibal Foundation, 2021), 294-329., Johnson, Chalmers. 2004. The Sorrows of Empire: Militarism,, Secrecy, and the End of the Republic. New York: Metropolitan, Books. Chapter 7, pp. 187-215.P W h a t i s a n e m p i r e ? I s t h e U n i t e d S t a t e s a n e m p i r e ? T h e s e a r e j u s t s o m e o f t h e q u e s t i o n s w e a r e d e a l i n g w i t h t h r o u g h o u t t h e s e m e s t e r . W e a r e g o i n g t o l e a r n a b o u t t h e c o n c e p t o f " e m p i r e " ( a n d a l l i t s a t t e n d a n t t h e m e s a n d t o p i c s ) t h r o u g h t h e l e n s o f P h i l i p p i n e h i s t o r y . T h i s c o u r s e t h e r e f o r e p r o v i d e s y o u w i t h a c h a n c e t o l e a r n n o t o n l y a b o u t t h e c u l t u r e a n d h i s t o r y o f a n o n - U . S . / n o n - W e s t e r n c o u n t r y , b u t a l s o t h e w a y e m p i r e s a r e c r e a t e d , s u s t a i n e d , a n d m a i n t a i n e d . T h e s t u d y o f P h i l i p p i n e h i s t o r y c a n g i v e u s a n i d e a o f h o w c o l o n i a l i s m w o r k e d / w o r k s a s i t w a s c o l o n i z e d b y S p a i n ( 1 5 6 5 - 1 8 9 8 ) , t h e n t h e U . S . ( 1 8 9 8 - 1 9 4 6 ) , a n d b y J a p a n ( 1 9 4 2 - 1 9 4 5 ) . F u r t h e r m o r e , s t u d y i n g i t s h i s t o r y a l s o f i l l s a g a p i n o u r u n d e r s t a n d i n g o f U . S . h i s t o r y . K e y w o r d s : P h i l i p p i n e s , e m p i r e , c o l o n i a l i s m , r a c e , e t h n i c i t y S t u d e n t s s h o u l d e x p e c t t o s p e n d 6 - 8 h o u r s w e e k l y o n w o r k a n d p r e p a r a t i o n o u t s i d e o f c l a s s t i m e L i b r a r y M a t e r i a l : H o w e , S t e p h e n . I n t r o d u c t i o n a n d C h a p t e r 1 " W h o ' s a n I m p e r i a l i s t . " O x f o r d U n i v e r s i t y P r e s s , p p . 1 - 3 4 . C h i r i n o , P e d r o . 1 6 0 4 . " O f M a r r i a g e s , D o w r i e s , a n d D i v o r c e s A m o n g t h e F i l i p i n o s . " R e p r i n t e d i n J o c a n o , F . L a n d a , e d . 1 9 7 5 . T h e P h i l i p p i n e s a t t h e S p a n i s h C o n t a c t . Q u e z o n C i t y : R . P . G a r c i a P u b l i s h i n g C o m p a n y , p p . 1 2 5 - 1 4 6 . " I n s t r u c t i o n s g i v e n b y t h e R o y a l A u d i e n c i a t o G e n e r a l M i g u e l L o p e z d e L e g a z p i f o r h i s v o y a g e t o t h e I s l a n d s o f t h e W e s t . A n d t h e o a t h o f a l l e g i a n c e h e t o o k u p o n r e c e i v i n g i t . " I n L i c u a n a n , V i r g i n i a B e n i t e z a n d J o s e L l a v a d o r M i r a , e d s . 1 9 9 0 . T h e P h i l i p p i n e s U n d e r S p a i n : A C o m p i l a t i o n a n d T r a n s l a t i o n o f O r i g i n a l D o c u m e n t s . B o o k I I ( 1 5 6 4 - 1 5 7 3 ) . M a n i l a : N a t i o n a l T r u s t f o r H i s t o r i c a l a n d C u l t u r a l P r e s e r v a t i o n o f t h e P h i l i p p i n e s , p p . 2 9 - 5 2 . R e y e s , R a q u e l A . G . 2 0 1 2 . " S o d o m y i n S e v e n t e e n t h - C e n t u r y M a n i l a : T h e l u c k o f a m a n d a r i n f r o m T a i w a n . " I n B l a s i u s , M a r k a n d R i c h a r d T . C h u , M o r e T o m b o y , M o r e B a k l a T h a n W e A d m i t ( Q u e z o n C i t y : V i b a l P u b l i s h i n g , 2 0 2 1 ) , p p . 1 4 4 - 1 6 1 . B a n k o f f , G r e g . 1 9 9 9 . D e v i l s , F a m i l i a r s a n d S p a n i a r d s : S p h e r e s o f P o w e r a n d t h e S u p e r n a t u r a l i n t h e W o r l d o f S e b e r i n a C a n d e l a r i a a n d H e r V i l l a g e i n E a r l y 1 9 t h C e n t u r y P h i l i p p i n e s . J o u r n a l o f S o c i a l H i s t o r y , 3 3 : 1 ( F a l l ) , p p . 3 7 - 5 5 . d e l P i l a r , M a r c e l o H . 1 8 8 9 . " M o n a s t i c S u p r e m a c y i n t h e P h i l i p p i n e s . " I n A g o n c i l l o , T e o d o r o . F i l i p i n o N a t i o n a l i s m . 1 9 7 4 . Q u e z o n C i t y : R . P . G a r c i a P u b l i s h i n g C o . , p p . 1 8 4 - 2 0 1 . L o p e z J a e n a , G r a c i a n o . 1 8 8 9 . " L a S o l i d a r i d a d : O u r P u r p o s e s . " I n E n c a r n a c i o n A l z o n a , t r a n s . 1 9 7 4 . G r a c i a n o L o p e z J a e n a : s p e e c h e s , a r t i c l e s , a n d l e t t e r s . M a n i l a : N a t i o n a l H i s t o r i c a l C o m m i s s i o n , p p . 2 2 0 - 2 2 . F r a n c i a , L u i s , " J o s e R i z a l : A M a n f o r A l l G e n e r a t i o n s , " T h e A n t i o c h R e v i e w , 7 2 . 1 ( 2 0 1 4 ) : 4 4 - 6 0 . N o l i M e T a n g e r e , C h a p t e r 4 0 , " D o n a C o n s o l a c i o n , " b y J o s e R i z a l . T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a U n i v e r s i t y P r e s s , 1 9 9 6 ) , 2 5 9 - 2 6 8 . E l F i l i b u s t e r i s m o , C h a p t e r 3 9 , " T h e F i n a l C h a p t e r , " b y J o s e R i z a l . T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a U n i v e r s i t y P r e s s , 1 9 9 7 ) . J o s e R i z a l , T h e M o v i e d i r e c t e d b y M a r i l o u D i a z - A b a y a M i l l e r , S t u a r t C r e i g h t o n . 1 9 8 2 . C h a p t e r 1 " A m e r i c a n I m p e r i a l i s m : A b e r r a t i o n o r H i s t o r i c a l C o n t i n u i t y ? " p p . 1 - 1 2 ; a n d C h a p t e r 2 " E n t e r t h e P h i l i p p i n e s , " p p . 1 3 - 3 0 ; 2 7 7 - 2 8 2 i n B e n e v o l e n t A s s i m i l a t i o n : T h e A m e r i c a n C o n q u e s t o f t h e P h i l i p p i n e s , 1 8 9 9 - 1 9 0 3 . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . T o C o n q u e r o r R e d e e m : M a n i f e s t D e s t i n y S a n B u e n a v e n t u r a , S t e f f i . 1 9 9 8 . " T h e C o l o r s o f M a n i f e s t D e s t i n y : F i l i p i n o s a n d t h e A m e r i c a n O t h e r ( s ) . I n A m e r a s i a J o u < r n a l 2 4 : 3 : 1 - 2 6 . H o g a n s o n , K r i s t i n L . 1 9 9 8 . F i g h t i n g f o r A m e r i c a n M a n h o o d : H o w G e n d e r P o l i t i c s p r o v o k e d t h e S p a n i s h - A m e r i c a n a n d P h i l i p p i n e - A m e r i c a n W a r . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . C h . 6 , p p . 1 3 3 - 1 5 5 . I l e t o , R e y n a l d o . 1 9 9 5 . " C h o l e r a a n d t h e O r i g i n s o f t h e A m e r i c a n S a n i t a r y O r d e r i n t h e P h i l i p p i n e s " " i n D i s c r e p a n t H i s t o r i e s , e d i t e d b y V i c e n t e R a f a e l , p p . 5 1 - 8 1 . R y d e l l , R o b e r t . 1 9 8 5 . " T h e L o u i s i a n a P u r c h a s e E x p o s i t i o n , S t . L o u i s , 1 9 0 4 : ' T h e C o r o n a t i o n o f C i v i l i z a t i o n ' " i n A l l t h e W o r l d ' s a F a i r V i s i o n s o f E m p i r e a t A m e r i c a n I n t e r n a t i o n a l E x p o s i t i o n s , 1 8 7 6 - 1 9 1 6 ( U n i v e r s i t y o f C h i c a g o P r e s s ) , 1 5 4 - 1 8 3 , 2 7 0 - 2 7 9 . Y o u n g , K e n n e t h R a y . 1 9 7 9 . " G u e r r i l l a W a r f a r e : B a l a n g i g a R e v i s i t e d , " a n d " A t r o c i t i e s a n d W a r C r i m e s : T h e C a s e s o f M a j o r W a l l e r a n d G e n e r a l S m i t h . " I n V i l c h e s , M a . L u z . R e a d i n g s i n L e y t e - S a m a r H i s t o r y . T a c l o b a n C i t y : D i v i n e W o r d U n i v e r s i t y o f T a c l o b a n , p p . 2 4 9 - 2 7 4 . P a u l K r a m e r ' s " R a c e - M a k i n g a n d C o l o n i a l V i o l e n c e i n t h e U . S . E m p i r e : T h e P h i l i p p i n e - A m e r i c a n W a r a s R a c e W a r " i n D i p l o m a t i c H i s t o r y 3 0 ( 2 ) : 1 6 9 - 2 1 0 . A p r i l 2 0 0 6 . J o s e p h F r y , " I m p e r i a l i s m , A m e r i c a n S t y l e , 1 8 9 0 - 1 9 1 6 , " i n G . M a r t e l , A m e r i c a n F o r e i g n R e l a t i o n s R e c o n s i d e r e d ( L o n d o n , 1 9 9 4 ) , 5 2 - 7 0 . B a l d o z , R i c k , " I t i s t h e F i g h t o f T h i s N a t i o n A g a i n s t t h e F i l i p i n o s , " T h e T h i r d A s i a t i c I n v a s i o n : M i g r a t i o n a n d E m p i r e i n F i l i p i n o A m e r i c a , 1 8 9 8 - 1 9 4 6 ( N Y U P r e s s , 2 0 1 1 ) . P a r e d e s , R u b y . 1 9 8 9 . " T h e O r i g i n s o f N a t i o n a l P o l i t i c s : T a f t a n d t h e P a r t i d o F e d e r a l . " I n P h i l i p p i n e C o l o n i a l D e m o c r a c y . Q u e z o n C i t y : A t e n e o d e M a n i l a U n i v e r s i t y P r e s s , p p . 4 1 - 6 9 . C o n s t a n t i n o , R e n a t o . " T h e M i s e d u c a t i o n o f t h e F i l i p i n o . " I n V e l a s c o S h a w , A n g e l a n d F r a n c i a , L u i s , e d s . V e s t i g e s o f W a r . T h e P h i l i p p i n e - A m e r i c a n W a r a n d t h e A f t e r m a t h o f a n I m p e r i a l D r e a m 1 8 9 9 - 1 9 9 9 . N e w Y o r k : N e w Y o r k U n i v e r s i t y P r e s s , p p . 1 7 7 - 1 9 2 . H a y a s e , S h i n z o , " J a p a n a n d t h e P h i l i p p i n e s , " P h i l i p p i n e S t u d i e s 4 7 . 1 ( 1 9 9 7 ) : 3 0 - 4 7 . " C i v i l i z a t i o n a n d E n l i g h t e n m e n t , " S o u r c e s o f J a p a n e s e T r a d i t i o n , C h a p t e r 3 8 , p p . 6 9 4 - 7 1 1 . A k i r a I r i y e ' s e s s a y : " J a p a n e s e E x p a n s i o n i s m i n C a l i f o r n i a , " M a j o r P r o b l e m s i n A s i a n A m e r i c a n H i s t o r y , K u r a s h i g e a n d Y a n g , 8 7 - 9 5 . E m p e r o r T o j o a n d G r e a t e r E a s t C o - P r o s p e r i t y s p h e r e , i n J a p a n ' s G r e a t e r E a s t A s i a C o - P r o s p e r i t y S p h e r e i n W o r l d W a r I I : S e l e c t e d R e a d i n g s a n d D o c u m e n t s ( O x f o r d U n i v e r s i t y P r e s s , 1 9 7 5 ) , p p . 7 8 - 8 1 . G o o d m a n , G r a n t , " T h e J a p a n e s e O c c u p a t i o n o f t h e P h i l i p p i n e s : C o m m o n w e a l t h S u s t a i n e d , " P h i l i p p i n e S t u d i e s 3 6 ( 1 9 8 8 ) : 9 8 - 1 0 4 . W a l d e n B e l l o , " N e o l i b e r a l i s m a s H e g e m o n i c I d e o l o g y i n t h e P h i l i p p i n e s : R i s e , A p o g e e , a n d C r i s i s , " P h i l i p p i n e S o c i o l o g i c a l R e v i e w 5 7 ( 2 0 0 9 ) : 9 - 1 9 . C h o y , C a t h e r i n e C e n i z a . 2 0 0 0 . " E x p o r t e d t o C a r e : A T r a n s n a t i o n a l H i s t o r y o f F i l i p i n o N u r s e M i g r a t i o n t o t h e U n i t e d S t a t e s , " i n F o n e r , N a n c y , e t . a l , e d s . I m m i g r a t i o n R e s e a r c h f o r a N e w C e n t u r y : M u l t i d i s c i p l i n a r y P e r s p e c t i v e s . N e w Y o r k : R u s s e l S a g e F o u n d a t i o n . A n a k ( C h i l d ) . D i r e c t e d b y R o r y Q u i n t o s ( 2 0 0 0 ) . P a r e d e s , O o n a . " B e t w e e n R i g h t s P r o t e c t i o n a n d D e v e l o p m e n t A g g r e s s i o n , " R o u t l e d g e H a n d b o o k o f t h e C o n t e m p o r a r y P h i l i p p i n e s , e d i t e d b y M a r k R . T h o m p s o n a n d E r i c V i n c e n t C . B a t a l l a , 3 4 1 - 3 5 1 . N e w Y o r k a n d L o n d o n : R o u t l e d g e , 2 0 1 8 . M a b r y , T r i s t a n J a m e s , " R e l i g i o u s C o m m u n i t y V e r s u s E t h n i c D i v e r s i t y : T h e M o r o s o f t h e P h i l i p p i n e s " i n N a t i o n a l i s m , L a n g u a g e , a n d M u s l i m E x c e p t i o n a l i s m ( U P e n n P r e s s , 2 0 1 5 ) , 1 7 7 - 1 9 6 . C h u , R i c h a r d T . " F r o m ' S a n g l e y ' t o " C h i n a m a n , ' " C h i n e s e M e s t i z o s ' t o ' T s i n o y ' : U n p a c k i n g ' C h i n e s e ' i d e n t i t i e s i n t h e P h i l i p p i n e s a t t h e T u r n o f t h e T w e n t i e t h - C e n t u r y " i n A s i a n E t h n i c i t y ( 2 0 2 1 . J o s e f , J J . " P i n o y T o m b o y s a n d L e s b i a n s , T h e i r G e n d e r a n d S e x u a l I d e n t i t i e s a n d A c t i v i s m i n t h e L a s t 2 5 Y e a r s " i n M o r e T o m b o y M o r e B a k l a T h a n W e A d m i t ( V i b a l F o u n d a t i o n , 2 0 2 1 ) , 2 4 2 - 2 9 2 . B a y t a n , R o n a l d , " C r a z y P l a n e t s : N o t e s o n F i l i p i n o B i s e x u a l s , " i n M o r e T o m b o y M o r e B a k l a T h a n W e A d m i t ( V i b a l F o u n d a t i o n , 2 0 2 1 ) , 2 0 4 - 2 4 1 . A l c e d o , P a t r i c k . " S a c r e d C a m p : T r a n s g e n d e r i n g F a i t h i n a P h i l i p p i n e F e s t i v a l " i n M o r e T o m b o y M o r e B a k l a T h a n W e A d m i t ( V i b a l F o u n d a t i o n , 2 0 2 1 ) , 2 9 4 - 3 2 9 . J o h n s o n , C h a l m e r s . 2 0 0 4 . T h e S o r r o w s o f E m p i r e : M i l i t a r i s m , S e c r e c y , a n d t h e E n d o f t h e R e p u b l i c . N e w Y o r k : M e t r o p o l i t a n B o o k s . C h a p t e r 7 , p p . 1 8 7 - 2 1 5 . $ What is an empire? Is the Unit< ed States an empire? These are just, some of the questions we are dealing with throughout the, semester. We are going to learn about the concept of "empire", (and all its attendant themes and topics) through the lens of, Philippine history. This course therefore provides you with a, chance to learn not only about the culture and history of a, non-U.S./non-Western country, but also the way empires are, created, sustained, and maintained. The study of Philippine, history can give us an idea of how colonialism worked/works as it, was colonized by Spain (1565-1898), then the U.S. (1898-1946),, and by Japan (1942-1945). Furthermore, studying its history also, fills a gap in our understanding of U.S. history., , Keywords:Philippines, empire, colonialism, race, ethnicity What is an empire? Is the United States an empire? These are just some of the questions we are dealing with throughout the semester. We are going to learn about the concept of "empire" (and all its attendant themes and topics) through the lens of Philippine history. This course therefore provides you with a chance to learn not only about the culture and history of a non-U.S./non-Western country, but also the way empires are created, sustained, and maintained. The study of Philippine history can give us an idea of how colonialism worked/works as it was colonized by Spain (1565-1898), then the U.S. (1898-1946), and by Japan (1942-1945). Furthermore, studying its history also fills a gap in our understanding of U.S. history. Keywords:Philippines, empire, colonialism, race, ethnicity rtcSS@hampshire.eduS t u d e n t s s h o u l d e x p e c t t o s p e n d 6 - 8 h o u r s w e e k l y o n w o r k a n d , p r e p a r a t i o n o u t s i d e o f c l a s s t i m e , , L i b r a r y M a t e r i a l : , , H o w e , S t e p h e n . I n t r o d u c t i o n a n d C h a p t e r 1 " W h o ' s a n I m p e r i a l i s t . " , O x f o r d U n i v e r s i t y P r e s s , p p . 1 - 3 4 . , C h i r i n o , P e d r o . 1 6 0 4 . " O f M a r r i a g e s , D o w r i e s , a n d D i v o r c e s A m o n g , t h e F i l i p i n o s . " R e p r i n t e d i n J o c a n o , F . L a n d a , e d . 1 9 7 5 . T h e , P h i l i p p i n e s a t t h e S p a n i s h C o n t a c t . Q u e z o n C i t y : R . P . G a r c i a , P u b l i s h i n g C o m p a n y , p p . 1 2 5 - 1 4 6 . , " I n s t r u c t i o n s g i v e n b y t h e R o y a l A u d i e n c i a t o G e n e r a l M i g u e l , L o p e z d e L e g a z p i f o r h i s v o y a g e t o t h e I s l a n d s o f t h e W e s t . A n d , t h e o a t h o f a l l e g i a n c e h e t o o k u p o n r e c e i v i n g i t . " I n L i c u a n a n , , V i r g i n i a B e n i t e z a n d J o s e L l a v a d o r M i r a , e d s . 1 9 9 0 . T h e , P h i l i p p i n e s U n d e r S p a i n : A C o m p i l a t i o n a n d T r a n s l a t i o n o f , O r i g i n a l D o c u m e n t s . B o o k I I ( 1 5 6 4 - 1 5 7 3 ) . M a n i l a : N a t i o n a l T r u s t , f o r H i s t o r i c a l a n d C u l t u r a l P r e s e r v a t i o n o f t h e P h i l i p p i n e s , p p . , 2 9 - 5 2 . , R e y e s , R a q u e l A . G . 2 0 1 2 . " S o d o m y i n S e v e n t e e n t h - C e n t u r y M a n i l a : , T h e l u c k o f a m a n d a r i n f r o m T a i w a n . " I n B l a s i u s , M a r k a n d R i c h a r d , T . C h u , M o r e T o m b o y , M o r e B a k l a T h a n W e A d m i t ( Q u e z o n C i t y : V i b a l , P u b l i s h i n g , 2 0 2 1 ) , p p . 1 4 4 - 1 6 1 . , B a n k o f f , G r e g . 1 9 9 9 . D e v i l s , F a m i l i a r s a n d S p a n i a r d s : S p h e r e s o f , P o w e r a n d t h e S u p e r n a t u r a l i n t h e W o r l d o f S e b e r i n a C a n d e l a r i a , a n d H e r V i l l a g e i n E a r l y 1 9 t h C e n t u r y P h i l i p p i n e s . J o u r n a l o f , S o c i a l H i s t o r y , 3 3 : 1 ( F a l l ) , p p . 3 7 - 5 5 . , d e l P i l a r , M a r c e l o H . 1 8 8 9 . " M o n a s t i c S u p r e m a c y i n t h e , P h i l i p p i n e s . " I n A g o n c i l l o , T e o d o r o . F i l i p i n o N a t i o n a l i s m . 1 9 7 4 . , Q u e z o n C i t y : R . P . G a r c i a P u b l i s h i n g C o . , p p . 1 8 4 - 2 0 1 . , L o p e z J a e n a , G r a c i a n o . 1 8 8 9 . " L a S o l i d a r i d a d : O u r P u r p o s e s . " I n , E n c a r n a c i o n A l z o n a , t r a n s . 1 9 7 4 . G r a c i a n o L o p e z J a e n a : , s p e e c h e s , a r t i c l e s , a n d l e t t e r s . M a n i l a : N a t i o n a l H i s t o r i c a l , C o m m i s s i o n , p p . 2 2 0 - 2 2 . , F r a n c i a , L u i s , " J o s e R i z a l : A M a n f o r A l l G e n e r a t i o n s , " T h e , A n t i o c h R e v i e w , 7 2 . 1 ( 2 0 1 4 ) : 4 4 - 6 0 . , N o l i M e T a n g e r e , C h a p t e r 4 0 , " D o n a C o n s o l a c i o n , " b y J o s e R i z a l . , T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a U n i v e r s i t y , P r e s s , 1 9 9 6 ) , 2 5 9 - 2 6 8 . , E l F i l i b u s t e r i s m o , C h a p t e r 3 9 , " T h e F i n a l C h a p t e r , " b y J o s e , R i z a l . T r a n s l a t e d b y S o l e d a d L a c s o n L o c s i n ( A t e n e o d e M a n i l a , U n i v e r s i t y P r e s s , 1 9 9 7 ) . , J o s e R i z a l , T h e M o v i e d i r e c t e d b y M a r i l o u D i a z - A b a y a , M i l l e r , S t u a r t C r e i g h t o n . 1 9 8 2 . C h a p t e r 1 " A m e r i c a n I m p e r i a l i s m : , A b e r r a t i o n o r H i s t o r i c a l C o n t i n u i t y ? " p p . 1 - 1 2 ; a n d C h a p t e r 2 , " E n t e r t h e P h i l i p p i n e s , " p p . 1 3 - 3 0 ; 2 7 7 - 2 8 2 i n B e n e v o l e n t , A s s i m i l a t i o n : T h e A m e r i c a n C o n q u e s t o f t h e P h i l i p p i n e s , , 1 8 9 9 - 1 9 0 3 . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . , T o C o n q u e r o r R e d e e m : M a n i f e s t D e s t i n y , S a n B u e n a v e n t u r a , S t e f f i . 1 9 9 8 . " T h e C o l o r s o f M a n i f e s t D e s t i n y : , F i l i p i n o s a n d t h e A m e r i c a n O t h e r ( s ) . I n A m e r a s i a J o u r n a l , 2 4 : 3 : 1 - 2 6 . , H o g a n s o n , K r i s t i n L . 1 9 9 8 . F i g h t i n g f o r A m e r i c a n M a n h o o d : H o w , G e n d e r P o l i t i c s p r o v o k e d t h e S p a n i s h - A m e r i c a n a n d , P h i l i p p i n e - A m e r i c a n W a r . N e w H a v e n : Y a l e U n i v e r s i t y P r e s s . C h . 6 , , p p . 1 3 3 - 1 5 5 . , I l e t o , R e y n a l d o . 1 9 9 5 . " C h o l e r a a n d t h e O r i g i n s o f t h e A m e r i c a n , S a n i t a r y O r d e r i n t h e P h i l i p p i n e s " " i n D i s c r e p a n t H i s t o r i e s , , e d i t e d b y V i c e n t e R a f a e l , p p . 5 1 - 8 1 . , R y d e l l , R o b e r t . 1 9 8 5 . " T h e L o u i s i a n a P u r c h a s e E x p o s i t i o n , S t . , L o u i s , 1 9 0 4 : ' T h e C o r o n a t i o n o f C i v i l i z a t i o n ' " i n A l l t h e W o r l d ' s , a F a i r V i s i o n s o f E m p i r e a t A m e r i c a n I n t e r n a t i o n a l E x p o s i t i o n s , , 1 8 7 6 - 1 9 1 6 ( U n i v e r s i t y o f C h i c a g o P r e s s ) , 1 5 4 - 1 8 3 , 2 7 0 - 2 7 9 . , Y o u n g , K e n n e t < h Ray. 1979. "Guerrilla Warfare: Balangiga, Revisited," and "Atrocities and War Crimes: The Cases of Major, Waller and General Smith." In Vilches, Ma. Luz. Readings in, Leyte-Samar History. Tacloban City: Divine Word University of, Tacloban, pp. 249-274., Paul Kramer's "Race-Making and Colonial Violence in the U.S., Empire: The Philippine-American War as Race War" in Diplomatic, History 30 (2): 169-210. April 2006. , Joseph Fry, "Imperialism, American Style, 1890-1916," in G., Martel, American Foreign Relations Reconsidered (London, 1994),, 52-70., Baldoz, Rick, "It is the Fight of This Nation Against the, Filipinos," The Third Asiatic Invasion: Migration and Empire in, Filipino America, 1898-1946 (NYU Press, 2011)., Paredes, Ruby. 1989. "The Origins of National Politics: Taft, and the Partido Federal." In Philippine Colonial Democracy. , Quezon City: Ateneo de Manila University Press, pp. 41-69., Constantino, Renato. "The Miseducation of the Filipino." In, Velasco Shaw, Angel and Francia, Luis, eds. Vestiges of War. The, Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. New York: New York University Press, pp. 177-192., Hayase, Shinzo, "Japan and the Philippines," Philippine Studies, 47.1 (1997): 30-47., "Civilization and Enlightenment," Sources of Japanese Tradition,, Chapter 38, pp. 694-711., Akira Iriye's essay: "Japanese Expansionism in California," Major, Problems in Asian American History, Kurashige and Yang, 87-95., Emperor Tojo and Greater East Co-Prosperity sphere, in Japan's, Greater East Asia Co-Prosperity Sphere in World War II: Selected, Readings and Documents (Oxford University Press, 1975), pp., 78-81., Goodman, Grant, "The Japanese Occupation of the Philippines:, Commonwealth Sustained," Philippine Studies 36 (1988): 98-104., Walden Bello, "Neoliberalism as Hegemonic Ideology in the, Philippines: Rise, Apogee, and Crisis," Philippine Sociological, Review 57 (2009): 9-19., Choy, Catherine Ceniza. 2000. "Exported to Care: A Transnational, History of Filipino Nurse Migration to the United States," in, Foner, Nancy, et. al, eds. Immigration Research for a New, Century: Multidisciplinary Perspectives. New York: Russel Sage, Foundation., Anak (Child). Directed by Rory Quintos (2000)., Paredes, Oona. "Between Rights Protection and Development, Aggression," Routledge Handbook of the Contemporary Philippines,, edited by Mark R. Thompson and Eric Vincent C. Batalla, 341-351., New York and London: Routledge, 2018., Mabry, Tristan James, "Religious Community Versus Ethnic, Diversity: The Moros of the Philippines" in Nationalism,, Language, and Muslim Exceptionalism (UPenn Press, 2015), 177-196., Chu, Richard T. "From 'Sangley' to "Chinaman,' "Chinese Mestizos', to 'Tsinoy': Unpacking 'Chinese' identities in the Philippines at, the Turn of the Twentieth-Century" in Asian Ethnicity (2021., Josef, JJ. "Pinoy Tomboys and Lesbians, Their Gender and Sexual, Identities and Activism in the Last 25 Years" in More Tomboy More, Bakla Than We Admit (Vibal Foundation, 2021), 242-292., Baytan, Ronald, "Crazy Planets: Notes on Filipino Bisexuals," in, More Tomboy More Bakla Than We Admit (Vibal Foundation, 2021),, 204-241., Alcedo, Patrick. "Sacred Camp: Transgendering Faith in a, Philippine Festival" in More Tomboy More Bakla Than We Admit, (Vibal Foundation, 2021), 294-329., Johnson, Chalmers. 2004. The Sorrows of Empire: Militarism,, Secrecy, and the End of the Republic. New York: Metropolitan, Books. Chapter 7, pp. 187-215. MIX, RP CSI-0226-1 Race & Identity in Counseling Gaurav Jashnani6This course introduces the role of political and sociocultural factors in appropriate, effective and ethical counseling, and in mental health more broadly. This is a theoretical, practical and experiential course that will focus on expanding awareness of your own values and biases; developing critical thinking and awareness of differing experiences and worldviews; and increasing your sensitivity to how sociocultural identities influence prospective clients and others. The focus of the course is on people as social beings with a range of intersecting identities that can deeply shape their mental health and prospective therapeutic relationships. The course concentrates on factors such as race, gender, class, sexual identity, religion, and (dis)ability, and engages with topics like institutional violence, discrimination, power, oppression, and socialization. Students will produce an autobiographical term-paper scaffolded throughout the semester, as well as a final project and smaller weekly assignments. Keywords:Race, gender, power, psychology, mental health
This course introduces the role of political and sociocultural, factors in appropriate, effective and ethical counseling, and in, mental health more broadly. This is a theoretical, practical and, experiential course that will focus on expanding awareness of, your own values and biases; developing critical thinking and, awareness of differing experiences and worldviews; and increasing, your sensitivity to how sociocultural identities influence, prospective clients and others. The focus of the course is on, people as social beings with a range of intersecting identities, that can deeply shape their mental health and prospective, therapeutic relationships. The course concentrates on factors, such as race, gender, class, sexual identity, religion, and, (dis)ability, and engages with topics like institutional, violence, discrimination, power, oppression, and socialization., Students will produce an autobiographical term-paper scaffolded, throughout the semester, as well as a final project and smaller, weekly assignments., , Keywords:Race, gender, power, psychology, mental health, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course introduces the role of political and sociocultural factors in appropriate, effective and ethical counseling, and in mental health more broadly. This is a theoretical, practical and experiential course that will focus on expanding awareness of your own values and biases; developing critical thinking and awareness of differing experiences and worldviews; and increasing your sensitivity to how sociocultural identities influence prospective clients and others. The focus of the course is on people as social beings with a range of intersecting identities that can deeply shape their mental health and prospective therapeutic relationships. The course concentrates on factors such as race, gender, class, sexual identity, religion, and (dis)ability, and engages with topics like institutional violence, discrimination, power, oppression, and socialization. Students will produce an autobiographical term-paper scaffolded throughout the semester, as well as a final project and smaller weekly assignments. Keywords:Race, gender, power, psychology, mental health Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeB This course introduces the role of political and sociocultural, factors in appropriate, effective and ethical counseling, and in, mental health more broadly. This is a theoretical, practical and, experiential course that will focus on expanding awareness of, your own values and biases; developing critical thinking and, awareness of differing experiences and worldviews; and increasing, your sensitivity to how sociocultural identities influence, prospective clients and others. The focus of the course is on, people as social beings with a range of intersecting identities, that can deeply shape their mental health and prospective, therapeutic relationships. The course concentrates on factors, such as race, gender, class, sexual identity, religion, and, (dis)ability, and engages with topics like institutional, violence, discrimination, power, oppression, and socialization., Students will produce an autobiographical term-paper scaffolded, throughout the semester, as well as a final project and smaller, weekly assignments., , Keywords:Race, gender, power, psychology, mental health0 This course introduces the role of political and sociocultural factors in appropriate, e< ffective and ethical counseling, and in mental health more broadly. This is a theoretical, practical and experiential course that will focus on expanding awareness of your own values and biases; developing critical thinking and awareness of differing experiences and worldviews; and increasing your sensitivity to how sociocultural identities influence prospective clients and others. The focus of the course is on people as social beings with a range of intersecting identities that can deeply shape their mental health and prospective therapeutic relationships. The course concentrates on factors such as race, gender, class, sexual identity, religion, and (dis)ability, and engages with topics like institutional violence, discrimination, power, oppression, and socialization. Students will produce an autobiographical term-paper scaffolded throughout the semester, as well as a final project and smaller weekly assignments. Keywords:Race, gender, power, psychology, mental health gjFC@hampshire.edu CSI-0242-1 Alien/Freak/Monster@This course examines questions of race, gender/sexuality, and disability in science fiction, horror, and fantasy film and television. It investigates how and why people in different social positions have been constructed as foreign, freakish, or monstrous. In addition to exploring the relationship between sex/gender norms and hierarchies based on race/species or class/caste, we will also consider the following questions: Does the figure of the alien/freak/monster reconfigure the relationship between bodies, technology, and the division of labor? How do such figures simultaneously buttress and transgress the boundary between human and non-human, normal and abnormal, Self and Other? How does society use the grotesque body of the alien/freak/monster to police the liminal limits of sexuality, gender, and ethnicity? How does The Other come to embody Pure Evil? Finally, what are the consequences of living as an alien/freak/monster for specific groups and individuals? Keywords:Ethnic Studies, Critical Race Theory, Gender Studies, Film and Media Studies, Disability Studies
This course examines questions of race, gender/sexuality, and, disability in science fiction, horror, and fantasy film and, television. It investigates how and why people in different, social positions have been constructed as foreign, freakish, or, monstrous. In addition to exploring the relationship between, sex/gender norms and hierarchies based on race/species or, class/caste, we will also consider the following questions: Does, the figure of the alien/freak/monster reconfigure the, relationship between bodies, technology, and the division of, labor? How do such figures simultaneously buttress and transgress, the boundary between human and non-human, normal and abnormal,, Self and Other? How does society use the grotesque body of the, alien/freak/monster to police the liminal limits of sexuality,, gender, and ethnicity? How does The Other come to embody Pure, Evil? Finally, what are the consequences of living as an, alien/freak/monster for specific groups and individuals?, , Keywords:Ethnic Studies, Critical Race Theory, Gender Studies,, Film and Media Studies, Disability Studies, , Students should expect to spend 10 hours weekly on work and, preparation outside of class time This course examines questions of race, gender/sexuality, and disability in science fiction, horror, and fantasy film and television. It investigates how and why people in different social positions have been constructed as foreign, freakish, or monstrous. In addition to exploring the relationship between sex/gender norms and hierarchies based on race/species or class/caste, we will also consider the following questions: Does the figure of the alien/freak/monster reconfigure the relationship between bodies, technology, and the division of labor? How do such figures simultaneously buttress and transgress the boundary between human and non-human, normal and abnormal, Self and Other? How does society use the grotesque body of the alien/freak/monster to police the liminal limits of sexuality, gender, and ethnicity? How does The Other come to embody Pure Evil? Finally, what are the consequences of living as an alien/freak/monster for specific groups and individuals? Keywords:Ethnic Studies, Critical Race Theory, Gender Studies, Film and Media Studies, Disability Studies Students should expect to spend 10 hours weekly on work and preparation outside of class timeL This course examines questions of race, gender/sexuality, and, disability in science fiction, horror, and fantasy film and, television. It investigates how and why people in different, social positions have been constructed as foreign, freakish, or, monstrous. In addition to exploring the relationship between, sex/gender norms and hierarchies based on race/species or, class/caste, we will also consider the following questions: Does, the figure of the alien/freak/monster reconfigure the, relationship between bodies, technology, and the division of, labor? How do such figures simultaneously buttress and transgress, the boundary between human and non-human, normal and abnormal,, Self and Other? How does society use the grotesque body of the, alien/freak/monster to police the liminal limits of sexuality,, gender, and ethnicity? How does The Other come to embody Pure, Evil? Finally, what are the consequences of living as an, alien/freak/monster for specific groups and individuals?, , Keywords:Ethnic Studies, Critical Race Theory, Gender Studies,, Film and Media Studies, Disability Studies: This course examines questions of race, gender/sexuality, and disability in science fiction, horror, and fantasy film and television. It investigates how and why people in different social positions have been constructed as foreign, freakish, or monstrous. In addition to exploring the relationship between sex/gender norms and hierarchies based on race/species or class/caste, we will also consider the following questions: Does the figure of the alien/freak/monster reconfigure the relationship between bodies, technology, and the division of labor? How do such figures simultaneously buttress and transgress the boundary between human and non-human, normal and abnormal, Self and Other? How does society use the grotesque body of the alien/freak/monster to police the liminal limits of sexuality, gender, and ethnicity? How does The Other come to embody Pure Evil? Finally, what are the consequences of living as an alien/freak/monster for specific groups and individuals? Keywords:Ethnic Studies, Critical Race Theory, Gender Studies, Film and Media Studies, Disability Studies^ Students should expect to spend 10 hours weekly on work and, preparation outside of class time CSI-0274-1 Cuba: Nation, Race& Revolution MW 10:30AM-11:50AMCuba: Nation, Race, and Revolution: This interdisciplinary course critically engages a range of frameworks (geopolitical, historical, sociological, literary, cultural) to study the complex and contested reality of Cuba. Students are expected to grapple with the assigned literature in Cuban Studies, including historical and political science literature and films. The first part of the course focused on revolutions that have defined the nation in the context of colonialism and neocolonialism: the impact of the Haitian Revolution on colonial Cuba; the forging of cubanidad in the late-19thcentury revolutions for independence from Spain; and the victory of the 1959 Cuban Revolution that defied U.S. neocolonial power. From there, we examined how intersecting constructions of race, gender, and sexuality have defined Cuba after the 1959 revolution, during the Special Period, and more recently. We also explored how Cuba should be understood in relation to the U.S. government, to the international Left, and to its diaspora. Students were required to write two forum posts, one midterm essay, fully participate in class discussions and complete a substantial paper based upon assigned and additional research.
Cuba: Nation, Race, and Revolution: This interdisciplinary course, critically engages a range of frameworks (< geopolitical,, historical, sociological, literary, cultural) to study the, complex and contested reality of Cuba. The course will begin by, critiquing and decentering the stereotypical images of Cuba that, circulate in U.S. popular and official culture. The first part of, the course will focus on revolutions that have defined the nation, in the context of colonialism and neocolonialism: the impact of, the Haitian Revolution on colonial Cuba; the forging of cubanidad, in the late-19thcentury revolutions for independence from Spain;, and the victory of the 1959 Cuban Revolution that defied U.S., neocolonial power. From there, we will examine how intersecting, constructions of race, gender, and sexuality have defined the, Cuban after the 1959 revolution, during the Special Period, and, more recently. We will also explore how Cuba should be understood, in relation to the U.S. government, to the international Left,, and to its diaspora. This course is open to all, though it is, best suited to students beyond their first semester of study. The, class will be conducted in English, with many readings available, in Spanish and English. Additionally, for students wishing to, apply for the 91è in Havana spring semester program, this, course will offer critical foundational knowledge and application, support. (Concurrent enrollment in a Spanish language class is, strongly recommended for non-fluent speakers considering the, 91è in Havana program.), , Keywords:Caribbean, Latin America, diaspora, history, culture,, colonialism,Race and Power, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Cuba: Nation, Race, and Revolution: This interdisciplinary course critically engages a range of frameworks (geopolitical, historical, sociological, literary, cultural) to study the complex and contested reality of Cuba. The course will begin by critiquing and decentering the stereotypical images of Cuba that circulate in U.S. popular and official culture. The first part of the course will focus on revolutions that have defined the nation in the context of colonialism and neocolonialism: the impact of the Haitian Revolution on colonial Cuba; the forging of cubanidad in the late-19thcentury revolutions for independence from Spain; and the victory of the 1959 Cuban Revolution that defied U.S. neocolonial power. From there, we will examine how intersecting constructions of race, gender, and sexuality have defined the Cuban after the 1959 revolution, during the Special Period, and more recently. We will also explore how Cuba should be understood in relation to the U.S. government, to the international Left, and to its diaspora. This course is open to all, though it is best suited to students beyond their first semester of study. The class will be conducted in English, with many readings available in Spanish and English. Additionally, for students wishing to apply for the 91è in Havana spring semester program, this course will offer critical foundational knowledge and application support. (Concurrent enrollment in a Spanish language class is strongly recommended for non-fluent speakers considering the 91è in Havana program.) Keywords:Caribbean, Latin America, diaspora, history, culture, colonialism,Race and Power Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Cuba: Nation, Race, and Revolution: This interdisciplinary course, critically engages a range of frameworks (geopolitical,, historical, sociological, literary, cultural) to study the, complex and contested reality of Cuba. The course will begin by, critiquing and decentering the stereotypical images of Cuba that, circulate in U.S. popular and official culture. The first part of, the course will focus on revolutions that have defined the nation, in the context of colonialism and neocolonialism: the impact of, the Haitian Revolution on colonial Cuba; the forging of cubanidad, in the late-19thcentury revolutions for independence from Spain;, and the victory of the 1959 Cuban Revolution that defied U.S., neocolonial power. From there, we will examine how intersecting, constructions of race, gender, and sexuality have defined the, Cuban after the 1959 revolution, during the Special Period, and, more recently. We will also explore how Cuba should be understood, in relation to the U.S. government, to the international Left,, and to its diaspora. This course is open to all, though it is, best suited to students beyond their first semester of study. The, class will be conducted in English, with many readings available, in Spanish and English. Additionally, for students wishing to, apply for the 91è in Havana spring semester program, this, course will offer critical foundational knowledge and application, support. (Concurrent enrollment in a Spanish language class is, strongly recommended for non-fluent speakers considering the, 91è in Havana program.), , Keywords:Caribbean, Latin America, diaspora, history, culture,, colonialism,Race and Powero Cuba: Nation, Race, and Revolution: This interdisciplinary course critically engages a range of frameworks (geopolitical, historical, sociological, literary, cultural) to study the complex and contested reality of Cuba. The course will begin by critiquing and decentering the stereotypical images of Cuba that circulate in U.S. popular and official culture. The first part of the course will focus on revolutions that have defined the nation in the context of colonialism and neocolonialism: the impact of the Haitian Revolution on colonial Cuba; the forging of cubanidad in the late-19thcentury revolutions for independence from Spain; and the victory of the 1959 Cuban Revolution that defied U.S. neocolonial power. From there, we will examine how intersecting constructions of race, gender, and sexuality have defined the Cuban after the 1959 revolution, during the Special Period, and more recently. We will also explore how Cuba should be understood in relation to the U.S. government, to the international Left, and to its diaspora. This course is open to all, though it is best suited to students beyond their first semester of study. The class will be conducted in English, with many readings available in Spanish and English. Additionally, for students wishing to apply for the 91è in Havana spring semester program, this course will offer critical foundational knowledge and application support. (Concurrent enrollment in a Spanish language class is strongly recommended for non-fluent speakers considering the 91è in Havana program.) Keywords:Caribbean, Latin America, diaspora, history, culture, colonialism,Race and Power CSI-0276-1 Daily Life in the Levant W 01:00PM-03:50PMThis course asks what "daily life" has meant and means in the Levant today. Centering work by diverse scholars, writers, and artists from the region, we will engage: accounts of village and urban life in the late 19th and early 20th centuries; ethnographies and oral histories of the 20th century, as well as studies of ecology, cuisine, identity, and nationalism. We will also encounter key figures in Levantine literature. Keywords: Middle East, Levant, literature, film, anthropology.
This course asks what "daily life" has meant and means in, Palestine today. Centering work by diverse Palestinian scholars,, writers, and artists, we engage: accounts of village and urban, life in Palestine before 1948, ethnographies and oral histories, of the 20th century, as well as studies of ecology, cuisine,, identity, and struggle. We will also encounter key figures in, Palestinian literature. Students will actively document their, reading, produce a personal glossary of key concepts, and carry, out an independent project which they will present to the class., Class members will also be expected to attend 5 of 10 film, screenings associated with the course, or make alternate, arrangements with the instructor. This course can count as an ALA, for 91è Div 3 students. For instructor permission, write, to naIA@hampshire.edu , , Pre-requisite:A previous course in histor< y, cultural studies,, anthropology, international relations, sociology or, transdisciplinary topics treating histories of colonialism, race, and power. Write to instructor for information:, naIA@hampshire.edu, , Keywords:Middle East, Palestine, Israel, anthropology, film., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course asks what "daily life" has meant and means in Palestine today. Centering work by diverse Palestinian scholars, writers, and artists, we engage: accounts of village and urban life in Palestine before 1948, ethnographies and oral histories of the 20th century, as well as studies of ecology, cuisine, identity, and struggle. We will also encounter key figures in Palestinian literature. Students will actively document their reading, produce a personal glossary of key concepts, and carry out an independent project which they will present to the class. Class members will also be expected to attend 5 of 10 film screenings associated with the course, or make alternate arrangements with the instructor. This course can count as an ALA for 91è Div 3 students. For instructor permission, write to naIA@hampshire.edu Pre-requisite:A previous course in history, cultural studies, anthropology, international relations, sociology or transdisciplinary topics treating histories of colonialism, race and power. Write to instructor for information: naIA@hampshire.edu Keywords:Middle East, Palestine, Israel, anthropology, film. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course asks what "daily life" has meant and means in, Palestine today. Centering work by diverse Palestinian scholars,, writers, and artists, we will engage: accounts of village and, urban life in Palestine before 1948, ethnographies and oral, histories of the 20th century, as well as studies of ecology,, cuisine, identity, and struggle. We will also encounter key, figures in Palestinian literature. Students will actively, document their reading, produce a personal glossary of key, concepts, and carry out an independent project which they will, present to the class. Class members will also be expected to, attend 4 of 10 film screenings associated with the course., Interested students should contact the instructor. Keywords:, Middle East, Palestine, Israel,, anthropology, film. This course addresses issues of race and, power, , Keywords:Middle East, Palestine, Israel,, anthropology, literature, film This course asks what "daily life" has meant and means in Palestine today. Centering work by diverse Palestinian scholars, writers, and artists, we will engage: accounts of village and urban life in Palestine before 1948, ethnographies and oral histories of the 20th century, as well as studies of ecology, cuisine, identity, and struggle. We will also encounter key figures in Palestinian literature. Students will actively document their reading, produce a personal glossary of key concepts, and carry out an independent project which they will present to the class. Class members will also be expected to attend 4 of 10 film screenings associated with the course. Interested students should contact the instructor. Keywords: Middle East, Palestine, Israel, anthropology, film. This course addresses issues of race and power Keywords:Middle East, Palestine, Israel, anthropology, literature, film# Prerequisites: A previous course in history, cultural studies,, anthropology, international relations, sociology, or transdisciplinary topics treating histories of, colonialism, race and power, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time CSI-0290-1 Image, Icon, Object, FetishWhat do pictures want? Do they want to be looked at, loved, analyzed, comprehended, worshipped,reproduced, and weaponized or simply acknowledged as life forms that live in the minds of their beholders?What if they harbor a divine or satanic presence? What is the meaning constituted by their media andmaterialities? What is their power over the beholder? Do images ever die? How do objects become fetishes?How do colonization and racism destroy and change the meanings of images and objects? Case studies will include miracle working Byzantine icons; contact relics of the Virgin Mary; Kongolese minkisi or powerfigures; the emergence of the "male" as well as "modern" gaze that freezes and objectifies as well as themedieval "female" religious gaze that animates and worships; the politics of Renaissance perspective; an-iconic Islamic art; ephemeral wax figures; racialized imagery and the question of interiority
What do pictures want? Do they want to be looked at, loved,, analyzed, comprehended, worshipped,reproduced, and weaponized or, simply acknowledged as life forms that live in the minds of their, beholders?What if they harbor a divine or satanic presence? What, is the meaning constituted by their media andmaterialities? What, is their power over the beholder? Do images ever die? How do, objects become fetishes?How do colonization and racism destroy, and change the meanings of images and objects? Case studies will, include miracle working Byzantine icons; contact relics of the, Virgin Mary; Kongolese minkisi or powerfigures; the emergence of, the "male" as well as "modern" gaze that freezes and objectifies, as well as themedieval "female" religious gaze that animates and, worships; the politics of Renaissance perspective; an-iconic, Islamic art; ephemeral wax figures; racialized imagery and the, question of interiority, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time What do pictures want? Do they want to be looked at, loved, analyzed, comprehended, worshipped,reproduced, and weaponized or simply acknowledged as life forms that live in the minds of their beholders?What if they harbor a divine or satanic presence? What is the meaning constituted by their media andmaterialities? What is their power over the beholder? Do images ever die? How do objects become fetishes?How do colonization and racism destroy and change the meanings of images and objects? Case studies will include miracle working Byzantine icons; contact relics of the Virgin Mary; Kongolese minkisi or powerfigures; the emergence of the "male" as well as "modern" gaze that freezes and objectifies as well as themedieval "female" religious gaze that animates and worships; the politics of Renaissance perspective; an-iconic Islamic art; ephemeral wax figures; racialized imagery and the question of interiority Students should expect to spend 6-8 hours weekly on work and preparation outside of class time What do pictures want? Do they want to be looked at, loved,, analyzed, comprehended, worshipped,reproduced, and weaponized or, simply acknowledged as life forms that live in the minds of their, beholders?What if they harbor a divine or satanic presence? What, is the meaning constituted by their media andmaterialities? What, is their power over the beholder? Do images ever die? How do, objects become fetishes?How do colonization and racism destroy, and change the meanings of images and objects? Case studies will, include miracle working Byzantine icons; contact relics of the, Virgin Mary; Kongolese minkisi or powerfigures; the emergence of, the "male" as well as "modern" gaze that freezes and objectifies, as well as themedieval "female" religious gaze that animates and, worships; the politics of Renaissance perspective; an-iconic, Islamic art; ephemeral wax figures; racialized imagery and the, question of interiority What do pictures want? Do they want to be looked at, loved, analyzed, comprehended, worshipped,reproduced, and weaponized or simply acknowledged as life forms that live in the minds of their beholders?What if they harbor a divine or satanic presence? What is the meaning constituted by their media andmaterialities? What is their power over the beholder? Do images ever die? How do objects become fetishes?How do colonization and racism destroy and change the meanings of images and objects? Case studies will include< miracle working Byzantine icons; contact relics of the Virgin Mary; Kongolese minkisi or powerfigures; the emergence of the "male" as well as "modern" gaze that freezes and objectifies as well as themedieval "female" religious gaze that animates and worships; the politics of Renaissance perspective; an-iconic Islamic art; ephemeral wax figures; racialized imagery and the question of interiority CSI-0358-1 Csi Div III Seminar Rachel ConradThis seminar was designed for students in their first or second semester of work on a Division III independent project in areas across the curriculum. The goal of the course was to serve as a supportive learning community for students in Division III, and we also devoted time to sharing writing and revision strategies and ideas helpful to launching, sustaining, and completing extended independent projects. Students wrote two short essays, conducted two work-in-progress presentations on their project based on their written submissions, submitted a final paper and two final reflections, and were expected to provide timely and thoughtful feedback on peers' written work.
This work-in-progress Div III seminar is designed for students in, their first or second semester of work on a Division III project, in areas related to critical social inquiry including (but not, limited to) critical youth studies, critical education studies,, and interdisciplinary projects spanning critical social inquiry, and humanities and/or arts. Students will conduct multiple, work-in-progress presentations on their project and will be, expected to provide timely and thoughtful feedback on peers', written work. The goal of the course is to serve as a supportive, community for students in Division III, and we will also devote, time to sharing writing and revision strategies and ideas helpful, to launching, sustaining, and completing extended independent, projects. , , keywords:Division III, independent projects, critical social, inquiry, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This work-in-progress Div III seminar is designed for students in their first or second semester of work on a Division III project in areas related to critical social inquiry including (but not limited to) critical youth studies, critical education studies, and interdisciplinary projects spanning critical social inquiry and humanities and/or arts. Students will conduct multiple work-in-progress presentations on their project and will be expected to provide timely and thoughtful feedback on peers' written work. The goal of the course is to serve as a supportive community for students in Division III, and we will also devote time to sharing writing and revision strategies and ideas helpful to launching, sustaining, and completing extended independent projects. keywords:Division III, independent projects, critical social inquiry Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeV This work-in-progress Div III seminar is designed for students in, their first or second semester of work on a Division III project, in areas related to critical social inquiry including (but not, limited to) critical youth studies, critical education studies,, and interdisciplinary projects spanning critical social inquiry, and humanities and/or arts. Students will conduct multiple, work-in-progress presentations on their project and will be, expected to provide timely and thoughtful feedback on peers', written work. The goal of the course is to serve as a supportive, community for students in Division III, and we will also devote, time to sharing writing and revision strategies and ideas helpful, to launching, sustaining, and completing extended independent, projects. , , keywords:Division III, independent projects, critical social, inquiryG This work-in-progress Div III seminar is designed for students in their first or second semester of work on a Division III project in areas related to critical social inquiry including (but not limited to) critical youth studies, critical education studies, and interdisciplinary projects spanning critical social inquiry and humanities and/or arts. Students will conduct multiple work-in-progress presentations on their project and will be expected to provide timely and thoughtful feedback on peers' written work. The goal of the course is to serve as a supportive community for students in Division III, and we will also devote time to sharing writing and revision strategies and ideas helpful to launching, sustaining, and completing extended independent projects. keywords:Division III, independent projects, critical social inquiry rcSS@hampshire.edu HACU HACU-0102-1 Moving Image Dreams Michelle Trujillo JLCOur dreams are a place where the impossible can happen, opposites can collide and both reality and time can be subverted. In this course, students will keep an active dream journal which will serve as a source of creative inspiration for the development of different forms of time-based work. Our course content will include technical demos, readings, discussions, screenings and critiques. This course will provide students with an introduction to working with video in Adobe Premiere Pro. We will cover moving image basics in exposure, composition, sound and digital editing. Students will complete both individual and group assignments throughout the semester such as video and sound work, collage and a dream journal. Keywords:Dreams, Video, Film, Introduction
$ Our dreams are a place where the impossible can happen, opposites, can collide and both reality and time can be subverted. In this, course, students will keep an active dream journal which will, serve as a source of creative inspiration for the development of, different forms of time-based work. Our course content will, include technical demos, readings, discussions, screenings and, critiques. This course will provide students with an introduction, to working with video in Adobe Premiere Pro. We will cover moving, image basics in exposure, composition, sound and digital editing., Students will complete both individual and group assignments, throughout the semester such as video and sound work, collage and, a dream journal., , Keywords:Dreams, Video, Film, Introduction, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Lab Fees: USD65, , Library Materials:, , Rest Is Resistance by Tricia Hersey, Listening in Dreams: A Compendium of Sound Dreams, Meditations, And Rituals for Deep Dreamers by Ione Our dreams are a place where the impossible can happen, opposites can collide and both reality and time can be subverted. In this course, students will keep an active dream journal which will serve as a source of creative inspiration for the development of different forms of time-based work. Our course content will include technical demos, readings, discussions, screenings and critiques. This course will provide students with an introduction to working with video in Adobe Premiere Pro. We will cover moving image basics in exposure, composition, sound and digital editing. Students will complete both individual and group assignments throughout the semester such as video and sound work, collage and a dream journal. Keywords:Dreams, Video, Film, Introduction Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Lab Fees: USD65 Library Materials: Rest Is Resistance by Tricia Hersey Listening in Dreams: A Compendium of Sound Dreams, Meditations And Rituals for Deep Dreamers by Ione Our dreams are a place where the impossible can happen, opposites, can collide and both reality and time can be subverted. In this, course, students will keep an active dream journal which will, serve as a source of creative inspiration for the development of, different forms of time-based work. Our course content will, include technical demos, readings, discussions, screenings and, critiques. This course will provide students with an introduction, to working with video in Adobe Premiere Pro. We will cover moving, ima< ge basics in exposure, composition, sound and digital editing., Students will complete both individual and group assignments, throughout the semester such as video and sound work, collage and, a dream journal., , Keywords:Dreams, Video, Film, Introduction Our dreams are a place where the impossible can happen, opposites can collide and both reality and time can be subverted. In this course, students will keep an active dream journal which will serve as a source of creative inspiration for the development of different forms of time-based work. Our course content will include technical demos, readings, discussions, screenings and critiques. This course will provide students with an introduction to working with video in Adobe Premiere Pro. We will cover moving image basics in exposure, composition, sound and digital editing. Students will complete both individual and group assignments throughout the semester such as video and sound work, collage and a dream journal. Keywords:Dreams, Video, Film, Introduction mtFAC@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Lab Fees: USD65, , Library Materials:, , Rest Is Resistance by Tricia Hersey, Listening in Dreams: A Compendium of Sound Dreams, Meditations, And Rituals for Deep Dreamers by Ione HACU-0104-1 Experimental 2D Animation Sarah E Jenkins TH 09:00AM-11:50AMThis studio course focuses on experimental and non-traditional methods for creating 2D animation. Experimental animation may be non-narrative, abstract, or difficult to define. It may be created with techniques that reimagine or revolt against traditional animation practices, ideas, and narratives. In the course, we will cover a breadth of introductory and Intermediate 2D animation techniques, including analog hand drawn animation, digital hand drawn animation, digital puppetry, and compositing. We will also cover sound recording, mixing, and editing for animation. The course consists of screenings, discussion, technical demos, weekly projects, critiques, and a final short film project. Students will need an external hard drive for this course. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental
/ This studio course focuses on experimental and non-traditional, methods for creating 2D animation. , Experimental animation may be non-narrative, abstract, or, difficult to define. It may be created with techniques that, reimagine or revolt against traditional animation practices,, ideas, and narratives. In the course, we will cover a breadth of, introductory and Intermediate 2D animation techniques, including, analog hand drawn animation, digital hand drawn animation,, digital puppetry, and compositing. We will also cover sound, recording, mixing, and editing for animation. The course consists, of screenings, discussion, technical demos, weekly projects,, critiques, and a final short film project. , , Students will need an external hard drive for this course. , Animation is a time-consuming art form. Expect to work a minimum, of 10 hours outside of class time every week. , , Keywords:animation, moving image, filmmaking, experimental, , Lab/Materials fee:$30, , Students should expect to spend 10 hours weekly on work and, preparation outside of class time This studio course focuses on experimental and non-traditional methods for creating 2D animation. Experimental animation may be non-narrative, abstract, or difficult to define. It may be created with techniques that reimagine or revolt against traditional animation practices, ideas, and narratives. In the course, we will cover a breadth of introductory and Intermediate 2D animation techniques, including analog hand drawn animation, digital hand drawn animation, digital puppetry, and compositing. We will also cover sound recording, mixing, and editing for animation. The course consists of screenings, discussion, technical demos, weekly projects, critiques, and a final short film project. Students will need an external hard drive for this course. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental Lab/Materials fee:$30 Students should expect to spend 10 hours weekly on work and preparation outside of class time This studio course focuses on experimental and non-traditional, methods for creating 2D animation. , Experimental animation may be non-narrative, abstract, or, difficult to define. It may be created with techniques that, reimagine or revolt against traditional animation practices,, ideas, and narratives. In the course, we will cover a breadth of, introductory and Intermediate 2D animation techniques, including, analog hand drawn animation, digital hand drawn animation,, digital puppetry, and compositing. We will also cover sound, recording, mixing, and editing for animation. The course consists, of screenings, discussion, technical demos, weekly projects,, critiques, and a final short film project. , , Students will need an external hard drive for this course. , Animation is a time-consuming art form. Expect to work a minimum, of 10 hours outside of class time every week. , , Keywords:animation, moving image, filmmaking, experimental This studio course focuses on experimental and non-traditional methods for creating 2D animation. Experimental animation may be non-narrative, abstract, or difficult to define. It may be created with techniques that reimagine or revolt against traditional animation practices, ideas, and narratives. In the course, we will cover a breadth of introductory and Intermediate 2D animation techniques, including analog hand drawn animation, digital hand drawn animation, digital puppetry, and compositing. We will also cover sound recording, mixing, and editing for animation. The course consists of screenings, discussion, technical demos, weekly projects, critiques, and a final short film project. Students will need an external hard drive for this course. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental sejCS@hampshire.eduw Lab/Materials fee:$30, , Students should expect to spend 10 hours weekly on work and, preparation outside of class time HACU-0105-1 Introduction to Sculpture Molly Morin MW 01:00PM-03:50PM ARB STUDIO 3Art making helps us imagine paths forward in the face of overwhelming present challenges. In this course students will be introduced to a range of sculpture techniques while studying artists and writers who are dreaming of more just, liberatory, and sustainable futures. With space to address their own identities areas of interest, students will make sculptures as speculative objects for future living. Students will learn techniques for wood fabrication, soft sculpture and mixed media through both small assignments and larger projects. They will practice presenting and discussing work in small groups and class critique. This is a hands-on, participatory course
k This course is an introduction to expanded sculpture. Students, will be working with materials like cardboard, wood, found, objects and ceramics. Through this course students will become, familiar with Native American and Indigenous studies, artists and, practices, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timed This course is an introduction to expanded sculpture. Students will be working with materials like cardboard, wood, found objects and ceramics. Through this course students will become familiar with Native American and Indigenous studies, artists and practices Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Art making helps us imagine paths forward in the face of, overwhelming present challenges. In this course students will be, introduced to a range of sculpture techniques while studying, artists and writers who are dreaming of mo< re just, liberatory,, and sustainable futures. With space to address their own, identities areas of interest, students will make sculptures as, speculative objects for future living. Students will learn, techniques for wood fabrication, soft sculpture and mixed media, through both small assignments and larger projects. They will, practice presenting and discussing work in small groups and class, critique. This is a hands-on, participatory course Art making helps us imagine paths forward in the face of overwhelming present challenges. In this course students will be introduced to a range of sculpture techniques while studying artists and writers who are dreaming of more just, liberatory, and sustainable futures. With space to address their own identities areas of interest, students will make sculptures as speculative objects for future living. Students will learn techniques for wood fabrication, soft sculpture and mixed media through both small assignments and larger projects. They will practice presenting and discussing work in small groups and class critique. This is a hands-on, participatory course mcmFAC@hampshire.edus Class Fee: USD50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0106-1 Intro to Narrative Design Jess Erion LC3ENarrative design is a rapidly growing and evolving discipline that shapes how we tell and experience stories through systems. This course gives students a strong foundation not only in the craft of creating interactive narratives, but also in interpreting them and identifying the values expressed through various media. Students will play a wide variety of games (both digital and analog) and become familiar with common frameworks for interactive storytelling while also gaining hands-on experience with narrative design tools like Twine and Ink. The course also examines the role that a narrative designer or game writer plays in the production of various games and equips students to develop design documents, dialogue scripts, character bios, and other related materials. Keywords:Narrative, design, games, interactive, story
+ Narrative design is a rapidly growing and evolving discipline, that shapes how we tell and experience stories through systems., This, course gives students a strong foundation not only in the craft, of creating interactive narratives, but also in interpreting them, and, identifying the values expressed through various media. Students, will play a wide variety of games (both digital and analog) and, become familiar with common frameworks for interactive, storytelling while also gaining hands-on experience with, narrative, design tools like Twine and Ink. The course also examines the, role that a narrative designer or game writer plays in the, production, of various games and equips students to develop design documents,, dialogue scripts, character bios, and other related materials., , Keywords:Narrative, design, games, interactive, story, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Library Materials:, , Games: Dog Eat Dog (Liam Liwanag Burke, 2012), Immortality (Half, Mermaid, 2022), Fire Emblem: The Sacred Stones, (Intelligent Systems, 2004), 80 Days (Inkle, 2014), The Walking, Dead (Telltale, 2012), Baldur's Gate 3 (Larian, 2023),, Animal Crossing: New Horizons (Nintendo, 2020), 1000XRESIST, (Sunset Visitor, 2024), Zork Anthology (Infocom, 1989) Narrative design is a rapidly growing and evolving discipline that shapes how we tell and experience stories through systems. This course gives students a strong foundation not only in the craft of creating interactive narratives, but also in interpreting them and identifying the values expressed through various media. Students will play a wide variety of games (both digital and analog) and become familiar with common frameworks for interactive storytelling while also gaining hands-on experience with narrative design tools like Twine and Ink. The course also examines the role that a narrative designer or game writer plays in the production of various games and equips students to develop design documents, dialogue scripts, character bios, and other related materials. Keywords:Narrative, design, games, interactive, story Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Library Materials: Games: Dog Eat Dog (Liam Liwanag Burke, 2012), Immortality (Half Mermaid, 2022), Fire Emblem: The Sacred Stones (Intelligent Systems, 2004), 80 Days (Inkle, 2014), The Walking Dead (Telltale, 2012), Baldur's Gate 3 (Larian, 2023), Animal Crossing: New Horizons (Nintendo, 2020), 1000XRESIST (Sunset Visitor, 2024), Zork Anthology (Infocom, 1989)P Narrative design is a rapidly growing and evolving discipline, that shapes how we tell and experience stories through systems., This, course gives students a strong foundation not only in the craft, of creating interactive narratives, but also in interpreting them, and, identifying the values expressed through various media. Students, will play a wide variety of games (both digital and analog) and, become familiar with common frameworks for interactive, storytelling while also gaining hands-on experience with, narrative, design tools like Twine and Ink. The course also examines the, role that a narrative designer or game writer plays in the, production, of various games and equips students to develop design documents,, dialogue scripts, character bios, and other related materials., , Keywords:Narrative, design, games, interactive, story? Narrative design is a rapidly growing and evolving discipline that shapes how we tell and experience stories through systems. This course gives students a strong foundation not only in the craft of creating interactive narratives, but also in interpreting them and identifying the values expressed through various media. Students will play a wide variety of games (both digital and analog) and become familiar with common frameworks for interactive storytelling while also gaining hands-on experience with narrative design tools like Twine and Ink. The course also examines the role that a narrative designer or game writer plays in the production of various games and equips students to develop design documents, dialogue scripts, character bios, and other related materials. Keywords:Narrative, design, games, interactive, story jeFAC@hampshire.edu Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Library Materials:, , Games: Dog Eat Dog (Liam Liwanag Burke, 2012), Immortality (Half, Mermaid, 2022), Fire Emblem: The Sacred Stones, (Intelligent Systems, 2004), 80 Days (Inkle, 2014), The Walking, Dead (Telltale, 2012), Baldur's Gate 3 (Larian, 2023),, Animal Crossing: New Horizons (Nintendo, 2020), 1000XRESIST, (Sunset Visitor, 2024), Zork Anthology (Infocom, 1989) MIX, LC3 HACU-0109-1 Drawing Foundations Zoila Andrea Coc-Chang LC4 MW 01:00PM-02:50PM STUDIO 1FThe purpose of this course is to understand and use drawing as a daily problem-solving practice throughout the semester. This course will start off with an emphasis on the elements of visual arts like composition, values, and form through (mainly) observational drawing and collaboration. Later it shifts to projects that serve to open ideas around the drawing process so that it can be used to explore and develop self-defined subject matter. Special attention will be paid to mark-making and some material exploration to move from observational drawing to working from imagination through collage, collaboration, writing and more. Regardless of your area of study, all students will be asked to find their own use and inspiration for drawing throughout the semester. Keywords: Drawing, Foundations, Studio Art, Color, Mark-Making
P The purpose of this course is to understand and use drawing as a, daily problem-solving practice throughout the semester. This, course will start off with an emphasis on the elements of visual, arts like composition, values, and form through (mainly), observational drawing and collaboration. Later it sh< ifts to, projects that serve to open ideas around the drawing process so, that it can be used to explore and develop self-defined subject, matter. Special attention will be paid to mark-making and some, material exploration to move from observational drawing to, working from imagination through collage, collaboration, writing, and more. Regardless of your area of study, all students will be, asked to find their own use and inspiration for drawing, throughout the semester. , , Keywords: Drawing, Foundations, Studio, Art, Color, Mark-MakingA The purpose of this course is to understand and use drawing as a daily problem-solving practice throughout the semester. This course will start off with an emphasis on the elements of visual arts like composition, values, and form through (mainly) observational drawing and collaboration. Later it shifts to projects that serve to open ideas around the drawing process so that it can be used to explore and develop self-defined subject matter. Special attention will be paid to mark-making and some material exploration to move from observational drawing to working from imagination through collage, collaboration, writing and more. Regardless of your area of study, all students will be asked to find their own use and inspiration for drawing throughout the semester. Keywords: Drawing, Foundations, Studio Art, Color, Mark-Making zacFAC@hampshire.edu This course has a materials fee of $80.00. Students should, generally expect to spend 8+ hours a week on work ouside of, classtime. MIX, LC4 HACU-0110-1 Lensewise Kane Stewart% TTH 10:30AM-11:50AM W 06:00PM-07:20PM JLC, JLCRLenswise was conceived as an opportunity to introduce basic image making skills to non-majors. Students used smartphones, digital\analog cameras, or other image-making devices to pursue three assignments and a final self-directed project. In-person participation was a key requirement of the course. This included participation in discussions, in-class demonstrations, critiques, attending Wednesday night labs, and work with others to direct an in-class, collaborative activity. Students were also required to write a self-evaluation at the conclusion of the course.
This course is geared towards students with little to no, photography experience who desire to integrate the medium into, their concentration. Students, such as those working in the, physical and social sciences as well as art forms outside of, photography, will learn to channel self-chosen topics through, photography as a means to express, illustrate, instruct,, challenge, promote, document, and or discover ways of seeing and, representing what most interests them about the world. We will, begin by covering the basics of lighting and composition,, mechanics of shutter speed and aperture, lens options,, accessories, and features in photographic printmaking and digital, display. From there, we will explore and discuss how others use, the medium to support their work in an assortment of fields, outside of photography. Students will be expected to complete and, share biweekly assignments related to their areas of interest and, practice. The course will be taught primarily with digital, technology such as smartphones, digital cameras, and computer, software. , , Keywords:Photography, , Lab/Materials fee:$65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course is geared towards students with little to no photography experience who desire to integrate the medium into their concentration. Students, such as those working in the physical and social sciences as well as art forms outside of photography, will learn to channel self-chosen topics through photography as a means to express, illustrate, instruct, challenge, promote, document, and or discover ways of seeing and representing what most interests them about the world. We will begin by covering the basics of lighting and composition, mechanics of shutter speed and aperture, lens options, accessories, and features in photographic printmaking and digital display. From there, we will explore and discuss how others use the medium to support their work in an assortment of fields outside of photography. Students will be expected to complete and share biweekly assignments related to their areas of interest and practice. The course will be taught primarily with digital technology such as smartphones, digital cameras, and computer software. Keywords:Photography Lab/Materials fee:$65 Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeH This course is geared towards students with little to no, photography experience who desire to integrate the medium into, their concentration. Students, such as those working in the, physical and social sciences as well as art forms outside of, photography, will learn to channel self-chosen topics through, photography as a means to express, illustrate, instruct,, challenge, promote, document, and or discover ways of seeing and, representing what most interests them about the world. We will, begin by covering the basics of lighting and composition,, mechanics of shutter speed and aperture, lens options,, accessories, and features in photographic printmaking and digital, display. From there, we will explore and discuss how others use, the medium to support their work in an assortment of fields, outside of photography. Students will be expected to complete and, share biweekly assignments related to their areas of interest and, practice. The course will be taught primarily with digital, technology such as smartphones, digital cameras, and computer, software. , , Keywords:Photography5 This course is geared towards students with little to no photography experience who desire to integrate the medium into their concentration. Students, such as those working in the physical and social sciences as well as art forms outside of photography, will learn to channel self-chosen topics through photography as a means to express, illustrate, instruct, challenge, promote, document, and or discover ways of seeing and representing what most interests them about the world. We will begin by covering the basics of lighting and composition, mechanics of shutter speed and aperture, lens options, accessories, and features in photographic printmaking and digital display. From there, we will explore and discuss how others use the medium to support their work in an assortment of fields outside of photography. Students will be expected to complete and share biweekly assignments related to their areas of interest and practice. The course will be taught primarily with digital technology such as smartphones, digital cameras, and computer software. Keywords:Photography kasFP@hampshire.edux Lab/Materials fee:$65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0119-1 Musical Beginnings Becky Miller MDBThis course focused on the broad basic fundamentals of western music and music theory, including music literacy (how to read western music notation). We studied theoretical concepts such as pitch, rhythm, timbre, texture, intervals, chords, harmony, modes, etc.) and developed our sense of music cognition through solfege singing and weekly, 1.5 hour ear training classes. This course connected music to theory through music composition; to this end, students collaborated with a partner to write three short duets over the semester. Students were also required to attend an off-campus classical or jazz concert and write a short report on the event.
This course focuses on the broad fundamentals of western music, and music theory, including music literacy (how to read western, music notation). We will look at theoretical concepts (pitch,, rhythm, timbral nuances, texture, intervals, chords, harmony,, etc.) and develop our sense of music cognition through ear, training and solfege singing. This course will connect music to, theory by teaching students the basics of music composition. No, prior music training or literacy is required. Stud< ents are, required to attend one ear training class every week, either, Mondays and Tuesdays evening from 7:00 - 8:30 pm., , Keywords:music, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course focuses on the broad fundamentals of western music and music theory, including music literacy (how to read western music notation). We will look at theoretical concepts (pitch, rhythm, timbral nuances, texture, intervals, chords, harmony, etc.) and develop our sense of music cognition through ear training and solfege singing. This course will connect music to theory by teaching students the basics of music composition. No prior music training or literacy is required. Students are required to attend one ear training class every week, either Mondays and Tuesdays evening from 7:00 - 8:30 pm. Keywords:music Students should expect to spend 6-8 hours weekly on work and preparation outside of class timez This course focuses on the broad fundamentals of western music, and music theory, including music literacy (how to read western, music notation). We will look at theoretical concepts (pitch,, rhythm, timbral nuances, texture, intervals, chords, harmony,, etc.) and develop our sense of music cognition through ear, training and solfege singing. This course will connect music to, theory by teaching students the basics of music composition. No, prior music training or literacy is required. Students are, required to attend one ear training class every week, either, Mondays and Tuesdays evening from 7:00 - 8:30 pm., , Keywords:musico This course focuses on the broad fundamentals of western music and music theory, including music literacy (how to read western music notation). We will look at theoretical concepts (pitch, rhythm, timbral nuances, texture, intervals, chords, harmony, etc.) and develop our sense of music cognition through ear training and solfege singing. This course will connect music to theory by teaching students the basics of music composition. No prior music training or literacy is required. Students are required to attend one ear training class every week, either Mondays and Tuesdays evening from 7:00 - 8:30 pm. Keywords:music rsmMB@hampshire.edu MIX, LC5 HACU-0129-1 Photo I: B&w and Darkroom Eduardo Rivera% TH 01:00PM-03:50PM TH 01:00PM-03:50PM JLC, JLC, JLC3This course serves as an introduction to B&W photography, 35mm film, and darkroom printing. Students will learn how to make silver gelatin prints, and conceptually compose a body of work. Towards the end of the semester students will spend some time scanning their B&W film and editing their scans using Adobe Photoshop. Throughout this course students will be introduced to historical and contemporary artists working within the medium of B&W photography. Students will also participate in critical discussions around the topic of photography and how this medium has been historically used as a tool for colonization. Class sessions will consist of printing in the darkroom, lectures, group discussions from assigned readings, and critiques. Keywords:B&W photography, film, Photography, darkroom
* This course serves as an introduction to B&W photography, 35mm, film, and darkroom printing. Students will learn how to make, silver gelatin prints, and conceptually compose a body of work., Towards the end of the semester students will spend some time, scanning their B&W film and editing their scans using Adobe, Photoshop. Throughout this course students will be introduced to, historical and contemporary artists working within the medium of, B&W photography. Students will also participate in critical, discussions around the topic of photography and how this medium, has been historically used as a tool for colonization. Class, sessions will consist of printing in the darkroom, lectures,, group discussions from assigned readings, and critiques., , Keywords:B&W photography, film, Photography, darkroom This course serves as an introduction to B&W photography, 35mm film, and darkroom printing. Students will learn how to make silver gelatin prints, and conceptually compose a body of work. Towards the end of the semester students will spend some time scanning their B&W film and editing their scans using Adobe Photoshop. Throughout this course students will be introduced to historical and contemporary artists working within the medium of B&W photography. Students will also participate in critical discussions around the topic of photography and how this medium has been historically used as a tool for colonization. Class sessions will consist of printing in the darkroom, lectures, group discussions from assigned readings, and critiques. Keywords:B&W photography, film, Photography, darkroom erFAC@hampshire.eduy Lab/Materials fee: $65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time LC2, RP HACU-0145-1 Moving, Making, Meaning Lailye Weidman MAINThis beginning-level course invites students to develop dance, choreography, and performance practices as vehicles for thinking about and supporting new beginnings. The course will function as dance class, rehearsal, and research seminar where we will examine assumptions about whose bodies are afforded the opportunity to be expressive, and learn to trust what our bodies already know. We will also work to expand our capacities for embodied play, experimentation, meaning-making, physical and intellectual rigor, and employ a range of creative modalities (including use of the written word, video and digital media) to contextualize and process embodied experience. Our work will be bolstered by the study of theoretical underpinnings of contemporary dance, art-making and performance practices. We will share our work in a collaborative all-day performance event at the midterm, with a possible informal showing at the end of the semester. No previous dance experience is necessary Keywords:dance, performance, choreography, movement, theater
This beginning-level course invites students to develop dance,, choreography, and performance practices as vehicles for thinking, about and supporting new beginnings. The course will function as, dance class, rehearsal, and research seminar where we will, examine assumptions about whose bodies are afforded the, opportunity to be expressive, and learn to trust what our bodies, already know. We will also work to expand our capacities for, embodied play, experimentation, meaning-making, physical and, intellectual rigor, and employ a range of creative modalities, (including use of the written word, video and digital media) to, contextualize and process embodied experience. Our work will be, bolstered by the study of theoretical underpinnings of, contemporary dance, art-making and performance practices. We will, share our work in a collaborative all-day performance event at, the midterm, with a possible informal showing at the end of the, semester. No previous dance experience is necessary, , Keywords:dance, performance, choreography, movement, theater, , Lab/Materials fee:50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This beginning-level course invites students to develop dance, choreography, and performance practices as vehicles for thinking about and supporting new beginnings. The course will function as dance class, rehearsal, and research seminar where we will examine assumptions about whose bodies are afforded the opportunity to be expressive, and learn to trust what our bodies already know. We will also work to expand our capacities for embodied play, experimentation, meaning-making, physical and intellectual rigor, and employ a range of creative modalities (including use of the written word, video and digital media) to contextualize and process embodied experience. Our work will be bolstered by the study of theoretical underpinnings of contemporary dance, art-making and performance practices. We will share our work in a collaborative all-day performance event at the midterm, with a possible informal showing at the end of the semester. No prev< ious dance experience is necessary Keywords:dance, performance, choreography, movement, theater Lab/Materials fee:50 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time' This beginning-level course invites students to develop dance,, choreography, and performance practices as vehicles for thinking, about and supporting new beginnings. The course will function as, dance class, rehearsal, and research seminar where we will, examine assumptions about whose bodies are afforded the, opportunity to be expressive, and learn to trust what our bodies, already know. We will also work to expand our capacities for, embodied play, experimentation, meaning-making, physical and, intellectual rigor, and employ a range of creative modalities, (including use of the written word, video and digital media) to, contextualize and process embodied experience. Our work will be, bolstered by the study of theoretical underpinnings of, contemporary dance, art-making and performance practices. We will, share our work in a collaborative all-day performance event at, the midterm, with a possible informal showing at the end of the, semester. No previous dance experience is necessary, , Keywords:dance, performance, choreography, movement, theater This beginning-level course invites students to develop dance, choreography, and performance practices as vehicles for thinking about and supporting new beginnings. The course will function as dance class, rehearsal, and research seminar where we will examine assumptions about whose bodies are afforded the opportunity to be expressive, and learn to trust what our bodies already know. We will also work to expand our capacities for embodied play, experimentation, meaning-making, physical and intellectual rigor, and employ a range of creative modalities (including use of the written word, video and digital media) to contextualize and process embodied experience. Our work will be bolstered by the study of theoretical underpinnings of contemporary dance, art-making and performance practices. We will share our work in a collaborative all-day performance event at the midterm, with a possible informal showing at the end of the semester. No previous dance experience is necessary Keywords:dance, performance, choreography, movement, theater lmwHA@hampshire.eduw Lab/Materials fee:50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0212-1 Experimental Narrative# T 01:00PM-04:00PM W 04:00PM-06:00PMThis is a hands-on video production course designed for students to find and develop their own personal voice through moving image work. Through readings, discussions, screenings, technical workshops, critiques and the creation of two films, students will explore traditional narrative frameworks and expand on these frameworks to push the boundaries of the conventional film narrative. This course will cover all stages of pre-production including, lookbooks, storyboards, shot lists, casting, screen tests, location scouting and production scheduling. Students will contribute to one group film and will create one individual film. Students will direct their own scripts and work in crews to produce each other's films Keywords:Narrative, Experimental, Filmmaking, Collaboration
This is a hands-on video production course designed for students, to find and develop their own personal voice through moving image, work. Through readings, discussions, screenings, technical, workshops, critiques and the creation of two films, students will, explore traditional narrative frameworks and expand on these, frameworks to push the boundaries of the conventional film, narrative. This course will cover all stages of pre-production, including, lookbooks, storyboards, shot lists, casting, screen, tests, location scouting and production scheduling. Students will, contribute to one group film and will create one individual film., Students will direct their own scripts and work in crews to, produce each other's films, , Keywords:Narrative, Experimental, Filmmaking, Collaboration, , Lab/Materials fee:$ 65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This is a hands-on video production course designed for students to find and develop their own personal voice through moving image work. Through readings, discussions, screenings, technical workshops, critiques and the creation of two films, students will explore traditional narrative frameworks and expand on these frameworks to push the boundaries of the conventional film narrative. This course will cover all stages of pre-production including, lookbooks, storyboards, shot lists, casting, screen tests, location scouting and production scheduling. Students will contribute to one group film and will create one individual film. Students will direct their own scripts and work in crews to produce each other's films Keywords:Narrative, Experimental, Filmmaking, Collaboration Lab/Materials fee:$ 65 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This is a hands-on video production course designed for students, to find and develop their own personal voice through moving image, work. Through readings, discussions, screenings, technical, workshops, critiques and the creation of two films, students will, explore traditional narrative frameworks and expand on these, frameworks to push the boundaries of the conventional film, narrative. This course will cover all stages of pre-production, including, lookbooks, storyboards, shot lists, casting, screen, tests, location scouting and production scheduling. Students will, contribute to one group film and will create one individual film., Students will direct their own scripts and work in crews to, produce each other's films, , Keywords:Narrative, Experimental, Filmmaking, Collaboration This is a hands-on video production course designed for students to find and develop their own personal voice through moving image work. Through readings, discussions, screenings, technical workshops, critiques and the creation of two films, students will explore traditional narrative frameworks and expand on these frameworks to push the boundaries of the conventional film narrative. This course will cover all stages of pre-production including, lookbooks, storyboards, shot lists, casting, screen tests, location scouting and production scheduling. Students will contribute to one group film and will create one individual film. Students will direct their own scripts and work in crews to produce each other's films Keywords:Narrative, Experimental, Filmmaking, Collaborationy Lab/Materials fee:$ 65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0219-1 Novels of U.S. Empire Michele Hardesty)This course will examine how the novel has shaped-and contested-the notion of the United States as an empire from the late 19th century to the early 21st, while also complicating the notion of a nationally bound American literary canon. Most of the course will focus on three novels, each of which represents (and to some extent critiques) U.S. economic and military imperialism in the 20th century: Rachel Kushner's Telex from Cuba (2008), Abdelrahman Munif's Cities of Salt (1984), and Viet Thanh Nguyen's The Sympathizer (2015). These realist novels inhabit quite different points of view, and each one deals in complex ways with the lived experience of empire and resistance: Telex from Cuba narrates the coming of the Cuban Revolution from the point of view of white women and children living in the US commercial colonies in eastern Cuba in the 1950s, as well as Cubans of many stripes; Cities of Salt narrates the arrival of American oil business in the Arabian Peninsula in the 1930s from the perspective of displaced and transformed Arab communities; and The Sympathizer narrates the aftermath of the U.S. withdrawal from Vietnam in the 1970s from the perspective of a Vietnamese Communist double agent exiled to California. To enhance our understanding, we will c< losely read these novels next to primary sources and critical work from the fields of history, American Studies, cultural studies, gender studies, and literary studies. Students will write frequent critical response papers, co-facilitate discussion, and undertake an independent research essay that will include a proposal, draft, and revision. This course is best suited for students with some college-level background in U.S. literature, history, and/or cultural studies. Keywords:America empire imperialism novel Cuba Vietnam Saudi Arabia
This course will examine how the novel has shaped-and, contested-the notion of the United States as an empire from the, late 19th century to the early 21st, while also complicating the, notion of a nationally bound American literary canon. Most of the, course will focus on three novels, each of which represents (and, to some extent critiques) U.S. economic and military imperialism, in the 20th century: Rachel Kushner's Telex from Cuba (2008),, Abdelrahman Munif's Cities of Salt (1984), and Viet Thanh, Nguyen's The Sympathizer (2015). These realist novels inhabit, quite different points of view, and each one deals in complex, ways with the lived experience of empire and resistance: Telex, from Cuba narrates the coming of the Cuban Revolution from the, point of view of white women and children living in the US, commercial colonies in eastern Cuba in the 1950s, as well as, Cubans of many stripes; Cities of Salt narrates the arrival of, American oil business in the Arabian Peninsula in the 1930s from, the perspective of displaced and transformed Arab communities;, and The Sympathizer narrates the aftermath of the U.S. withdrawal, from Vietnam in the 1970s from the perspective of a Vietnamese, Communist double agent exiled to California. To enhance our, understanding, we will closely read these novels next to primary, sources and critical work from the fields of history, American, Studies, cultural studies, gender studies, and literary studies., Students will write frequent critical response papers,, co-facilitate discussion, and undertake an independent research, essay that will include a proposal, draft, and revision. This, course is best suited for students with some college-level, background in U.S. literature, history, and/or cultural studies., , Keywords:America empire imperialism novel Cuba Vietnam Saudi, Arabia, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Telex from Cuba, Author:Rachel Kushner, ISBN:9781416561040, Cost:17.99, , , Title:Cities of Salt, Author:Abdelrahman Munf, ISBN:9780394755267 , Cost:19.95, , , Title:The Sympathizer, Author:Viet Thahn Nguyen, ISBN:978-0-8021-2494-4, Cost:$17.00l This course will examine how the novel has shaped-and contested-the notion of the United States as an empire from the late 19th century to the early 21st, while also complicating the notion of a nationally bound American literary canon. Most of the course will focus on three novels, each of which represents (and to some extent critiques) U.S. economic and military imperialism in the 20th century: Rachel Kushner's Telex from Cuba (2008), Abdelrahman Munif's Cities of Salt (1984), and Viet Thanh Nguyen's The Sympathizer (2015). These realist novels inhabit quite different points of view, and each one deals in complex ways with the lived experience of empire and resistance: Telex from Cuba narrates the coming of the Cuban Revolution from the point of view of white women and children living in the US commercial colonies in eastern Cuba in the 1950s, as well as Cubans of many stripes; Cities of Salt narrates the arrival of American oil business in the Arabian Peninsula in the 1930s from the perspective of displaced and transformed Arab communities; and The Sympathizer narrates the aftermath of the U.S. withdrawal from Vietnam in the 1970s from the perspective of a Vietnamese Communist double agent exiled to California. To enhance our understanding, we will closely read these novels next to primary sources and critical work from the fields of history, American Studies, cultural studies, gender studies, and literary studies. Students will write frequent critical response papers, co-facilitate discussion, and undertake an independent research essay that will include a proposal, draft, and revision. This course is best suited for students with some college-level background in U.S. literature, history, and/or cultural studies. Keywords:America empire imperialism novel Cuba Vietnam Saudi Arabia Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Title:Telex from Cuba Author:Rachel Kushner ISBN:9781416561040 Cost:17.99 Title:Cities of Salt Author:Abdelrahman Munf ISBN:9780394755267 Cost:19.95 Title:The Sympathizer Author:Viet Thahn Nguyen ISBN:978-0-8021-2494-4 Cost:$17.005 This course will examine how the novel has shaped-and, contested-the notion of the United States as an empire from the, late 19th century to the early 21st, while also complicating the, notion of a nationally bound American literary canon. Most of the, course will focus on three novels, each of which represents (and, to some extent critiques) U.S. economic and military imperialism, in the 20th century: Rachel Kushner's Telex from Cuba (2008),, Abdelrahman Munif's Cities of Salt (1984), and Viet Thanh, Nguyen's The Sympathizer (2015). These realist novels inhabit, quite different points of view, and each one deals in complex, ways with the lived experience of empire and resistance: Telex, from Cuba narrates the coming of the Cuban Revolution from the, point of view of white women and children living in the US, commercial colonies in eastern Cuba in the 1950s, as well as, Cubans of many stripes; Cities of Salt narrates the arrival of, American oil business in the Arabian Peninsula in the 1930s from, the perspective of displaced and transformed Arab communities;, and The Sympathizer narrates the aftermath of the U.S. withdrawal, from Vietnam in the 1970s from the perspective of a Vietnamese, Communist double agent exiled to California. To enhance our, understanding, we will closely read these novels next to primary, sources and critical work from the fields of history, American, Studies, cultural studies, gender studies, and literary studies., Students will write frequent critical response papers,, co-facilitate discussion, and undertake an independent research, essay that will include a proposal, draft, and revision. This, course is best suited for students with some college-level, background in U.S. literature, history, and/or cultural studies., , Keywords:America empire imperialism novel Cuba Vietnam Saudi, Arabia This course will examine how the novel has shaped-and contested-the notion of the United States as an empire from the late 19th century to the early 21st, while also complicating the notion of a nationally bound American literary canon. Most of the course will focus on three novels, each of which represents (and to some extent critiques) U.S. economic and military imperialism in the 20th century: Rachel Kushner's Telex from Cuba (2008), Abdelrahman Munif's Cities of Salt (1984), and Viet Thanh Nguyen's The Sympathizer (2015). These realist novels inhabit quite different points of view, and each one deals in complex ways with the lived experience of empire and resistance: Telex from Cuba narrates the coming of the Cuban Revolution from the point of view of white women and children living in the US commercial colonies in eastern Cuba in the 1950s, as well as Cubans of many stripes; Cities of Salt narrates the arrival of American oil business in the Arabian Peninsula in the 1930s from the perspective of displaced and transformed Arab communities; and The Sympathizer narrates the aftermath of the U.S. withdrawal from Vietnam in the 1970s from the perspective of a Vietnamese Communist double agent exiled to California. To enhance our understanding, we will closely read these novels next to primary sources and critical work from the fields of history, American Studies, cultural studies, gender studies, and literary studies. Students will w< rite frequent critical response papers, co-facilitate discussion, and undertake an independent research essay that will include a proposal, draft, and revision. This course is best suited for students with some college-level background in U.S. literature, history, and/or cultural studies. Keywords:America empire imperialism novel Cuba Vietnam Saudi Arabia mlhHA@hampshire.edug Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:Telex from Cuba, Author:Rachel Kushner, ISBN:9781416561040, Cost:17.99, , , Title:Cities of Salt, Author:Abdelrahman Munf, ISBN:9780394755267 , Cost:19.95, , , Title:The Sympathizer, Author:Viet Thahn Nguyen, ISBN:978-0-8021-2494-4, Cost:$17.00 HACU-0220-1 Robots & In/Humanity in Games F 09:00AM-11:50AMRobots have long been a critical inflection point of play throughout the history of game development. Through a combination of critical play, discussion, analysis, and creative exercises, students will explore the interactive positioning of robotic figures in games and gain insights into how robots have served as symbols of both technological advancements and cultural anxieties. This course also investigates what robots signify in relation to labor, autonomy, dis/ability, identity, and empathy - and, more broadly, what criteria is used to grant (and deny) humanity and personhood to someone or something Keywords:Games, interactivity, robots, agency, media
Robots have long been a critical inflection point of play, throughout the history of game development. Through a combination, of critical play, discussion, analysis, and creative exercises,, students will explore the interactive positioning of robotic, figures in games and gain insights into how robots have served as, symbols of both technological advancements and cultural, anxieties. This course also investigates what robots signify in, relation to labor, autonomy, dis/ability, identity, and empathy -, and, more broadly, what criteria is used to grant (and deny), humanity and personhood to someone or something, , Keywords:Games, interactivity, robots, agency, media, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Books: Rossum's Universal Robots by Karel Capek , Turing's Cathedral by George Dyson , A Cyborg Manifesto by Donna Haraway , Unit Operations: An Approach to Videogame Criticism by Ian Bogost, , , Library Materials:, , Games: Detroit: Become Human (Quantic Dream, 2018), I, Robot, (Llamasoft Ltd., 2025), Dustborn (Red Thread Games,, 2024), The Red Strings Club (Deconstructeam, 2018), Halo: Combat, Evolved (Bungie, 2001), Custom Robo (Noise,, 2004), , Films: The Iron Giant (1999), Blade Runner (1982) Robots have long been a critical inflection point of play throughout the history of game development. Through a combination of critical play, discussion, analysis, and creative exercises, students will explore the interactive positioning of robotic figures in games and gain insights into how robots have served as symbols of both technological advancements and cultural anxieties. This course also investigates what robots signify in relation to labor, autonomy, dis/ability, identity, and empathy - and, more broadly, what criteria is used to grant (and deny) humanity and personhood to someone or something Keywords:Games, interactivity, robots, agency, media Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Books: Rossum's Universal Robots by Karel Capek Turing's Cathedral by George Dyson A Cyborg Manifesto by Donna Haraway Unit Operations: An Approach to Videogame Criticism by Ian Bogost Library Materials: Games: Detroit: Become Human (Quantic Dream, 2018), I, Robot (Llamasoft Ltd., 2025), Dustborn (Red Thread Games, 2024), The Red Strings Club (Deconstructeam, 2018), Halo: Combat Evolved (Bungie, 2001), Custom Robo (Noise, 2004) Films: The Iron Giant (1999), Blade Runner (1982) Robots have long been a critical inflection point of play, throughout the history of game development. Through a combination, of critical play, discussion, analysis, and creative exercises,, students will explore the interactive positioning of robotic, figures in games and gain insights into how robots have served as, symbols of both technological advancements and cultural, anxieties. This course also investigates what robots signify in, relation to labor, autonomy, dis/ability, identity, and empathy -, and, more broadly, what criteria is used to grant (and deny), humanity and personhood to someone or something, , Keywords:Games, interactivity, robots, agency, media Robots have long been a critical inflection point of play throughout the history of game development. Through a combination of critical play, discussion, analysis, and creative exercises, students will explore the interactive positioning of robotic figures in games and gain insights into how robots have served as symbols of both technological advancements and cultural anxieties. This course also investigates what robots signify in relation to labor, autonomy, dis/ability, identity, and empathy - and, more broadly, what criteria is used to grant (and deny) humanity and personhood to someone or something Keywords:Games, interactivity, robots, agency, mediac Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Books: Rossum's Universal Robots by Karel Capek , Turing's Cathedral by George Dyson , A Cyborg Manifesto by Donna Haraway , Unit Operations: An Approach to Videogame Criticism by Ian Bogost, , , Library Materials:, , Games: Detroit: Become Human (Quantic Dream, 2018), I, Robot, (Llamasoft Ltd., 2025), Dustborn (Red Thread Games,, 2024), The Red Strings Club (Deconstructeam, 2018), Halo: Combat, Evolved (Bungie, 2001), Custom Robo (Noise,, 2004), , Films: The Iron Giant (1999), Blade Runner (1982) HACU-0229-1 Hate, Hope & Humor Viveca GreenetStand-up comedy, satirical news, and memes: How do these and other humor-related cultural forms allow both right-wing groups and members of the many groups the right-wing targets (immigrants, racial/ethnic/religious minorities, queer people, women, etc.) to challenge the status quo? What is the power and are the limitations of these cultural forms? In this discussion-based and writing-intensive course, students grappled with humor's many social and political functions, and in relation to white supremacy, rape culture, and other weighty issues. Course readings ncluded literature by scholars in communication, media studies, sociology, psychology, political science, and ethnic studies, which we drew from in analyzing specific performances and platforms. Ultimately students produced a final research project on a humor-related topic of their own choosing and presented their projects to the class. [Note: this course aligned with the Art & Politics Learning Collaborative and addressed its urgent question: How can art and politics intersect to challenge dominant narratives and create community?]
Stand-up comedy, satirical news, and memes: How do these and, other humor-related cultural forms allow both right-wing groups, and members of the many groups the right-wing targets, (immigrants, racial/ethnic/religious minorities, queer people,, women, etc.) to challenge the status quo? What is the power and, are the limitations of these cultural forms? In this, discussion-based and writing-intensive course, students will, grapple with humor's many social and political functions, and in, relation to white supremacy, rape culture, and other weighty, issues. Course readings will include literature by scholars in, communication, media studies, sociology, psychology, political, science, and ethnic studies, which we will draw from in analyzing, specific performances and platforms. Ultimately students will, produce a final research project on a humor-related topic of, their own choosing and present it to the class. Note: this course, aligns with the Art & Politics Learning Collaborative and will, address its urgent question: Ho< w can art and politics intersect, to challenge dominant narratives and create community?, , Keywords:satire, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Stand-up comedy, satirical news, and memes: How do these and other humor-related cultural forms allow both right-wing groups and members of the many groups the right-wing targets (immigrants, racial/ethnic/religious minorities, queer people, women, etc.) to challenge the status quo? What is the power and are the limitations of these cultural forms? In this discussion-based and writing-intensive course, students will grapple with humor's many social and political functions, and in relation to white supremacy, rape culture, and other weighty issues. Course readings will include literature by scholars in communication, media studies, sociology, psychology, political science, and ethnic studies, which we will draw from in analyzing specific performances and platforms. Ultimately students will produce a final research project on a humor-related topic of their own choosing and present it to the class. Note: this course aligns with the Art & Politics Learning Collaborative and will address its urgent question: How can art and politics intersect to challenge dominant narratives and create community? Keywords:satire Students should expect to spend 6-8 hours weekly on work and preparation outside of class timex Stand-up comedy, satirical news, and memes: How do these and, other humor-related cultural forms allow both right-wing groups, and members of the many groups the right-wing targets, (immigrants, racial/ethnic/religious minorities, queer people,, women, etc.) to challenge the status quo? What is the power and, are the limitations of these cultural forms? In this, discussion-based and writing-intensive course, students will, grapple with humor's many social and political functions, and in, relation to white supremacy, rape culture, and other weighty, issues. Course readings will include literature by scholars in, communication, media studies, sociology, psychology, political, science, and ethnic studies, which we will draw from in analyzing, specific performances and platforms. Ultimately students will, produce a final research project on a humor-related topic of, their own choosing and present it to the class. Note: this course, aligns with the Art & Politics Learning Collaborative and will, address its urgent question: How can art and politics intersect, to challenge dominant narratives and create community?, , Keywords:satiree Stand-up comedy, satirical news, and memes: How do these and other humor-related cultural forms allow both right-wing groups and members of the many groups the right-wing targets (immigrants, racial/ethnic/religious minorities, queer people, women, etc.) to challenge the status quo? What is the power and are the limitations of these cultural forms? In this discussion-based and writing-intensive course, students will grapple with humor's many social and political functions, and in relation to white supremacy, rape culture, and other weighty issues. Course readings will include literature by scholars in communication, media studies, sociology, psychology, political science, and ethnic studies, which we will draw from in analyzing specific performances and platforms. Ultimately students will produce a final research project on a humor-related topic of their own choosing and present it to the class. Note: this course aligns with the Art & Politics Learning Collaborative and will address its urgent question: How can art and politics intersect to challenge dominant narratives and create community? Keywords:satire vsgIA@hampshire.edu HACU-0231-1 Graphic Design Studio Thomas Long Y T 09:00AM-11:50AMeGraphic design is a creative and critical practice at the intersection of communication and abstraction. The process of learning graphic design is two-fold, and students in this course will engage both areas. First, students will develop knowledge and fluency with design skills--in this case, software (Adobe Photoshop/Illustrator/InDesign); second students will address the challenges of design head-on through discussion, practice, iteration, critique and experimentation. The projects will challenge students to explore raster and vector graphic forms, color theory, and typography in creative, experimental ways to reach their objectives. Techniques, approaches, styles and processes for representing numbers, maps, philosophies and ideas will be introduced throughout the course. As a studio and software course, it will be fast-paced and immersive and will require a substantial amount of work outside of class time. The course will be made up of several small, fast-paced projects and culminate in one longer, more engaged print design project Keywords:Design, Studio, Graphic Design, Communication, Technology
| This course offers a survey of Critical Indigenous studies-, transnational and transdisciplinary theorizing from a new and, emerging generation of Indigenous scholars. As a field, Critical, Indigenous studies makes crucial interventions in our collective, understanding of colonialism, empire, race, gender, sexuality,, identity, democracy, personhood, migration, environmental, justice, human rights, and multiculturalism. Centering the fact, that Indigenous knowledge is vibrant, dynamic, and pertinent to, issues of universal concern, this course aims to develop a broad, and deep appreciation for Indigenous modes of analysis and, contestation that allow us to transgress and transcend colonial, traumas, borders, states, and fictions, , Keywords:Gender, race, indigeneity, critical theory, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timel This course offers a survey of Critical Indigenous studies- transnational and transdisciplinary theorizing from a new and emerging generation of Indigenous scholars. As a field, Critical Indigenous studies makes crucial interventions in our collective understanding of colonialism, empire, race, gender, sexuality, identity, democracy, personhood, migration, environmental justice, human rights, and multiculturalism. Centering the fact that Indigenous knowledge is vibrant, dynamic, and pertinent to issues of universal concern, this course aims to develop a broad and deep appreciation for Indigenous modes of analysis and contestation that allow us to transgress and transcend colonial traumas, borders, states, and fictions Keywords:Gender, race, indigeneity, critical theory Students should expect to spend 6-8 hours weekly on work and preparation outside of class timer Graphic design is a creative and critical practice at the, intersection of communication and abstraction. The process of, learning graphic design is two-fold, and students in this course, will engage both areas. First, students will develop knowledge, and fluency with design skills--in this case, software (Adobe, Photoshop/Illustrator/InDesign); second students will address the, challenges of design head-on through discussion, practice,, iteration, critique and experimentation. The projects will, challenge students to explore raster and vector graphic forms,, color theory, and typography in creative, experimental ways to, reach their objectives. Techniques, approaches, styles and, processes for representing numbers, maps, philosophies and ideas, will be introduced throughout the course. As a studio and, software course, it will be fast-paced and immersive and will, require a substantial amount of work outside of class time. The, course will be made up of several small, fast-paced projects and, culminate in one longer, more engaged print design project, , Keywords:Design, Studio, Graphic Design, Communication,, Technology_ Graphic design is a creative and critical practice at the intersection of communication and abstraction. The process of learning graphic design is two-fold, and students in this course will engage both areas. First, students will develop knowledge and fluency with design skills--in this case, software (Adobe Photoshop/Illustrator/InDesign); second students will address th< e challenges of design head-on through discussion, practice, iteration, critique and experimentation. The projects will challenge students to explore raster and vector graphic forms, color theory, and typography in creative, experimental ways to reach their objectives. Techniques, approaches, styles and processes for representing numbers, maps, philosophies and ideas will be introduced throughout the course. As a studio and software course, it will be fast-paced and immersive and will require a substantial amount of work outside of class time. The course will be made up of several small, fast-paced projects and culminate in one longer, more engaged print design project Keywords:Design, Studio, Graphic Design, Communication, Technology tlHA@hampshire.edux Lab/Materials fee:$50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0233-1 Writing About MusicKIn this course, students read and tried their hand at different types of music writing. We learned the basics of music journalism and music memoir writing. We focused on developing and strengthening proposal writing, outlining, creating an argument, and the process of editing/revision. In addition to learning basic music concepts and terminology, we also engaged in "deep listening" with regards to musical structure, style, and lyrical analysis. This course had regular reading and listening assignments that covered a range of music, including rock/pop, punk/hardcore, western classical, rap, R&B, and folk/traditional music. Students completed three writing projects -- an album review, a live concert review, and a music memoir; presented their writing for feedback in class workshops; and completed short written responses to reading and listening assignments. They also prepared an eight-minute oral presentation that analyzed a song or piece of music of their choice. Prior knowledge of music or music theory was neither expected nor required.
In this course, students will read and try their hand at, different types of music writing. We will learn the basics of, music journalism. literary non-fiction, and the musical memoir., We will focus on developing and strengthening proposal writing,, outlining, setting up an argument, and the process of, editing/revision. In addition to learning basic music terminology, and concepts to strengthen how we communicate about music, we, will also learn about "deep listening" with regards to musical, structure, style, and lyrical meaning. There will be regular, required reading and listening assignments covering a range of, music, including rock/pop, punk/hardcore, western classical, rap,, R&B, folk/traditional music, and others. Students will present, their writing in class workshops and will complete short written, responses to reading and listening assignments as well as three, longer writing projects and an end-of-semester oral presentation., Prior knowledge of music or music theory is neither expected nor, required., , Keywords:music, writing, rock/pop, journalism, memoir, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time In this course, students will read and try their hand at different types of music writing. We will learn the basics of music journalism. literary non-fiction, and the musical memoir. We will focus on developing and strengthening proposal writing, outlining, setting up an argument, and the process of editing/revision. In addition to learning basic music terminology and concepts to strengthen how we communicate about music, we will also learn about "deep listening" with regards to musical structure, style, and lyrical meaning. There will be regular required reading and listening assignments covering a range of music, including rock/pop, punk/hardcore, western classical, rap, R&B, folk/traditional music, and others. Students will present their writing in class workshops and will complete short written responses to reading and listening assignments as well as three longer writing projects and an end-of-semester oral presentation. Prior knowledge of music or music theory is neither expected nor required. Keywords:music, writing, rock/pop, journalism, memoir Students should expect to spend 6-8 hours weekly on work and preparation outside of class timeB In this course, students will read and try their hand at, different types of music writing. We will learn the basics of, music journalism. literary non-fiction, and the musical memoir., We will focus on developing and strengthening proposal writing,, outlining, setting up an argument, and the process of, editing/revision. In addition to learning basic music terminology, and concepts to strengthen how we communicate about music, we, will also learn about "deep listening" with regards to musical, structure, style, and lyrical meaning. There will be regular, required reading and listening assignments covering a range of, music, including rock/pop, punk/hardcore, western classical, rap,, R&B, folk/traditional music, and others. Students will present, their writing in class workshops and will complete short written, responses to reading and listening assignments as well as three, longer writing projects and an end-of-semester oral presentation., Prior knowledge of music or music theory is neither expected nor, required., , Keywords:music, writing, rock/pop, journalism, memoir0 In this course, students will read and try their hand at different types of music writing. We will learn the basics of music journalism. literary non-fiction, and the musical memoir. We will focus on developing and strengthening proposal writing, outlining, setting up an argument, and the process of editing/revision. In addition to learning basic music terminology and concepts to strengthen how we communicate about music, we will also learn about "deep listening" with regards to musical structure, style, and lyrical meaning. There will be regular required reading and listening assignments covering a range of music, including rock/pop, punk/hardcore, western classical, rap, R&B, folk/traditional music, and others. Students will present their writing in class workshops and will complete short written responses to reading and listening assignments as well as three longer writing projects and an end-of-semester oral presentation. Prior knowledge of music or music theory is neither expected nor required. Keywords:music, writing, rock/pop, journalism, memoir HACU-0247-1 Zine Collection Workshop M 01:00PM-03:50PM LIB CLSSRM4The 91è Zine Collection (HCZC) is a non-circulating library of over 1,000 zines. It was created by student zinemakers in the 1990s. In the late 2000s, the Zine Collective, a student group, reorganized and enlarged the collection, moving it to the Harold F. Johnson Library. Now, in the 2020s, the collection has been recategorized and expanded by a new generation of students, librarians, archivists, and professors. In this practicum and research workshop, students will study the politics and ethics of zine librarianship, while learning practical (if unconventional) skills of zine cataloging. Together, we will participate in an ongoing audit of the HCZC and make recommendations for its ongoing growth and stewardship. Additionally, each student will conduct an individual exploratory research study in the collection, aided by the lenses of critical archives and librarianship studies. The end product of this research will be a collaborative zine of the students' design. This course is best suited to Division I and early Division II students.
The 91è Zine Collection (HCZC) is a non-circulating, library of over 1,000 zines. It was created by student zinemakers, in the 1990s. In the late 2000s, the Zine Collective, a student, group, reorganized and enlarged the collection, moving it to the, Harold F. Johnson Library. Now, in the 2020s, the collection has, been recategorized and expanded by a new generation of students,, librarians, archivists, and professors. In this practicum and, research workshop, students will study the poli< tics and ethics of, zine librarianship, while learning practical (if unconventional), skills of zine cataloging. Together, we will participate in an, ongoing audit of the HCZC and make recommendations for its, ongoing growth and stewardship. Additionally, each student will, conduct an individual exploratory research study in the, collection, aided by the lenses of critical archives and, librarianship studies. The end product of this research will be a, collaborative zine of the students' design. This course is best, suited to Division I and early Division II students., , Lab/Materials fee:$10, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time The 91è Zine Collection (HCZC) is a non-circulating library of over 1,000 zines. It was created by student zinemakers in the 1990s. In the late 2000s, the Zine Collective, a student group, reorganized and enlarged the collection, moving it to the Harold F. Johnson Library. Now, in the 2020s, the collection has been recategorized and expanded by a new generation of students, librarians, archivists, and professors. In this practicum and research workshop, students will study the politics and ethics of zine librarianship, while learning practical (if unconventional) skills of zine cataloging. Together, we will participate in an ongoing audit of the HCZC and make recommendations for its ongoing growth and stewardship. Additionally, each student will conduct an individual exploratory research study in the collection, aided by the lenses of critical archives and librarianship studies. The end product of this research will be a collaborative zine of the students' design. This course is best suited to Division I and early Division II students. Lab/Materials fee:$10 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time9 The 91è Zine Collection (HCZC) is a non-circulating, library of over 1,000 zines. It was created by student zinemakers, in the 1990s. In the late 2000s, the Zine Collective, a student, group, reorganized and enlarged the collection, moving it to the, Harold F. Johnson Library. Now, in the 2020s, the collection has, been recategorized and expanded by a new generation of students,, librarians, archivists, and professors. In this practicum and, research workshop, students will study the politics and ethics of, zine librarianship, while learning practical (if unconventional), skills of zine cataloging. Together, we will participate in an, ongoing audit of the HCZC and make recommendations for its, ongoing growth and stewardship. Additionally, each student will, conduct an individual exploratory research study in the, collection, aided by the lenses of critical archives and, librarianship studies. The end product of this research will be a, collaborative zine of the students' design. This course is best, suited to Division I and early Division II students.) The 91è Zine Collection (HCZC) is a non-circulating library of over 1,000 zines. It was created by student zinemakers in the 1990s. In the late 2000s, the Zine Collective, a student group, reorganized and enlarged the collection, moving it to the Harold F. Johnson Library. Now, in the 2020s, the collection has been recategorized and expanded by a new generation of students, librarians, archivists, and professors. In this practicum and research workshop, students will study the politics and ethics of zine librarianship, while learning practical (if unconventional) skills of zine cataloging. Together, we will participate in an ongoing audit of the HCZC and make recommendations for its ongoing growth and stewardship. Additionally, each student will conduct an individual exploratory research study in the collection, aided by the lenses of critical archives and librarianship studies. The end product of this research will be a collaborative zine of the students' design. This course is best suited to Division I and early Division II students.x Lab/Materials fee:$10, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0265-1 Encapsulating Sounds Junko ObaEvery culture bears unique sensibilities to sounds. People cultivate distinctive ways of hearing, understanding, and relating to them. Different instruments are devised to encapsulate distinctive cultural values, not only acoustically but also visually in their material forms. This course explores diverse music cultures of the world through the lens of critical organology (the critical study of musical instruments). Our investigation encompasses subjects such as social functions and significations of the instruments, e.g., ritual objects, status symbols, and exotic commodities; myths and symbolism attributed to the instruments; technology and craftsmanship involved in the fabrication; and ecological and ethical concerns for the use of certain materials, e.g., exotic wood, animal body parts, toxic chemicals, among others. By cross-culturally and cross-historically examining different ways in which humans have interacted with sound making objects, mechanisms, and ideas, we will critically examine, question, and reconsider what entails musical instruments Keywords:Musical instrument, material culture, environment, ethnomusicology, sounds
Every culture bears unique sensibilities to sounds. People, cultivate distinctive ways of hearing, understanding, and, relating to them. Different instruments are devised to, encapsulate distinctive cultural values, not only acoustically, but also visually in their material forms. This course explores, diverse music cultures of the world through the lens of critical, organology (the critical study of musical instruments). Our, investigation encompasses subjects such as social functions and, significations of the instruments, e.g., ritual objects, status, symbols, and exotic commodities; myths and symbolism attributed, to the instruments; technology and craftsmanship involved in the, fabrication; and ecological and ethical concerns for the use of, certain materials, e.g., exotic wood, animal body parts, toxic, chemicals, among others. By cross-culturally and, cross-historically examining different ways in which humans have, interacted with sound making objects, mechanisms, and ideas, we, will critically examine, question, and reconsider what entails, musical instruments , , Keywords:Musical instrument, material culture, environment,, ethnomusicology, sounds, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Every culture bears unique sensibilities to sounds. People cultivate distinctive ways of hearing, understanding, and relating to them. Different instruments are devised to encapsulate distinctive cultural values, not only acoustically but also visually in their material forms. This course explores diverse music cultures of the world through the lens of critical organology (the critical study of musical instruments). Our investigation encompasses subjects such as social functions and significations of the instruments, e.g., ritual objects, status symbols, and exotic commodities; myths and symbolism attributed to the instruments; technology and craftsmanship involved in the fabrication; and ecological and ethical concerns for the use of certain materials, e.g., exotic wood, animal body parts, toxic chemicals, among others. By cross-culturally and cross-historically examining different ways in which humans have interacted with sound making objects, mechanisms, and ideas, we will critically examine, question, and reconsider what entails musical instruments Keywords:Musical instrument, material culture, environment, ethnomusicology, sounds Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Every culture bears unique sensibilities to sounds. People, cultivate distinctive ways of hearing, understanding, and, relating to them. Different instruments are devised to, encapsulate distinctive cultural values, not only acoustically, but also visually in their material forms. This course explores, diverse music < cultures of the world through the lens of critical, organology (the critical study of musical instruments). Our, investigation encompasses subjects such as social functions and, significations of the instruments, e.g., ritual objects, status, symbols, and exotic commodities; myths and symbolism attributed, to the instruments; technology and craftsmanship involved in the, fabrication; and ecological and ethical concerns for the use of, certain materials, e.g., exotic wood, animal body parts, toxic, chemicals, among others. By cross-culturally and, cross-historically examining different ways in which humans have, interacted with sound making objects, mechanisms, and ideas, we, will critically examine, question, and reconsider what entails, musical instruments , , Keywords:Musical instrument, material culture, environment,, ethnomusicology, sounds Every culture bears unique sensibilities to sounds. People cultivate distinctive ways of hearing, understanding, and relating to them. Different instruments are devised to encapsulate distinctive cultural values, not only acoustically but also visually in their material forms. This course explores diverse music cultures of the world through the lens of critical organology (the critical study of musical instruments). Our investigation encompasses subjects such as social functions and significations of the instruments, e.g., ritual objects, status symbols, and exotic commodities; myths and symbolism attributed to the instruments; technology and craftsmanship involved in the fabrication; and ecological and ethical concerns for the use of certain materials, e.g., exotic wood, animal body parts, toxic chemicals, among others. By cross-culturally and cross-historically examining different ways in which humans have interacted with sound making objects, mechanisms, and ideas, we will critically examine, question, and reconsider what entails musical instruments Keywords:Musical instrument, material culture, environment, ethnomusicology, sounds joHA@hampshire.edu HACU-0271-1 Animation Integration# W 01:00PM-05:00PM W 01:00PM-05:00PMThis studio course is for artists and creatives interested in reimagining and recontextualizing their work frame by frame with animation. Students working in sculpture, painting, photography, performance, drawing, or other media will explore the possibilities for animating their work and learn a variety of techniques to integrate animation into their art practice. Multiple animation techniques will be introduced, with a focus on experimental and transdisciplinary methods and ideologies. This course is designed for second year Div 2 and Div 3 students with an active creative practice who would like to integrate animation into their work. The course is particularly suited for students who would like to integrate animation or moving images into their Division 3 work. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental, transdisciplinary
Y This studio course is for artists and creatives interested in, reimagining and recontextualizing their work frame by frame with, animation. , Students working in sculpture, painting, photography,, performance, drawing, or other media will explore the, possibilities for animating their work and learn a variety of, techniques to integrate animation into their art practice., Multiple animation techniques will be introduced, with a focus on, experimental and transdisciplinary methods and ideologies. , , This course is designed for second year Div 2 and Div 3 students, with an active creative practice who would like to integrate, animation into their work. The course is particularly suited for, students who would like to integrate animation or moving images, into their Division 3 work. , , Animation is a time-consuming art form. Expect to work a minimum, of 10 hours outside of class time every week. , , Keywords:animation, moving image, filmmaking, experimental,, transdisciplinary, , Students should expect to spend 10 hours weekly on work and, preparation outside of class time, , Lab/Materials fee:$40@ This studio course is for artists and creatives interested in reimagining and recontextualizing their work frame by frame with animation. Students working in sculpture, painting, photography, performance, drawing, or other media will explore the possibilities for animating their work and learn a variety of techniques to integrate animation into their art practice. Multiple animation techniques will be introduced, with a focus on experimental and transdisciplinary methods and ideologies. This course is designed for second year Div 2 and Div 3 students with an active creative practice who would like to integrate animation into their work. The course is particularly suited for students who would like to integrate animation or moving images into their Division 3 work. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental, transdisciplinary Students should expect to spend 10 hours weekly on work and preparation outside of class time Lab/Materials fee:$40 This studio course is for artists and creatives interested in, reimagining and recontextualizing their work frame by frame with, animation. , Students working in sculpture, painting, photography,, performance, drawing, or other media will explore the, possibilities for animating their work and learn a variety of, techniques to integrate animation into their art practice., Multiple animation techniques will be introduced, with a focus on, experimental and transdisciplinary methods and ideologies. , , This course is designed for second year Div 2 and Div 3 students, with an active creative practice who would like to integrate, animation into their work. The course is particularly suited for, students who would like to integrate animation or moving images, into their Division 3 work. , , Animation is a time-consuming art form. Expect to work a minimum, of 10 hours outside of class time every week. , , Keywords:animation, moving image, filmmaking, experimental,, transdisciplinary This studio course is for artists and creatives interested in reimagining and recontextualizing their work frame by frame with animation. Students working in sculpture, painting, photography, performance, drawing, or other media will explore the possibilities for animating their work and learn a variety of techniques to integrate animation into their art practice. Multiple animation techniques will be introduced, with a focus on experimental and transdisciplinary methods and ideologies. This course is designed for second year Div 2 and Div 3 students with an active creative practice who would like to integrate animation into their work. The course is particularly suited for students who would like to integrate animation or moving images into their Division 3 work. Animation is a time-consuming art form. Expect to work a minimum of 10 hours outside of class time every week. Keywords:animation, moving image, filmmaking, experimental, transdisciplinaryw Students should expect to spend 10 hours weekly on work and, preparation outside of class time, , Lab/Materials fee:$40 HACU-0278-1 Div. II & III Music Seminar4Musical analysis is, essentially, the attempt to bridge the gap between our intuitions about music and our conscious knowledge of it. In analyzing works that we feel to be intrinsically worthwhile we are trying to correlate our subjective responses with observable analytical properties in the music. This course explores a number of well-established approaches to musical analysis through guided listening, notation-based analyses, discussion, and some compositional exercises. In addition, through consultation with the instructor, each student designs and pursues their individual research project. The final product of their individual project can take the form of an analytical essay, musical composition to apply certain elements they analyzed, or performance of a piece(s) that they ana< lyzed. In order to achieve these goals successfully, students should be comfortable in reading music to a certain level. Similarly, a good understanding of tonal theory (200 level or higher) will be helpful. Instructor's permission required. Keywords:Music, music analysis
Musical analysis is, essentially, the attempt to bridge the gap, between our intuitions about music and our conscious knowledge of, it. In analyzing works that we feel to be intrinsically, worthwhile we are trying to correlate our subjective responses, with observable analytical properties in the music. This course, explores a number of well-established approaches to musical, analysis through guided listening, notation-based analyses,, discussion, and some compositional exercises. In addition,, through consultation with the instructor, each student designs, and pursues their individual research project. The final product, of their individual project can take the form of an analytical, essay, musical composition to apply certain elements they, analyzed, or performance of a piece(s) that they analyzed. In, order to achieve these goals successfully, students should be, comfortable in reading music to a certain level. Similarly, a, good understanding of tonal theory (200 level or higher) will be, helpful. Instructor's permission required., , Keywords:Music, music analysis, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Musical analysis is, essentially, the attempt to bridge the gap between our intuitions about music and our conscious knowledge of it. In analyzing works that we feel to be intrinsically worthwhile we are trying to correlate our subjective responses with observable analytical properties in the music. This course explores a number of well-established approaches to musical analysis through guided listening, notation-based analyses, discussion, and some compositional exercises. In addition, through consultation with the instructor, each student designs and pursues their individual research project. The final product of their individual project can take the form of an analytical essay, musical composition to apply certain elements they analyzed, or performance of a piece(s) that they analyzed. In order to achieve these goals successfully, students should be comfortable in reading music to a certain level. Similarly, a good understanding of tonal theory (200 level or higher) will be helpful. Instructor's permission required. Keywords:Music, music analysis Students should expect to spend 6-8 hours weekly on work and preparation outside of class time< Musical analysis is, essentially, the attempt to bridge the gap, between our intuitions about music and our conscious knowledge of, it. In analyzing works that we feel to be intrinsically, worthwhile we are trying to correlate our subjective responses, with observable analytical properties in the music. This course, explores a number of well-established approaches to musical, analysis through guided listening, notation-based analyses,, discussion, and some compositional exercises. In addition,, through consultation with the instructor, each student designs, and pursues their individual research project. The final product, of their individual project can take the form of an analytical, essay, musical composition to apply certain elements they, analyzed, or performance of a piece(s) that they analyzed. In, order to achieve these goals successfully, students should be, comfortable in reading music to a certain level. Similarly, a, good understanding of tonal theory (200 level or higher) will be, helpful. Instructor's permission required., , Keywords:Music, music analysis* Musical analysis is, essentially, the attempt to bridge the gap between our intuitions about music and our conscious knowledge of it. In analyzing works that we feel to be intrinsically worthwhile we are trying to correlate our subjective responses with observable analytical properties in the music. This course explores a number of well-established approaches to musical analysis through guided listening, notation-based analyses, discussion, and some compositional exercises. In addition, through consultation with the instructor, each student designs and pursues their individual research project. The final product of their individual project can take the form of an analytical essay, musical composition to apply certain elements they analyzed, or performance of a piece(s) that they analyzed. In order to achieve these goals successfully, students should be comfortable in reading music to a certain level. Similarly, a good understanding of tonal theory (200 level or higher) will be helpful. Instructor's permission required. Keywords:Music, music analysis HACU-0281-1 Conjuring. Marking. Painting. MW 09:00AM-11:50AMLight. Darks. Colors. Textures-they don't just touch, they dance in a ritual to reveal themselves. This studio course is structured to be an artistic and intellectual exploration on how painting (formally and expansively) can hold time whether that be metaphorically, conceptually or within the art-making process itself. By pairing technical exercises to conceptual ideas and explorations, we will consider and explore time as a material, duration, and repetition. Through readings, discussions, class presentations, haiku writing, and a lot of making (including plein-air, collage, and a semester long subject matter of choice), students will engage with a constellation of perspectives and moments in time to further develop language and create a body of work that reflects on their own interest and understanding of time while thinking about painting expansively. Keywords: Painting, Studio Art, Time, Cyclical, Collage
Light. Darks. Colors. Textures-they don't just touch, they dance, in a ritual to reveal themselves. This studio course is, structured to be an artistic and intellectual exploration on how, painting (formally and expansively) can hold time whether that be, metaphorically, conceptually or within the art-making process, itself. By pairing technical exercises to conceptual ideas and, explorations, we will consider and explore time as a material,, duration, and repetition. Through readings, discussions, class, presentations, haiku writing, and a lot of making (including, plein-air, collage, and a semester long subject matter of, choice), students will engage with a constellation of, perspectives and moments in time to further develop language and, create a body of work that reflects on their own interest and, understanding of time while thinking about painting expansively., , Keywords: Painting, Studio Art, Time, Cyclical, Collage Light. Darks. Colors. Textures-they don't just touch, they dance in a ritual to reveal themselves. This studio course is structured to be an artistic and intellectual exploration on how painting (formally and expansively) can hold time whether that be metaphorically, conceptually or within the art-making process itself. By pairing technical exercises to conceptual ideas and explorations, we will consider and explore time as a material, duration, and repetition. Through readings, discussions, class presentations, haiku writing, and a lot of making (including plein-air, collage, and a semester long subject matter of choice), students will engage with a constellation of perspectives and moments in time to further develop language and create a body of work that reflects on their own interest and understanding of time while thinking about painting expansively. Keywords: Painting, Studio Art, Time, Cyclical, Collage This course has a materials fee of $80.00. Students should, generally expect to spend 8+ hours on work a week outside of, classtime. MIX, RP, LC4 HACU-0291-1 Movement As ResearchIn this course, students will enter dance and dance making as vehicles for embodied research and interdisciplinary dialogue. Over the semester, we will make dances that move alongside other disciplines. We will develop choreography while studying narrative and poetic forms, utilize visual arts tools and musical structures, explore intersections with architecture and e< nvironmental studies and more. Visits with guest artists, scholars, and students in other courses will help us launch these inquiries. Throughout the semester, we will reflect on what dance can offer back to other fields and the particular power of movement as "a way of knowing." The creation of choreography is an integral aspect of this course, yet rather than privilege only the final product, we will invest in dancing as a medium for research, discovery, and collaboration. This course is open to anyone who wants to jump into embodied learning and making with gusto. Keywords:Dance, Choreography, Performance, Research, Art
) In this course, students will enter dance and dance making as, vehicles for embodied research and interdisciplinary dialogue., Over the semester, we will make dances that move alongside other, disciplines. We will develop choreography while studying, narrative and poetic forms, utilize visual arts tools and musical, structures, explore intersections with architecture and, environmental studies and more. Visits with guest artists,, scholars, and students in other courses will help us launch these, inquiries. Throughout the semester, we will reflect on what dance, can offer back to other fields and the particular power of, movement as "a way of knowing." The creation of choreography is, an integral aspect of this course, yet rather than privilege only, the final product, we will invest in dancing as a medium for, research, discovery, and collaboration. This course is open to, anyone who wants to jump into embodied learning and making with, gusto. , , Keywords:Dance, Choreography, Performance, Research, Art, , Lab/Materials fee:$50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:A FIELD GUIDE TO ILANDING: SCORES FOR RESEARCHING URBAN, ECOLOGIES, Author:Edited by iLand, Introduction by Jennifer Monson, ISBN 978-0-9978664-1-4, Cost:$15 In this course, students will enter dance and dance making as vehicles for embodied research and interdisciplinary dialogue. Over the semester, we will make dances that move alongside other disciplines. We will develop choreography while studying narrative and poetic forms, utilize visual arts tools and musical structures, explore intersections with architecture and environmental studies and more. Visits with guest artists, scholars, and students in other courses will help us launch these inquiries. Throughout the semester, we will reflect on what dance can offer back to other fields and the particular power of movement as "a way of knowing." The creation of choreography is an integral aspect of this course, yet rather than privilege only the final product, we will invest in dancing as a medium for research, discovery, and collaboration. This course is open to anyone who wants to jump into embodied learning and making with gusto. Keywords:Dance, Choreography, Performance, Research, Art Lab/Materials fee:$50 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Books: Title:A FIELD GUIDE TO ILANDING: SCORES FOR RESEARCHING URBAN ECOLOGIES Author:Edited by iLand, Introduction by Jennifer Monson ISBN 978-0-9978664-1-4 Cost:$15 In this course, students will enter dance and dance making as, vehicles for embodied research and interdisciplinary dialogue., Over the semester, we will make dances that move alongside other, disciplines. We will develop choreography while studying, narrative and poetic forms, utilize visual arts tools and musical, structures, explore intersections with architecture and, environmental studies and more. Visits with guest artists,, scholars, and students in other courses will help us launch these, inquiries. Throughout the semester, we will reflect on what dance, can offer back to other fields and the particular power of, movement as "a way of knowing." The creation of choreography is, an integral aspect of this course, yet rather than privilege only, the final product, we will invest in dancing as a medium for, research, discovery, and collaboration. This course is open to, anyone who wants to jump into embodied learning and making with, gusto. , , Keywords:Dance, Choreography, Performance, Research, Art In this course, students will enter dance and dance making as vehicles for embodied research and interdisciplinary dialogue. Over the semester, we will make dances that move alongside other disciplines. We will develop choreography while studying narrative and poetic forms, utilize visual arts tools and musical structures, explore intersections with architecture and environmental studies and more. Visits with guest artists, scholars, and students in other courses will help us launch these inquiries. Throughout the semester, we will reflect on what dance can offer back to other fields and the particular power of movement as "a way of knowing." The creation of choreography is an integral aspect of this course, yet rather than privilege only the final product, we will invest in dancing as a medium for research, discovery, and collaboration. This course is open to anyone who wants to jump into embodied learning and making with gusto. Keywords:Dance, Choreography, Performance, Research, Art) Lab/Materials fee:$50, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time, , Books:, , Title:A FIELD GUIDE TO ILANDING: SCORES FOR RESEARCHING URBAN, ECOLOGIES, Author:Edited by iLand, Introduction by Jennifer Monson, ISBN 978-0-9978664-1-4, Cost:$15 HACU-0292-1 Advanced Photography# T 01:00PM-03:50PM T 01:00PM-03:50PMThis course is intended for advanced photography students who want to continue to build upon their photographic practice. Students will be expected to work on 1 long term project that may evolve and change as the semester goes on. Class sessions will consist of weekly intensive critiques and reading discussions. Having already taken Photography I & II is highly recommended but not required. Students will be expected to produce a large amount of photographs and be ready to work independently. The final project will consist of a class installation of everyone's work and a final critique. If interested please email me your photography experience and the project you plan to work on. Keywords:Photography, projects, critiques, advanced photography
x This course is intended for advanced photography students who, want to continue to build upon their photographic practice., Students will be expected to work on 1 long term project that may, evolve and change as the semester goes on. Class sessions will, consist of weekly intensive critiques and reading discussions., Having already taken Photography I & II is highly recommended but, not required. Students will be expected to produce a large amount, of photographs and be ready to work independently. The final, project will consist of a class installation of everyone's work, and a final critique. If interested please email me your, photography experience and the project you plan to work on., , Keywords:Photography, projects, critiques, advanced photography, , Lab/Materials fee:$65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeg This course is intended for advanced photography students who want to continue to build upon their photographic practice. Students will be expected to work on 1 long term project that may evolve and change as the semester goes on. Class sessions will consist of weekly intensive critiques and reading discussions. Having already taken Photography I & II is highly recommended but not required. Students will be expected to produce a large amount of photographs and be ready to work independently. The final project will consist of a class installation of everyone's work and a final critique. If interested please email me your photography experience and the project you plan to work on. Keywords:Photography, projects, critiques, advanced photography Lab/Materials fee:$65 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course is inten< ded for advanced photography students who, want to continue to build upon their photographic practice., Students will be expected to work on 1 long term project that may, evolve and change as the semester goes on. Class sessions will, consist of weekly intensive critiques and reading discussions., Having already taken Photography I & II is highly recommended but, not required. Students will be expected to produce a large amount, of photographs and be ready to work independently. The final, project will consist of a class installation of everyone's work, and a final critique. If interested please email me your, photography experience and the project you plan to work on., , Keywords:Photography, projects, critiques, advanced photography This course is intended for advanced photography students who want to continue to build upon their photographic practice. Students will be expected to work on 1 long term project that may evolve and change as the semester goes on. Class sessions will consist of weekly intensive critiques and reading discussions. Having already taken Photography I & II is highly recommended but not required. Students will be expected to produce a large amount of photographs and be ready to work independently. The final project will consist of a class installation of everyone's work and a final critique. If interested please email me your photography experience and the project you plan to work on. Keywords:Photography, projects, critiques, advanced photography HACU-0293-1 Materials and MetaphorsIn this course we will consider found materials for their metaphorical value and their practical affordances. Students will develop a material research practice to help them manipulate, shape and join materials effectively. At the same time, they will reflect on, study and leverage the affective, cultural, and phenomenelogical content that found and re-used materials carry. This course will include exercises for touching, prodding, speculating and experimenting with materials and support for students to consider their material environments and develop their own expressive material languages. This is a hands-on, participatory course
As part of this course, students will learn how to work with, found object art and engage in critical inquiry. During this, course, we will examine the relationship between people and the, material world, including buildings, objects, and landscapes, to, gain a better understanding of past-present societies and, cultures. As part of the project, students will source their, objects, then deconstruct the object and reconstruct it into a, new form. There will be a wide variety of tools and shop, equipment used to transform these sculptures. The course will, also examine the work of national and global native and, Indigenous artists that use found object art responding to their, environments, culture or based on economic necessity. Students, will create two sculpture projects and one research essay, project., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time As part of this course, students will learn how to work with found object art and engage in critical inquiry. During this course, we will examine the relationship between people and the material world, including buildings, objects, and landscapes, to gain a better understanding of past-present societies and cultures. As part of the project, students will source their objects, then deconstruct the object and reconstruct it into a new form. There will be a wide variety of tools and shop equipment used to transform these sculptures. The course will also examine the work of national and global native and Indigenous artists that use found object art responding to their environments, culture or based on economic necessity. Students will create two sculpture projects and one research essay project. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time In this course we will consider found materials for their, metaphorical value and their practical affordances. Students will, develop a material research practice to help them manipulate,, shape and join materials effectively. At the same time, they will, reflect on, study and leverage the affective, cultural, and, phenomenelogical content that found and re-used materials carry., This course will include exercises for touching, prodding,, speculating and experimenting with materials and support for, students to consider their material environments and develop, their own expressive material languages. This is a hands-on,, participatory course In this course we will consider found materials for their metaphorical value and their practical affordances. Students will develop a material research practice to help them manipulate, shape and join materials effectively. At the same time, they will reflect on, study and leverage the affective, cultural, and phenomenelogical content that found and re-used materials carry. This course will include exercises for touching, prodding, speculating and experimenting with materials and support for students to consider their material environments and develop their own expressive material languages. This is a hands-on, participatory courses Class Fee: USD35, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time LC2, D2P HACU-0294-1 Exhibition As Practice Lorenzo Conte STUDIO 2This course explores how an artist's studio-based work translates into public exhibitions and installations. Students will engage in spatial planning exercises and combine technical instruction with discussions of contemporary exhibition practices. Course topics will include fabrication and printing, project documentation, media integration, participatory artwork strategies, and material logistics. Through readings, exhibition visits, and critique, students will critically engage curatorial practices and leverage new technical knowledge to develop their artistic practices and future projects. Students should have an active art practice and will create a concept, proposal, budget, and timeline for a future exhibition as part of a culminating project. Visits to museums and galleries across the Five Colleges are required throughout the semester Keywords:Studio Art, Museum Studies, Curatorial Practice, Art Installation, Exhibition Design
c This course explores how an artist's studio-based work translates, into public exhibitions and installations. Students will engage, in spatial planning exercises and combine technical instruction, with discussions of contemporary exhibition practices. Course, topics will include fabrication and printing, project, documentation, media integration, participatory artwork, strategies, and material logistics. Through readings, exhibition, visits, and critique, students will critically engage curatorial, practices and leverage new technical knowledge to develop their, artistic practices and future projects. Students should have an, active art practice and will create a concept, proposal, budget,, and timeline for a future exhibition as part of a culminating, project. , , Visits to museums and galleries across the Five Colleges are, required throughout the semester, , Keywords:Studio Art, Museum Studies, Curatorial Practice, Art, Installation, Exhibition Design, , Field Trip fee: (mileage, admission fees, etc.):$40, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeL This course explores how an artist's studio-based work translates into public exhibitions and installations. Students will engage in spatial planning exercises and combine technical instruction with discussions of contemporary exhibition practices. Course topics will include fabrication and printing, project documentation, media integration, participatory artwork strategies, and material logistics. Through readings, exhibition visits, and critique, students will critically engage curatorial practices and leverage new technical knowledge to develop their artistic practices and future projects. Students should have an active art pra< ctice and will create a concept, proposal, budget, and timeline for a future exhibition as part of a culminating project. Visits to museums and galleries across the Five Colleges are required throughout the semester Keywords:Studio Art, Museum Studies, Curatorial Practice, Art Installation, Exhibition Design Field Trip fee: (mileage, admission fees, etc.):$40 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course explores how an artist's studio-based work translates, into public exhibitions and installations. Students will engage, in spatial planning exercises and combine technical instruction, with discussions of contemporary exhibition practices. Course, topics will include fabrication and printing, project, documentation, media integration, participatory artwork, strategies, and material logistics. Through readings, exhibition, visits, and critique, students will critically engage curatorial, practices and leverage new technical knowledge to develop their, artistic practices and future projects. Students should have an, active art practice and will create a concept, proposal, budget,, and timeline for a future exhibition as part of a culminating, project. , , Visits to museums and galleries across the Five Colleges are, required throughout the semester, , Keywords:Studio Art, Museum Studies, Curatorial Practice, Art, Installation, Exhibition Design This course explores how an artist's studio-based work translates into public exhibitions and installations. Students will engage in spatial planning exercises and combine technical instruction with discussions of contemporary exhibition practices. Course topics will include fabrication and printing, project documentation, media integration, participatory artwork strategies, and material logistics. Through readings, exhibition visits, and critique, students will critically engage curatorial practices and leverage new technical knowledge to develop their artistic practices and future projects. Students should have an active art practice and will create a concept, proposal, budget, and timeline for a future exhibition as part of a culminating project. Visits to museums and galleries across the Five Colleges are required throughout the semester Keywords:Studio Art, Museum Studies, Curatorial Practice, Art Installation, Exhibition Design lcLO@hampshire.edu Field Trip fee: (mileage, admission fees, etc.):$40, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time HACU-0296-1 Critical Media Studies:projectThe course was designed to further develop students' understanding of critical media studies, and to provide the structure and space to conceive of and successfully carry out a related (non-fiction) project. The course was tagged as part of the Art & Politics Learning Collaborative (LC) and thus our collective work, and students' individual projects, engaged in some way with the LC's urgent challenge: "How can art and politics intersect to challenge dominant narratives and create new visions for community?" Division II students could use the course to satisfy the Division II Supported Projects requirement, and Division III students can as an Advanced Educational Activity (AEA). [Students, including second-year Division I students, were expected have completed one or more college-level media studies courses in a prior semester.]
The course is designed to further develop students' understanding, of critical media studies, and to provide the structure and space, to conceive of and successfully carry out a related (non-fiction), project. The course is tagged as part of the Art & Politics, Learning Collaborative (LC) and thus our collective work, and, students' individual projects, will engage in some way with the, LC's urgent challenge: "How can art and politics intersect to, challenge dominant narratives and create new visions for, community?" Division II students can use the course to satisfy, the Division II Supported Projects requirement, and Division III, students can use it as an Advanced Educational Activity (AEA)., [Students, including second-year Division I students, should have, completed one or more college-level media studies courses in a, prior semester. Please email the professor with questions.], , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time The course is designed to further develop students' understanding of critical media studies, and to provide the structure and space to conceive of and successfully carry out a related (non-fiction) project. The course is tagged as part of the Art & Politics Learning Collaborative (LC) and thus our collective work, and students' individual projects, will engage in some way with the LC's urgent challenge: "How can art and politics intersect to challenge dominant narratives and create new visions for community?" Division II students can use the course to satisfy the Division II Supported Projects requirement, and Division III students can use it as an Advanced Educational Activity (AEA). [Students, including second-year Division I students, should have completed one or more college-level media studies courses in a prior semester. Please email the professor with questions.] Students should expect to spend 6-8 hours weekly on work and preparation outside of class time The course is designed to further develop students' understanding, of critical media studies, and to provide the structure and space, to conceive of and successfully carry out a related (non-fiction), project. The course is tagged as part of the Art & Politics, Learning Collaborative (LC) and thus our collective work, and, students' individual projects, will engage in some way with the, LC's urgent challenge: "How can art and politics intersect to, challenge dominant narratives and create new visions for, community?" Division II students can use the course to satisfy, the Division II Supported Projects requirement, and Division III, students can use it as an Advanced Educational Activity (AEA)., [Students, including second-year Division I students, should have, completed one or more college-level media studies courses in a, prior semester. Please email the professor with questions.]s The course is designed to further develop students' understanding of critical media studies, and to provide the structure and space to conceive of and successfully carry out a related (non-fiction) project. The course is tagged as part of the Art & Politics Learning Collaborative (LC) and thus our collective work, and students' individual projects, will engage in some way with the LC's urgent challenge: "How can art and politics intersect to challenge dominant narratives and create new visions for community?" Division II students can use the course to satisfy the Division II Supported Projects requirement, and Division III students can use it as an Advanced Educational Activity (AEA). [Students, including second-year Division I students, should have completed one or more college-level media studies courses in a prior semester. Please email the professor with questions.] IA IA-0103-1 Intro to Writing Faune Albert, Alejandro Cuellar WF 01:00PM-02:20PM GRN WRCThis course will explore the work of scholars, essayists, and creative writers in order to use their prose as models for our own. We will analyze scholarly explication and argument, and we'll appreciate the artistry in our finest personal essays and short fiction. Students will complete a series of critical essays across the curriculum and for varied audiences and purposes. Students will have an opportunity to submit their work for peer review and discussion. Students will also meet individually with the instructors. Frequent, enthusiastic revision is an expectation. Limited to Division I Students. Keywords:writing, process, critical analysis, reading, creative
This course will explore the work of scholars, essayists, and, creative writers in order to use their prose as models for our, own. We will analyze scholarly ex< plication and argument, and, we'll appreciate the artistry in our finest personal essays and, short fiction. Students will complete a series of critical essays, across the curriculum and for varied audiences and purposes., Students will have an opportunity to submit their work for peer, review and discussion. Students will also meet individually with, the instructors. Frequent, enthusiastic revision is an, expectation. Limited to Division I Students., , Keywords:writing, process, critical analysis, reading, creative, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course will explore the work of scholars, essayists, and creative writers in order to use their prose as models for our own. We will analyze scholarly explication and argument, and we'll appreciate the artistry in our finest personal essays and short fiction. Students will complete a series of critical essays across the curriculum and for varied audiences and purposes. Students will have an opportunity to submit their work for peer review and discussion. Students will also meet individually with the instructors. Frequent, enthusiastic revision is an expectation. Limited to Division I Students. Keywords:writing, process, critical analysis, reading, creative Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course will explore the work of scholars, essayists, and, creative writers in order to use their prose as models for our, own. We will analyze scholarly explication and argument, and, we'll appreciate the artistry in our finest personal essays and, short fiction. Students will complete a series of critical essays, across the curriculum and for varied audiences and purposes., Students will have an opportunity to submit their work for peer, review and discussion. Students will also meet individually with, the instructors. Frequent, enthusiastic revision is an, expectation. Limited to Division I Students., , Keywords:writing, process, critical analysis, reading, creative This course will explore the work of scholars, essayists, and creative writers in order to use their prose as models for our own. We will analyze scholarly explication and argument, and we'll appreciate the artistry in our finest personal essays and short fiction. Students will complete a series of critical essays across the curriculum and for varied audiences and purposes. Students will have an opportunity to submit their work for peer review and discussion. Students will also meet individually with the instructors. Frequent, enthusiastic revision is an expectation. Limited to Division I Students. Keywords:writing, process, critical analysis, reading, creative' fvaWP@hampshire.edu;aecHA@hampshire.edu IA-0108-1 Writing the Body Faune AlbertAudre Lorde argues that all knowledge is mediated through the body. We all have bodies, but what does it actually mean to exist in a body? Is the body a vessel, a discursive construction, our essential self? And how can we capture this complexity in our writing? This course will explore writing about the body as a means of critical reflection on the self and the world. We will read and discuss published work-history, critical theory, personal essays, fiction, poetry (maybe even some science!)-that engages the complexities of inhabiting a body marked by discourses of race, class, gender, age, ability, ethnicity, etc., in our modern world. And we will explore, through a variety of different types of writing, how bodies as political sites both enable and limit our ability to navigate public and private spaces; how they function as sources of pain as well as pleasure; and how they can serve as contradictory sites of oppression and liberation. This Writing Program course is open to both new and experienced writers in all genres.
Audre Lorde argues that all knowledge is mediated through the, body. We all have bodies, but what does it actually mean to exist, in a body? Is the body a vessel, a discursive construction, our, essential self? And how can we capture this complexity in our, writing? This course will explore writing about the body as a, means of critical reflection on the self and the world. We will, read and discuss published work-history, critical theory,, personal essays, fiction, poetry (maybe even some science!)-that, engages the complexities of inhabiting a body marked by, discourses of race, class, gender, age, ability, ethnicity, etc.,, in our modern world. And we will explore, through a variety of, different types of writing, how bodies as political sites both, enable and limit our ability to navigate public and private, spaces; how they function as sources of pain as well as pleasure;, and how they can serve as contradictory sites of oppression and, liberation. This Writing Program course is open to both new and, experienced writers in all genres., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeo Audre Lorde argues that all knowledge is mediated through the body. We all have bodies, but what does it actually mean to exist in a body? Is the body a vessel, a discursive construction, our essential self? And how can we capture this complexity in our writing? This course will explore writing about the body as a means of critical reflection on the self and the world. We will read and discuss published work-history, critical theory, personal essays, fiction, poetry (maybe even some science!)-that engages the complexities of inhabiting a body marked by discourses of race, class, gender, age, ability, ethnicity, etc., in our modern world. And we will explore, through a variety of different types of writing, how bodies as political sites both enable and limit our ability to navigate public and private spaces; how they function as sources of pain as well as pleasure; and how they can serve as contradictory sites of oppression and liberation. This Writing Program course is open to both new and experienced writers in all genres. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Audre Lorde argues that all knowledge is mediated through the, body. We all have bodies, but what does it actually mean to exist, in a body? Is the body a vessel, a discursive construction, our, essential self? And how can we capture this complexity in our, writing? This course will explore writing about the body as a, means of critical reflection on the self and the world. We will, read and discuss published work-history, critical theory,, personal essays, fiction, poetry (maybe even some science!)-that, engages the complexities of inhabiting a body marked by, discourses of race, class, gender, age, ability, ethnicity, etc.,, in our modern world. And we will explore, through a variety of, different types of writing, how bodies as political sites both, enable and limit our ability to navigate public and private, spaces; how they function as sources of pain as well as pleasure;, and how they can serve as contradictory sites of oppression and, liberation. This Writing Program course is open to both new and, experienced writers in all genres. Audre Lorde argues that all knowledge is mediated through the body. We all have bodies, but what does it actually mean to exist in a body? Is the body a vessel, a discursive construction, our essential self? And how can we capture this complexity in our writing? This course will explore writing about the body as a means of critical reflection on the self and the world. We will read and discuss published work-history, critical theory, personal essays, fiction, poetry (maybe even some science!)-that engages the complexities of inhabiting a body marked by discourses of race, class, gender, age, ability, ethnicity, etc., in our modern world. And we will explore, through a variety of different types of writing, how bodies as political sites both enable and limit our ability to navigate public and private spaces; how they function as sources of pain as well as pleasure; and how they can serve as contradictory sites of oppression and liberation. This Writing Program course is < open to both new and experienced writers in all genres. fvaWP@hampshire.edu IA-0130-1 Look Ma, No Hands Donna Cohn LCD SHOP.Look Ma, No Hands: An introductory design class focused on assistive technology: We will learn about some of the practical and ordinary problems faced by individuals who do not have full use of their hands or arms, then design, fabricate and collaboratively design assistive devices. Projects may be for children, or adults with temporary injuries/conditions or ongoing physical disabilities. We will also examine the concept of "Universal Design" - designing in a way that gracefully accommodates the range of human experience. Students in this class will develop problem solving, visual communication skills and a wide range of fabrication skills. There will be opportunities to work with the full range of materials and tools available in the Center for Design shop - such as metals, plastics and basic electronics. The curriculum will include weekly design assignments, guest speakers, readings, film viewings, discussions about the design process itself, as well as a major project Keywords:design, fabrication, physical disability, problem solving
i Look Ma, No Hands: An introductory design class focused on, assistive technology: We will learn about some of the practical, and ordinary problems faced by individuals who do not have full, use of their hands or arms, then design, fabricate and, collaboratively design assistive devices. Projects may be for, children, or adults with temporary injuries/conditions or ongoing, physical disabilities. We will also examine the concept of, "Universal Design" - designing in a way that gracefully, accommodates the range of human experience. Students in this, class will develop problem solving, visual communication skills, and a wide range of fabrication skills. There will be, opportunities to work with the full range of materials and tools, available in the Center for Design shop - such as metals,, plastics and basic electronics. The curriculum will include, weekly design assignments, guest speakers, readings, film, viewings, discussions about the design process itself, as well as, a major project, , Keywords:design, fabrication, physical disability, problem, solving, , Students should expect to spend 6-10 hours weekly on work and, preparation outside of class time, , Library Materials:, , Documentary Film - Crip Camp, , Books:, , What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING, ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO), , Brilliant Imperfection by Eli ClareH Look Ma, No Hands: An introductory design class focused on assistive technology: We will learn about some of the practical and ordinary problems faced by individuals who do not have full use of their hands or arms, then design, fabricate and collaboratively design assistive devices. Projects may be for children, or adults with temporary injuries/conditions or ongoing physical disabilities. We will also examine the concept of "Universal Design" - designing in a way that gracefully accommodates the range of human experience. Students in this class will develop problem solving, visual communication skills and a wide range of fabrication skills. There will be opportunities to work with the full range of materials and tools available in the Center for Design shop - such as metals, plastics and basic electronics. The curriculum will include weekly design assignments, guest speakers, readings, film viewings, discussions about the design process itself, as well as a major project Keywords:design, fabrication, physical disability, problem solving Students should expect to spend 6-10 hours weekly on work and preparation outside of class time Library Materials: Documentary Film - Crip Camp Books: What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO) Brilliant Imperfection by Eli Clare1 Look Ma, No Hands: An introductory design class focused on, assistive technology: We will learn about some of the practical, and ordinary problems faced by individuals who do not have full, use of their hands or arms, then design, fabricate and, collaboratively design assistive devices. Projects may be for, children, or adults with temporary injuries/conditions or ongoing, physical disabilities. We will also examine the concept of, "Universal Design" - designing in a way that gracefully, accommodates the range of human experience. Students in this, class will develop problem solving, visual communication skills, and a wide range of fabrication skills. There will be, opportunities to work with the full range of materials and tools, available in the Center for Design shop - such as metals,, plastics and basic electronics. The curriculum will include, weekly design assignments, guest speakers, readings, film, viewings, discussions about the design process itself, as well as, a major project, , Keywords:design, fabrication, physical disability, problem, solving Look Ma, No Hands: An introductory design class focused on assistive technology: We will learn about some of the practical and ordinary problems faced by individuals who do not have full use of their hands or arms, then design, fabricate and collaboratively design assistive devices. Projects may be for children, or adults with temporary injuries/conditions or ongoing physical disabilities. We will also examine the concept of "Universal Design" - designing in a way that gracefully accommodates the range of human experience. Students in this class will develop problem solving, visual communication skills and a wide range of fabrication skills. There will be opportunities to work with the full range of materials and tools available in the Center for Design shop - such as metals, plastics and basic electronics. The curriculum will include weekly design assignments, guest speakers, readings, film viewings, discussions about the design process itself, as well as a major project Keywords:design, fabrication, physical disability, problem solving dcLM@hampshire.edu4 Students should expect to spend 6-10 hours weekly on work and, preparation outside of class time, , Library Materials:, , Documentary Film - Crip Camp, , Books:, , What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING, ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO), , Brilliant Imperfection by Eli Clare MIX, RP, LC1 IA-0150-1 16MM Filmmaking Workshop Abraham Ravett# M 01:00PM-03:50PM T 07:00PM-09:00PMThis course teaches the basic skills of 16mm film production, including camera work, editing, animation, optical printing, and preparation for a finished work in film and video. We will explore multiple ways this spatial-temporal medium can shape our perceptions of the world and help narrate stories waiting to be told. Students had the option to submit weekly written responses to theoretical and historical readings and to screenings of films and DVDs that represent a variety of aesthetic approaches to the moving image. The bulk of the work will be produced in 16mm format including animation, optical printing, plus a variety of ways to self-process film or create cameraless moving images. To receive an evaluation, regular attendance, participation in class discussions, a mid-term project plus a final project as well as a self evaluation were required. Several students also agreed to give an oral presentation on the work of a filmmaker presented in class.
This course teaches the basic skills of 16mm film production,, including camera work, editing, animation, optical printing, and, preparation for a finished work in film and video. We will, explore multiple ways this spatial-temporal medium can shape our, perceptions of the world and help narrate stories waiting to be, told. Students will submit weekly written responses to, theoretical and historical readings and to screenings of films, and DVDs that represent a variety of aesthetic approaches to the, moving image. There will be a series of filmmaking assignments, culminating in a final project. The bulk of the work will be, produced in 16mm format including animation, optical pri< nting,, plus a variety of ways to self-process film or create cameraless, moving images. Keywords: filmmaking, analog, 16mm, film, , Lab/Materials fee:$65, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course teaches the basic skills of 16mm film production, including camera work, editing, animation, optical printing, and preparation for a finished work in film and video. We will explore multiple ways this spatial-temporal medium can shape our perceptions of the world and help narrate stories waiting to be told. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and DVDs that represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in a final project. The bulk of the work will be produced in 16mm format including animation, optical printing, plus a variety of ways to self-process film or create cameraless moving images. Keywords: filmmaking, analog, 16mm, film Lab/Materials fee:$65 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time1 This course teaches the basic skills of 16mm film production,, including camera work, editing, animation, optical printing, and, preparation for a finished work in film and video. We will, explore multiple ways this spatial-temporal medium can shape our, perceptions of the world and help narrate stories waiting to be, told. Students will submit weekly written responses to, theoretical and historical readings and to screenings of films, and DVDs that represent a variety of aesthetic approaches to the, moving image. There will be a series of filmmaking assignments, culminating in a final project. The bulk of the work will be, produced in 16mm format including animation, optical printing,, plus a variety of ways to self-process film or create cameraless, moving images. Keywords: filmmaking, analog, 16mm, film% This course teaches the basic skills of 16mm film production, including camera work, editing, animation, optical printing, and preparation for a finished work in film and video. We will explore multiple ways this spatial-temporal medium can shape our perceptions of the world and help narrate stories waiting to be told. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and DVDs that represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in a final project. The bulk of the work will be produced in 16mm format including animation, optical printing, plus a variety of ways to self-process film or create cameraless moving images. Keywords: filmmaking, analog, 16mm, film arPF@hampshire.edu IA-0172-1 The Lyric Poem Nathan McClain
To earn an evaluation in this workshop, students would submit a final book arts project of a physical minimum ten-page creative chapbook that would contain at least five revised poems, reflections on at least three poetry readings attended during the term (one could be virtual), and three craft-specific single annotations. Students also submitted weekly poem drafts and/or revisions as well as 350-word reading responses that further engaged each of course’s “units”—particular craft lenses such as “image,” “speaker,” or “music,” and students moderated each of their own two individual workshop sessions with the larger workshop group. These assignments were designed to spur each writer’s imagination as well as support their growth in confidence and facilitate their pursuit of subject matter of their choosing. They were also explicitly designed to deepen student’s understanding and utilization of craft.
. Increasingly, it would seem to be the preference of readers in, our neo-narrative age-age of biography and memoir, age of the, talk show, the podcast, and TTRPG actual play-an appetite for, story. Or narrative. Which also applies to poetry. Though, the, lyric poet might just as easily argue that every narrative poem, obscures a lyric, which itself slows or suspends time. What, occurs when a poem is more concerned with "how something felt", than "what happened"? What use is the lyric in poetry? In this, course, participants will investigate such questions-we'll, consider the lyric poem more generally, and we'll acquire and, develop the craft and technique that builds such poems., Participants will have the opportunity to workshop their own, poems as well as the poems of their peers. Students may read work, by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley,, and Emily Dickinson, among others., , Keywords:creative writing, poetry, lyric, workshop, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Increasingly, it would seem to be the preference of readers in our neo-narrative age-age of biography and memoir, age of the talk show, the podcast, and TTRPG actual play-an appetite for story. Or narrative. Which also applies to poetry. Though, the lyric poet might just as easily argue that every narrative poem obscures a lyric, which itself slows or suspends time. What occurs when a poem is more concerned with "how something felt" than "what happened"? What use is the lyric in poetry? In this course, participants will investigate such questions-we'll consider the lyric poem more generally, and we'll acquire and develop the craft and technique that builds such poems. Participants will have the opportunity to workshop their own poems as well as the poems of their peers. Students may read work by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley, and Emily Dickinson, among others. Keywords:creative writing, poetry, lyric, workshop Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Increasingly, it would seem to be the preference of readers in, our neo-narrative age-age of biography and memoir, age of the, talk show, the podcast, and TTRPG actual play-an appetite for, story. Or narrative. Which also applies to poetry. Though, the, lyric poet might just as easily argue that every narrative poem, obscures a lyric, which itself slows or suspends time. What, occurs when a poem is more concerned with "how something felt", than "what happened"? What use is the lyric in poetry? In this, course, participants will investigate such questions-we'll, consider the lyric poem more generally, and we'll acquire and, develop the craft and technique that builds such poems., Participants will have the opportunity to workshop their own, poems as well as the poems of their peers. Students may read work, by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley,, and Emily Dickinson, among others., , Keywords:creative writing, poetry, lyric, workshop Increasingly, it would seem to be the preference of readers in our neo-narrative age-age of biography and memoir, age of the talk show, the podcast, and TTRPG actual play-an appetite for story. Or narrative. Which also applies to poetry. Though, the lyric poet might just as easily argue that every narrative poem obscures a lyric, which itself slows or suspends time. What occurs when a poem is more concerned with "how something felt" than "what happened"? What use is the lyric in poetry? In this course, participants will investigate such questions-we'll consider the lyric poem more generally, and we'll acquire and develop the craft and technique that builds such poems. Participants will have the opportunity to workshop their own poems as well as the poems of their peers. Students may read work by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley, and Emily Dickinson, among others. Keywords:creative writing, poetry, lyric, workshop nmIA@hampshire.edu IA-0194-1 Rehearsing Liberation: Theatre Jonathan DentRehearsing Liberation: Applied Theatre for Revolutionary Change. How can theatre serve as a rehearsal for liberation? What does it mean to make art in the midst of systemic violence, political unrest, or cult< ural transformation? In this course, we will explore applied theatre as a tool for social intervention, collective healing, and revolutionary imagination. Blending theory and practice, students will examine how performance has been used across the globe to resist oppression, foster community, and envision new worlds. Rooted in traditions of Theatre of the Oppressed, Black radical performance, ritual practices, and community-based storytelling, the course invites students to become both scholars and practitioners of liberation. Together, we will engage in embodied exercises, critical readings, and collaborative creation - rehearsing not only performance, but the very possibilities of justice, joy, and collective survival. Students will develop their own short performance projects in dialogue with urgent social issues, ancestral wisdoms, and local communities. No prior performance experience is required - just a willingness to experiment, listen, and transform.
Rehearsing Liberation: Applied Theatre for Revolutionary Change. , How can theatre serve as a rehearsal for liberation? What does it, mean to make art in the midst of systemic violence, political, unrest, or cultural transformation? In this course, we will, explore applied theatre as a tool for social intervention,, collective healing, and revolutionary imagination. Blending, theory and practice, students will examine how performance has, been used across the globe to resist oppression, foster, community, and envision new worlds. Rooted in traditions of, Theatre of the Oppressed, Black radical performance, ritual, practices, and community-based storytelling, the course invites, students to become both scholars and practitioners of liberation., Together, we will engage in embodied exercises, critical, readings, and collaborative creation - rehearsing not only, performance, but the very possibilities of justice, joy, and, collective survival. Students will develop their own short, performance projects in dialogue with urgent social issues,, ancestral wisdoms, and local communities. No prior performance, experience is required - just a willingness to experiment,, listen, and transform., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Rehearsing Liberation: Applied Theatre for Revolutionary Change. How can theatre serve as a rehearsal for liberation? What does it mean to make art in the midst of systemic violence, political unrest, or cultural transformation? In this course, we will explore applied theatre as a tool for social intervention, collective healing, and revolutionary imagination. Blending theory and practice, students will examine how performance has been used across the globe to resist oppression, foster community, and envision new worlds. Rooted in traditions of Theatre of the Oppressed, Black radical performance, ritual practices, and community-based storytelling, the course invites students to become both scholars and practitioners of liberation. Together, we will engage in embodied exercises, critical readings, and collaborative creation - rehearsing not only performance, but the very possibilities of justice, joy, and collective survival. Students will develop their own short performance projects in dialogue with urgent social issues, ancestral wisdoms, and local communities. No prior performance experience is required - just a willingness to experiment, listen, and transform. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Rehearsing Liberation: Applied Theatre for Revolutionary Change. , How can theatre serve as a rehearsal for liberation? What does it, mean to make art in the midst of systemic violence, political, unrest, or cultural transformation? In this course, we will, explore applied theatre as a tool for social intervention,, collective healing, and revolutionary imagination. Blending, theory and practice, students will examine how performance has, been used across the globe to resist oppression, foster, community, and envision new worlds. Rooted in traditions of, Theatre of the Oppressed, Black radical performance, ritual, practices, and community-based storytelling, the course invites, students to become both scholars and practitioners of liberation., Together, we will engage in embodied exercises, critical, readings, and collaborative creation - rehearsing not only, performance, but the very possibilities of justice, joy, and, collective survival. Students will develop their own short, performance projects in dialogue with urgent social issues,, ancestral wisdoms, and local communities. No prior performance, experience is required - just a willingness to experiment,, listen, and transform. Rehearsing Liberation: Applied Theatre for Revolutionary Change. How can theatre serve as a rehearsal for liberation? What does it mean to make art in the midst of systemic violence, political unrest, or cultural transformation? In this course, we will explore applied theatre as a tool for social intervention, collective healing, and revolutionary imagination. Blending theory and practice, students will examine how performance has been used across the globe to resist oppression, foster community, and envision new worlds. Rooted in traditions of Theatre of the Oppressed, Black radical performance, ritual practices, and community-based storytelling, the course invites students to become both scholars and practitioners of liberation. Together, we will engage in embodied exercises, critical readings, and collaborative creation - rehearsing not only performance, but the very possibilities of justice, joy, and collective survival. Students will develop their own short performance projects in dialogue with urgent social issues, ancestral wisdoms, and local communities. No prior performance experience is required - just a willingness to experiment, listen, and transform. jldIA@hampshire.edu MIX, RP, LC5 IA-0205-1 Mechanical MotionfMechanical Motion for Artists and Designers: We will learn how to build objects that move! Using wire, sheet metal, paper, wood, and a range of other media, we will examine and build mechanisms. We will contemplate the basic ingredients of mechanical forces and motion such as bearings, cams, cranks, gear ratios and more. Each student will develop an independent project that incorporates some type of physical motion. All levels of experience are welcome, but students should be comfortable using hand tools, able to devote at least 6 - 10 hours a week outside of scheduled class time working on projects.
Mechanical Motion for Artists and Designers:, , We will learn how to build objects that move! Using wire, sheet, metal, paper, wood, and a range of other media, we will examine, and build mechanisms. We will contemplate the basic ingredients, of mechanical forces and motion such as bearings, cams, cranks,, gear ratios and more. Each student will develop an independent, project that incorporates some type of physical motion., All levels of experience are welcome, but students should be, comfortable using hand tools, able to devote at least 6 - 10, hours a week outside of scheduled class time working on projects., , Students should expect to spend 8 hours weekly on work and, preparation outside of class time, , Library Materials:, , Documentary Film - Crip Camp, , Books:, , What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING, ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO), Brilliant Imperfection by Eli Clare Mechanical Motion for Artists and Designers: We will learn how to build objects that move! Using wire, sheet metal, paper, wood, and a range of other media, we will examine and build mechanisms. We will contemplate the basic ingredients of mechanical forces and motion such as bearings, cams, cranks, gear ratios and more. Each student will develop an independent project that incorporates some type of physical motion. All levels of experience are welcome, but students should be comfortable using hand tools, able to devote at least 6 - 10 hours a week outside of scheduled class time working on projects. Students should expect to spend 8 hours we< ekly on work and preparation outside of class time Library Materials: Documentary Film - Crip Camp Books: What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO) Brilliant Imperfection by Eli Clarel Mechanical Motion for Artists and Designers:, , We will learn how to build objects that move! Using wire, sheet, metal, paper, wood, and a range of other media, we will examine, and build mechanisms. We will contemplate the basic ingredients, of mechanical forces and motion such as bearings, cams, cranks,, gear ratios and more. Each student will develop an independent, project that incorporates some type of physical motion., All levels of experience are welcome, but students should be, comfortable using hand tools, able to devote at least 6 - 10, hours a week outside of scheduled class time working on projects.b Mechanical Motion for Artists and Designers: We will learn how to build objects that move! Using wire, sheet metal, paper, wood, and a range of other media, we will examine and build mechanisms. We will contemplate the basic ingredients of mechanical forces and motion such as bearings, cams, cranks, gear ratios and more. Each student will develop an independent project that incorporates some type of physical motion. All levels of experience are welcome, but students should be comfortable using hand tools, able to devote at least 6 - 10 hours a week outside of scheduled class time working on projects./ Students should expect to spend 8 hours weekly on work and, preparation outside of class time, , Library Materials:, , Documentary Film - Crip Camp, , Books:, , What Can A Body Do? by Sara Hendren (YES I NEED HELP GETTING, ACCESS TO THIS BOOK IN PRINT AND/OR AUDIO), Brilliant Imperfection by Eli Clare LC1, MIX IA-0208-1 Making Comics & Graphic Novels Caoimhe HarlockIn this course, students will explore the practice of making and interpreting comics. The ability to draw is not required as our focus will be on learning how comics works as a language unto itself and the things it can uniquely do as a medium over and beyond synthetically bringing together text and images. We'll spend the first half of the class developing lessons in the craft of comics based on our reading and analysis of artists like Emil Ferris, Lynda Barry, Alan Moore, Michelle Perez & Remy Boydell, Simon Hanselmann, Jaime Hernandez, or others. In the second half of the class, we'll move into a workshop structure where students will come together as an informed community, share their work with one another, and learn how to give, receive, and implement feedback, with the goal of developing a personalized and sustainable creative practice Keywords:comics, creative writing, graphic novels, workshop, sequential art
In this course, students will explore the practice of making and, interpreting comics. The ability to draw is not required as our, focus will be on learning how comics works as a language unto, itself and the things it can uniquely do as a medium over and, beyond synthetically bringing together text and images. We'll, spend the first half of the class developing lessons in the craft, of comics based on our reading and analysis of artists like Emil, Ferris, Lynda Barry, Alan Moore, Michelle Perez & Remy Boydell,, Simon Hanselmann, Jaime Hernandez, or others. In the second half, of the class, we'll move into a workshop structure where students, will come together as an informed community, share their work, with one another, and learn how to give, receive, and implement, feedback, with the goal of developing a personalized and, sustainable creative practice, , Keywords:comics, creative writing, graphic novels, workshop,, sequential art, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time In this course, students will explore the practice of making and interpreting comics. The ability to draw is not required as our focus will be on learning how comics works as a language unto itself and the things it can uniquely do as a medium over and beyond synthetically bringing together text and images. We'll spend the first half of the class developing lessons in the craft of comics based on our reading and analysis of artists like Emil Ferris, Lynda Barry, Alan Moore, Michelle Perez & Remy Boydell, Simon Hanselmann, Jaime Hernandez, or others. In the second half of the class, we'll move into a workshop structure where students will come together as an informed community, share their work with one another, and learn how to give, receive, and implement feedback, with the goal of developing a personalized and sustainable creative practice Keywords:comics, creative writing, graphic novels, workshop, sequential art Students should expect to spend 6-8 hours weekly on work and preparation outside of class time In this course, students will explore the practice of making and, interpreting comics. The ability to draw is not required as our, focus will be on learning how comics works as a language unto, itself and the things it can uniquely do as a medium over and, beyond synthetically bringing together text and images. We'll, spend the first half of the class developing lessons in the craft, of comics based on our reading and analysis of artists like Emil, Ferris, Lynda Barry, Alan Moore, Michelle Perez & Remy Boydell,, Simon Hanselmann, Jaime Hernandez, or others. In the second half, of the class, we'll move into a workshop structure where students, will come together as an informed community, share their work, with one another, and learn how to give, receive, and implement, feedback, with the goal of developing a personalized and, sustainable creative practice, , Keywords:comics, creative writing, graphic novels, workshop,, sequential art In this course, students will explore the practice of making and interpreting comics. The ability to draw is not required as our focus will be on learning how comics works as a language unto itself and the things it can uniquely do as a medium over and beyond synthetically bringing together text and images. We'll spend the first half of the class developing lessons in the craft of comics based on our reading and analysis of artists like Emil Ferris, Lynda Barry, Alan Moore, Michelle Perez & Remy Boydell, Simon Hanselmann, Jaime Hernandez, or others. In the second half of the class, we'll move into a workshop structure where students will come together as an informed community, share their work with one another, and learn how to give, receive, and implement feedback, with the goal of developing a personalized and sustainable creative practice Keywords:comics, creative writing, graphic novels, workshop, sequential art chFAC@hampshire.edu IA-0229-1 Object and Environment Gregory Kline' TTH 09:00AM-11:50AM TTH 09:00AM-11:50AM ARB, ARB SCULPT In this course students will explore sculpture through the lense, of assemblage, found objects, collections and archives. We will, explore ideas of appropriation, adhocism sculptural object as a, self-contained form and as an element within a found or created, environment. Traditional materials such as steel, wood, plaster, and concrete will be taught concurrently with more ephemeral, materials including paper, wire mesh and found materials. Ideas, originating within the traditions of modernism, postmodernism,, minimalism, post minimalism, installation art and public art will, be introduced through slide lectures, readings and independent, research. The course will culminate in an independent project. An, introductory level course in sculpture is recommended, , Keywords:Sculpture, Art, Making, , Lab/Materials fee:$90, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time In this course students will explore sculpture through the lense of assemblage, found objects, collections and archives. We will explore ideas of appropriation, adhocism sculptural object as a self-contained form and as an element within a found or created environment. Traditional materials such as steel, wood, plaster and concrete will be taught concurrently with more eph< emeral materials including paper, wire mesh and found materials. Ideas originating within the traditions of modernism, postmodernism, minimalism, post minimalism, installation art and public art will be introduced through slide lectures, readings and independent research. The course will culminate in an independent project. An introductory level course in sculpture is recommended Keywords:Sculpture, Art, Making Lab/Materials fee:$90 Students should expect to spend 6-8 hours weekly on work and preparation outside of class time$ In this course students will explore sculpture through the lense, of assemblage, found objects, collections and archives. We will, explore ideas of appropriation, adhocism sculptural object as a, self-contained form and as an element within a found or created, environment. Traditional materials such as steel, wood, plaster, and concrete will be taught concurrently with more ephemeral, materials including paper, wire mesh and found materials. Ideas, originating within the traditions of modernism, postmodernism,, minimalism, post minimalism, installation art and public art will, be introduced through slide lectures, readings and independent, research. The course will culminate in an independent project. An, introductory level course in sculpture is recommended, , Keywords:Sculpture, Art, Making In this course students will explore sculpture through the lense of assemblage, found objects, collections and archives. We will explore ideas of appropriation, adhocism sculptural object as a self-contained form and as an element within a found or created environment. Traditional materials such as steel, wood, plaster and concrete will be taught concurrently with more ephemeral materials including paper, wire mesh and found materials. Ideas originating within the traditions of modernism, postmodernism, minimalism, post minimalism, installation art and public art will be introduced through slide lectures, readings and independent research. The course will culminate in an independent project. An introductory level course in sculpture is recommended Keywords:Sculpture, Art, Making gskMB@hampshire.edux Lab/Materials fee:$90, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time IA-0238-1To earn an evaluation in this workshop, students would submit a final book arts project of a physical minimum twelve-page creative chapbook that would contain at least six revised poems, reflections on at least three poetry readings attended during the term (one could be virtual), and three craft-specific single annotations. Students also submitted weekly poem drafts and/or revisions as well as 500-word reading responses that further engaged each of course’s “units”—particular craft lenses such as “image,” “speaker,” or “music,” and students moderated each of their own two individual workshop sessions with the larger workshop group. These assignments were designed to spur each writer’s imagination as well as support their growth in confidence and facilitate their pursuit of subject matter of their choosing. They were also explicitly designed to deepen student’s understanding and utilization of craft.
- Increasingly, it would seem to be the preference of readers in, our neo-narrative age-age of biography and memoir, age of the, talk show, the podcast, and TTRPG actual play-an appetite for, story. Or narrative. Which also applies to poetry. Though, the, lyric poet might just as easily argue that every narrative poem, obscures a lyric, which itself slows or suspends time. What, occurs when a poem is more concerned with "how something felt", than "what happened"? What use is the lyric in poetry? In this, course, participants will investigate such questions-we'll, consider the lyric poem more generally, and we'll acquire and, develop the craft and technique that builds such poems., Participants will have the opportunity to workshop their own, poems as well as the poems of their peers. Students may read work, by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley,, and Emily Dickinson, among others, , Keywords:creative writing, lyric, poetry, workshop, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Increasingly, it would seem to be the preference of readers in our neo-narrative age-age of biography and memoir, age of the talk show, the podcast, and TTRPG actual play-an appetite for story. Or narrative. Which also applies to poetry. Though, the lyric poet might just as easily argue that every narrative poem obscures a lyric, which itself slows or suspends time. What occurs when a poem is more concerned with "how something felt" than "what happened"? What use is the lyric in poetry? In this course, participants will investigate such questions-we'll consider the lyric poem more generally, and we'll acquire and develop the craft and technique that builds such poems. Participants will have the opportunity to workshop their own poems as well as the poems of their peers. Students may read work by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley, and Emily Dickinson, among others Keywords:creative writing, lyric, poetry, workshop Students should expect to spend 6-8 hours weekly on work and preparation outside of class time Increasingly, it would seem to be the preference of readers in, our neo-narrative age-age of biography and memoir, age of the, talk show, the podcast, and TTRPG actual play-an appetite for, story. Or narrative. Which also applies to poetry. Though, the, lyric poet might just as easily argue that every narrative poem, obscures a lyric, which itself slows or suspends time. What, occurs when a poem is more concerned with "how something felt", than "what happened"? What use is the lyric in poetry? In this, course, participants will investigate such questions-we'll, consider the lyric poem more generally, and we'll acquire and, develop the craft and technique that builds such poems., Participants will have the opportunity to workshop their own, poems as well as the poems of their peers. Students may read work, by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley,, and Emily Dickinson, among others, , Keywords:creative writing, lyric, poetry, workshop Increasingly, it would seem to be the preference of readers in our neo-narrative age-age of biography and memoir, age of the talk show, the podcast, and TTRPG actual play-an appetite for story. Or narrative. Which also applies to poetry. Though, the lyric poet might just as easily argue that every narrative poem obscures a lyric, which itself slows or suspends time. What occurs when a poem is more concerned with "how something felt" than "what happened"? What use is the lyric in poetry? In this course, participants will investigate such questions-we'll consider the lyric poem more generally, and we'll acquire and develop the craft and technique that builds such poems. Participants will have the opportunity to workshop their own poems as well as the poems of their peers. Students may read work by Charles Wright, Donald Justice, Donika Kelly, Sandra Beasley, and Emily Dickinson, among others Keywords:creative writing, lyric, poetry, workshop IA-0259-1 Acting and Directing Lab TTH 01:00PM-03:00PM:In this course you'll develop the skills in staging stories as both actors and directors. Through intensive scene work, you'll either be working as an actor within the scene with partner(s) or you'll be serving as the director of the scene, helping to shape and sculpt it. We'll read the work of contemporary directors in which they describe their own directing process and we'll also read about various acting methodologies that can help assist actors in stepping into and embodying characters with care, authenticity, and nuance. This course will require substantial rehearsal time outside of the classroom with your groups. Enrollment priority will be given to students who have previously taken an acting or directing course with me. Keywords:acting, directing, theater, storytelling, embod< iment
In this course you'll develop the skills in staging stories as, both actors and directors. Through intensive scene work, you'll, either be working as an actor within the scene with partner(s) or, you'll be serving as the director of the scene, helping to shape, and sculpt it. We'll read the work of contemporary directors in, which they describe their own directing process and we'll also, read about various acting methodologies that can help assist, actors in stepping into and embodying characters with care,, authenticity, and nuance. This course will require substantial, rehearsal time outside of the classroom with your groups. , Enrollment priority will be given to students who have previously, taken an acting or directing course with me. , , Keywords:acting, directing, theater, storytelling, embodiment, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time In this course you'll develop the skills in staging stories as both actors and directors. Through intensive scene work, you'll either be working as an actor within the scene with partner(s) or you'll be serving as the director of the scene, helping to shape and sculpt it. We'll read the work of contemporary directors in which they describe their own directing process and we'll also read about various acting methodologies that can help assist actors in stepping into and embodying characters with care, authenticity, and nuance. This course will require substantial rehearsal time outside of the classroom with your groups. Enrollment priority will be given to students who have previously taken an acting or directing course with me. Keywords:acting, directing, theater, storytelling, embodiment Students should expect to spend 6-8 hours weekly on work and preparation outside of class time/ In this course you'll develop the skills in staging stories as, both actors and directors. Through intensive scene work, you'll, either be working as an actor within the scene with partner(s) or, you'll be serving as the director of the scene, helping to shape, and sculpt it. We'll read the work of contemporary directors in, which they describe their own directing process and we'll also, read about various acting methodologies that can help assist, actors in stepping into and embodying characters with care,, authenticity, and nuance. This course will require substantial, rehearsal time outside of the classroom with your groups. , Enrollment priority will be given to students who have previously, taken an acting or directing course with me. , , Keywords:acting, directing, theater, storytelling, embodiment" In this course you'll develop the skills in staging stories as both actors and directors. Through intensive scene work, you'll either be working as an actor within the scene with partner(s) or you'll be serving as the director of the scene, helping to shape and sculpt it. We'll read the work of contemporary directors in which they describe their own directing process and we'll also read about various acting methodologies that can help assist actors in stepping into and embodying characters with care, authenticity, and nuance. This course will require substantial rehearsal time outside of the classroom with your groups. Enrollment priority will be given to students who have previously taken an acting or directing course with me. Keywords:acting, directing, theater, storytelling, embodiment NS NS-0103-1 The Science of Space and Time Kaca Bradonjic&What are space and time? This course will follow the evolution of the scientific understanding of these concepts which are so fundamental to our experience of the world and of ourselves. Our journey will trace the intellectual paths of philosophers and physicists who grappled with these questions, including Aristotle, Newton, and Einstein, taking us from the conceptions of space and time familiar from our daily experiences to the modern understanding of four-dimensional spacetime as described by the special theory of relativity. Occasionally we will look for insights from philosophers and for inspiration from writers and artist. Since mathematics is the language of physics, we will use basic high school algebra and graphs. No prior exposure to physics is necessary. This course is best suited for students so fascinated with the ideas of space and time that they are willing to grapple with abstract concepts and sometimes tedious algebra to gain a basic, but genuine understanding of special relativity Keywords:physics, relativity, space, time
W h a t a r e s p a c e a n d t i m e ? T h i s c o u r s e w i l l f o l l o w t h e e v o l u t i o n o f , t h e s c i e n t i f i c u n d e r s t a n d i n g o f t h e s e c o n c e p t s w h i c h a r e s o , f u n d a m e n t a l t o o u r e x p e r i e n c e o f t h e w o r l d a n d o f o u r s e l v e s . O u r , j o u r n e y w i l l t r a c e t h e i n t e l l e c t u a l p a t h s o f p h i l o s o p h e r s a n d , p h y s i c i s t s w h o g r a p p l e d w i t h t h e s e q u e s t i o n s , i n c l u d i n g , A r i s t o t l e , N e w t o n , a n d E i n s t e i n , t a k i n g u s f r o m t h e c o n c e p t i o n s , o f s p a c e , a n d t i m e f a m i l i a r f r o m o u r d a i l y e x p e r i e n c e s t o t h e m o d e r n , u n d e r s t a n d i n g o f f o u r - d i m e n s i o n a l s p a c e t i m e a s d e s c r i b e d b y t h e , s p e c i a l t h e o r y o f r e l a t i v i t y . O c c a s i o n a l l y w e w i l l l o o k f o r , i n s i g h t s f r o m p h i l o s o p h e r s a n d f o r i n s p i r a t i o n f r o m w r i t e r s a n d , a r t i s t . , S i n c e m a t h e m a t i c s i s t h e l a n g u a g e o f p h y s i c s , w e w i l l u s e b a s i c , h i g h s c h o o l a l g e b r a a n d g r a p h s . N o p r i o r e x p o s u r e t o p h y s i c s i s , n e c e s s a r y . T h i s c o u r s e i s b e s t s u i t e d f o r s t u d e n t s s o f a s c i n a t e d , w i t h t h e i d e a s o f s p a c e a n d t i m e t h a t t h e y a r e w i l l i n g t o g r a p p l e , w i t h a b s t r a c t c o n c e p t s a n d s o m e t i m e s t e d i o u s a l g e b r a t o g a i n a , b a s i c , b u t g e n u i n e u n d e r s t a n d i n g o f s p e c i a l r e l a t i v i t y , , K e y w o r d s : p h y s i c s , r e l a t i v i t y , s p a c e , t i m e , , S t u d e n t s s h o u l d e x p e c t t o s p e n d 4 - 6 h o u r s w e e k l y o n w o r k a n d , p r e p a r a t i o n o u t s i d e o f c l a s s t i m e , , L i b r a r y M a t e r i a l s : , , - E i n s t e i n , A l b e r t . ( 2 0 1 5 ) R e l a t i v i t y : T h e S p e c i a l a n d t h e , G e n e r a l T h e o r y . P r i n c e t o n U n i v e r s i t y P r e s s . " , - H u g g e t t , N . ( E d . ) ( 1 9 9 9 ) S p a c e f r o m Z e n o t o E i n s t e i n : C l a s s i c , R e a d i n g s w i t h C o n t e m p o r a r y C o m m e n t a r y . C a m b r i d g e : , T h e M I T P r e s s . , - M e r m i n , N . D a v i d . ( 2 0 0 5 ) I t & # 3 9 ; s A b o u t T i m e : U n d e r s t a n d i n g , E i n s t e i n & # 3 9 ; s R e l a t i v i t y . P r i n c e t o n U n i v e r s i t y P r e s s . What are space and time? This course will follow the evolution of the scientific understanding of these concepts which are so fundamental to our experience of the world and of ourselves. Our journey will trace the intellectual paths of philosophers and physicists who grappled with these questions, including Aristotle, Newton, and Einstein, taking us from the conceptions of space and time familiar from our daily experiences to the modern understanding of four-dimensional spacetime as described by the special theory of relat< i v i t y . O c c a s i o n a l l y w e w i l l l o o k f o r i n s i g h t s f r o m p h i l o s o p h e r s a n d f o r i n s p i r a t i o n f r o m w r i t e r s a n d a r t i s t . S i n c e m a t h e m a t i c s i s t h e l a n g u a g e o f p h y s i c s , w e w i l l u s e b a s i c h i g h s c h o o l a l g e b r a a n d g r a p h s . N o p r i o r e x p o s u r e t o p h y s i c s i s n e c e s s a r y . T h i s c o u r s e i s b e s t s u i t e d f o r s t u d e n t s s o f a s c i n a t e d w i t h t h e i d e a s o f s p a c e a n d t i m e t h a t t h e y a r e w i l l i n g t o g r a p p l e w i t h a b s t r a c t c o n c e p t s a n d s o m e t i m e s t e d i o u s a l g e b r a t o g a i n a b a s i c , b u t g e n u i n e u n d e r s t a n d i n g o f s p e c i a l r e l a t i v i t y K e y w o r d s : p h y s i c s , r e l a t i v i t y , s p a c e , t i m e S t u d e n t s s h o u l d e x p e c t t o s p e n d 4 - 6 h o u r s w e e k l y o n w o r k a n d p r e p a r a t i o n o u t s i d e o f c l a s s t i m e L i b r a r y M a t e r i a l s : - E i n s t e i n , A l b e r t . ( 2 0 1 5 ) R e l a t i v i t y : T h e S p e c i a l a n d t h e G e n e r a l T h e o r y . P r i n c e t o n U n i v e r s i t y P r e s s . " - H u g g e t t , N . ( E d . ) ( 1 9 9 9 ) S p a c e f r o m Z e n o t o E i n s t e i n : C l a s s i c R e a d i n g s w i t h C o n t e m p o r a r y C o m m e n t a r y . C a m b r i d g e : T h e M I T P r e s s . - M e r m i n , N . D a v i d . ( 2 0 0 5 ) I t & # 3 9 ; s A b o u t T i m e : U n d e r s t a n d i n g E i n s t e i n & # 3 9 ; s R e l a t i v i t y . P r i n c e t o n U n i v e r s i t y P r e s s . 3 What are space and time? This course will follow the evolution of, the scientific understanding of these concepts which are so, fundamental to our experience of the world and of ourselves. Our, journey will trace the intellectual paths of philosophers and, physicists who grappled with these questions, including, Aristotle, Newton, and Einstein, taking us from the conceptions, of space, and time familiar from our daily experiences to the modern, understanding of four-dimensional spacetime as described by the, special theory of relativity. Occasionally we will look for, insights from philosophers and for inspiration from writers and, artist., Since mathematics is the language of physics, we will use basic, high school algebra and graphs. No prior exposure to physics is, necessary. This course is best suited for students so fascinated, with the ideas of space and time that they are willing to grapple, with abstract concepts and sometimes tedious algebra to gain a, basic, but genuine understanding of special relativity, , Keywords:physics, relativity, space, time What are space and time? This course will follow the evolution of the scientific understanding of these concepts which are so fundamental to our experience of the world and of ourselves. Our journey will trace the intellectual paths of philosophers and physicists who grappled with these questions, including Aristotle, Newton, and Einstein, taking us from the conceptions of space and time familiar from our daily experiences to the modern understanding of four-dimensional spacetime as described by the special theory of relativity. Occasionally we will look for insights from philosophers and for inspiration from writers and artist. Since mathematics is the language of physics, we will use basic high school algebra and graphs. No prior exposure to physics is necessary. This course is best suited for students so fascinated with the ideas of space and time that they are willing to grapple with abstract concepts and sometimes tedious algebra to gain a basic, but genuine understanding of special relativity Keywords:physics, relativity, space, time kbNS@hampshire.eduS t u d e n t s s h o u l d e x p e c t t o s p e n d 4 - 6 h o u r s w e e k l y o n w o r k a n d , p r e p a r a t i o n o u t s i d e o f c l a s s t i m e , , L i b r a r y M a t e r i a l s : , , - E i n s t e i n , A l b e r t . ( 2 0 1 5 ) R e l a t i v i t y : T h e S p e c i a l a n d t h e , G e n e r a l T h e o r y . P r i n c e t o n U n i v e r s i t y P r e s s . " , - H u g g e t t , N . ( E d . ) ( 1 9 9 9 ) S p a c e f r o m Z e n o t o E i n s t e i n : C l a s s i c , R e a d i n g s w i t h C o n t e m p o r a r y C o m m e n t a r y . C a m b r i d g e : , T h e M I T P r e s s . , - M e r m i n , N . D a v i d . ( 2 0 0 5 ) I t & # 3 9 ; s A b o u t T i m e : U n d e r s t a n d i n g , E i n s t e i n & # 3 9 ; s R e l a t i v i t y . P r i n c e t o n U n i v e r s i t y P r e s s . NS-0104-1 Introduction to Data Science Kenneth Mulder TTHF 01:00PM-02:20PMaDue to the growing availability of "big data" and the high computational speeds and storage capacity of modern computers, data science has become a highly influential field that impacts every aspect of our lives. Endeavors as disparate as facial recognition, climate modeling, and training computers to write poetry are linked by the fact that in each case researchers are using computers to find and exploit patterns in data. These patterns can be used to make predictions, test hypotheses, and to simulate real-world phenomena to an eerily accurate degree. In this course, you will learn the fundamental concepts of data science both as an exposure to this important field and also as a starting point for further study and research. In particular, you will learn and practice writing computer code to access data, explore data, and analyze data.
Due to the growing availability of "big data" and the high, computational speeds and storage capacity of modern computers,, data science has become a highly influential field that impacts, every aspect of our lives. Endeavors as disparate as facial, recognition, climate modeling, and training computers to write, poetry are linked by the fact that in each case researchers are, using computers to find and exploit patterns in data. These, patterns can be used to make predictions, test hypotheses, and to, simulate real-world phenomena to an eerily accurate degree. In, this course, you will learn the fundamental concepts of data, science both as an exposure to this important field and also as a, starting point for further study and research. In particular,, you will learn and practice writing computer code to access data,, explore data, and analyze data., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Due to the growing availability of "big data" and the high computational speeds and storage capacity of modern computers, data science has become a highly influential field that impacts every aspect of our lives. Endeavors as disparate as facial recognition, climate modeling, and training computers to write poetry are linked by the fact that in each case researchers are using computers to find and exploit patterns in data. These patterns can be used to make predictions, test hypotheses, and to simulate real-world phenomena to an eerily accurate degree. In this course, you will learn the fundamental concepts of data science both as an exposure to this important field and also as a starting point for further study and research. In particular, you will learn and practice writing computer code to access data, explore data, and analyze data. Students should expect to spend 6-8 hours weekly on work and preparation outside of class timea Due to the growing availability of "big data" and the high, computational speeds and storage capacity of modern computers,, data science has become a highly influential field that impacts, every aspect of our lives. Endeavors as disparate as facial, r< ecognition, climate modeling, and training computers to write, poetry are linked by the fact that in each case researchers are, using computers to find and exploit patterns in data. These, patterns can be used to make predictions, test hypotheses, and to, simulate real-world phenomena to an eerily accurate degree. In, this course, you will learn the fundamental concepts of data, science both as an exposure to this important field and also as a, starting point for further study and research. In particular,, you will learn and practice writing computer code to access data,, explore data, and analyze data.T Due to the growing availability of "big data" and the high computational speeds and storage capacity of modern computers, data science has become a highly influential field that impacts every aspect of our lives. Endeavors as disparate as facial recognition, climate modeling, and training computers to write poetry are linked by the fact that in each case researchers are using computers to find and exploit patterns in data. These patterns can be used to make predictions, test hypotheses, and to simulate real-world phenomena to an eerily accurate degree. In this course, you will learn the fundamental concepts of data science both as an exposure to this important field and also as a starting point for further study and research. In particular, you will learn and practice writing computer code to access data, explore data, and analyze data. kmFAC@hampshire.edu NS-0106-1 Environmental Earth Science Steve Roof 3-OPENIn this course students investigated how the natural world operates and examined how society interacts with Earth. First we covered the major concepts of geology, including geologic time, rocks & minerals, and plate tectonics. We then learned about ocean and atmosphere science with an emphasis on Earth’s climate system and climate change, including feedback loops and tipping points. Next we learned about climate action efforts around the world including 91è’s climate action plan. We ended with exploration of the range of solutions that need to be implemented to prevent catastrophic global change. By learning how our planet evolved and operates, students learned to evaluate the current state of Earth and solutions to environmental ills.
In this course we will investigate how the natural world operates, and examine how human societies interact with Earth. Class, discussions and weekly projects will introduce the major concepts, and techniques of earth science, environmental sciences, and, resource management, providing grounding in the geosciences and, forming a basis for the interdisciplinary study of environmental, topics. We will explore the history of our planet and, earth-shaping processes such as plate tectonics, glaciations, and, volcanoes. We will also learn about natural resources we obtain, from Earth, how our climate system works, and what steps need to, be taken to reduce adverse climate and global change. By learning, how our planet evolves, we can then evaluate the current state of, Earth and solutions to environmental ills., , Keywords:Earth, geology, environmental science, climate change,, sustainability, , Students should expect to spend 6-9 hours weekly on work and, preparation outside of class time. In this course we will investigate how the natural world operates and examine how human societies interact with Earth. Class discussions and weekly projects will introduce the major concepts and techniques of earth science, environmental sciences, and resource management, providing grounding in the geosciences and forming a basis for the interdisciplinary study of environmental topics. We will explore the history of our planet and earth-shaping processes such as plate tectonics, glaciations, and volcanoes. We will also learn about natural resources we obtain from Earth, how our climate system works, and what steps need to be taken to reduce adverse climate and global change. By learning how our planet evolves, we can then evaluate the current state of Earth and solutions to environmental ills. Keywords:Earth, geology, environmental science, climate change, sustainability Students should expect to spend 6-9 hours weekly on work and preparation outside of class time. In this course we will investigate how the natural world operates, and examine how human societies interact with Earth. Class, discussions and weekly projects will introduce the major concepts, and techniques of earth science, environmental sciences, and, resource management, providing grounding in the geosciences and, forming a basis for the interdisciplinary study of environmental, topics. We will explore the history of our planet and, earth-shaping processes such as plate tectonics, glaciations, and, volcanoes. We will also learn about natural resources we obtain, from Earth, how our climate system works, and what steps need to, be taken to reduce adverse climate and global change. By learning, how our planet evolves, we can then evaluate the current state of, Earth and solutions to environmental ills., , Keywords:Earth, geology, environmental science, climate change,, sustainabilityu In this course we will investigate how the natural world operates and examine how human societies interact with Earth. Class discussions and weekly projects will introduce the major concepts and techniques of earth science, environmental sciences, and resource management, providing grounding in the geosciences and forming a basis for the interdisciplinary study of environmental topics. We will explore the history of our planet and earth-shaping processes such as plate tectonics, glaciations, and volcanoes. We will also learn about natural resources we obtain from Earth, how our climate system works, and what steps need to be taken to reduce adverse climate and global change. By learning how our planet evolves, we can then evaluate the current state of Earth and solutions to environmental ills. Keywords:Earth, geology, environmental science, climate change, sustainability srNS@hampshire.edu` Students should expect to spend 6-9 hours weekly on work and, preparation outside of class time. NS-0157-1 Water in the Built Environment Christina Cianfrani2Where do we get clean water? Where does water go when it rains? This course explores these topics using a systems thinking approach to gain an understanding of how our water resources are tied to the surrounding ecosystem and human populations. Topics include the water cycle, hydrologic budgets, urban impacts and low impact development/green design. Students will read primary literature, complete problems sets, compute water budgets, and complete a group design project designed to address a water use/treatment challenge. At the 100-level no previous experience is needed. At the 300-level, students will be expected to lead project groups and complete more advanced assignments. Students will work collaboratively on project and in-class activities throughout most of the semester. We will use the 91è campus as a living laboratory with occasional field trips. This class is designed with a commitment to accessibility and to providing access to students of all backgrounds and abilities. Keywords:Hydrology, environmental science, water resources
Where do we get clean water? Where does water go when it rains?, This course explores these topics using a systems thinking, approach to gain an understanding of how our water resources are, tied to the surrounding ecosystem and human populations. Topics, include the water cycle, hydrologic budgets, urban impacts and, low impact development/green design. Students will read primary, literature, complete problems sets, compute water budgets, and, complete a group design project designed to address a water, use/treatment challenge. At the 100-level no previous experience, is needed. At the 300-level, students will be expected to lead, project groups and complete more advanced assignments. Students, will work collaboratively on project and in-class activities, throughout most of the semester. We will use the 91è, College cam< pus as a living laboratory with occasional field, trips. This class is designed with a commitment to accessibility, and to providing access to students of all backgrounds and, abilities., , Keywords:Hydrology, environmental science, water resources, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time Where do we get clean water? Where does water go when it rains? This course explores these topics using a systems thinking approach to gain an understanding of how our water resources are tied to the surrounding ecosystem and human populations. Topics include the water cycle, hydrologic budgets, urban impacts and low impact development/green design. Students will read primary literature, complete problems sets, compute water budgets, and complete a group design project designed to address a water use/treatment challenge. At the 100-level no previous experience is needed. At the 300-level, students will be expected to lead project groups and complete more advanced assignments. Students will work collaboratively on project and in-class activities throughout most of the semester. We will use the 91è campus as a living laboratory with occasional field trips. This class is designed with a commitment to accessibility and to providing access to students of all backgrounds and abilities. Keywords:Hydrology, environmental science, water resources Students should expect to spend 6-8 hours weekly on work and preparation outside of class time> Where do we get clean water? Where does water go when it rains?, This course explores these topics using a systems thinking, approach to gain an understanding of how our water resources are, tied to the surrounding ecosystem and human populations. Topics, include the water cycle, hydrologic budgets, urban impacts and, low impact development/green design. Students will read primary, literature, complete problems sets, compute water budgets, and, complete a group design project designed to address a water, use/treatment challenge. At the 100-level no previous experience, is needed. At the 300-level, students will be expected to lead, project groups and complete more advanced assignments. Students, will work collaboratively on project and in-class activities, throughout most of the semester. We will use the 91è, College campus as a living laboratory with occasional field, trips. This class is designed with a commitment to accessibility, and to providing access to students of all backgrounds and, abilities., , Keywords:Hydrology, environmental science, water resources, Where do we get clean water? Where does water go when it rains? This course explores these topics using a systems thinking approach to gain an understanding of how our water resources are tied to the surrounding ecosystem and human populations. Topics include the water cycle, hydrologic budgets, urban impacts and low impact development/green design. Students will read primary literature, complete problems sets, compute water budgets, and complete a group design project designed to address a water use/treatment challenge. At the 100-level no previous experience is needed. At the 300-level, students will be expected to lead project groups and complete more advanced assignments. Students will work collaboratively on project and in-class activities throughout most of the semester. We will use the 91è campus as a living laboratory with occasional field trips. This class is designed with a commitment to accessibility and to providing access to students of all backgrounds and abilities. Keywords:Hydrology, environmental science, water resources ccNS@hampshire.edu NS-0202-1 Gen. Chem. 1 Juliet (Julie) Johnston 2-OPENAn introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. Laboratory work will include quantitative, qualitative, and instrumental analysis. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry. Keywords:Chemical reaction stoichiometry elements matter
An introduction to chemistry, including macroscopic properties of, matter, composition and stoichiometry, atomic and molecular, structure, bonding, and the behavior of gases. We will emphasize, the understanding and prediction of chemical behavior, as well as, the manifestation of chemistry in the world around us in, biological, environmental, and practical contexts. Laboratory, work will include quantitative, qualitative, and instrumental, analysis. While there are no prerequisites for the course,, comfort with basic algebra is strongly recommended. Chemistry 1, is the first term of a two-semester course in general chemistry., , Keywords:Chemical reaction stoichiometry elements matter, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. Laboratory work will include quantitative, qualitative, and instrumental analysis. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry. Keywords:Chemical reaction stoichiometry elements matter Students should expect to spend 6-8 hours weekly on work and preparation outside of class time An introduction to chemistry, including macroscopic properties of, matter, composition and stoichiometry, atomic and molecular, structure, bonding, and the behavior of gases. We will emphasize, the understanding and prediction of chemical behavior, as well as, the manifestation of chemistry in the world around us in, biological, environmental, and practical contexts. Laboratory, work will include quantitative, qualitative, and instrumental, analysis. While there are no prerequisites for the course,, comfort with basic algebra is strongly recommended. Chemistry 1, is the first term of a two-semester course in general chemistry., , Keywords:Chemical reaction stoichiometry elements matter An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. Laboratory work will include quantitative, qualitative, and instrumental analysis. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry. Keywords:Chemical reaction stoichiometry elements matter jjFAC@hampshire.edu NS-0205-1 Physics II 3-PHYSFundamental forces of electricity and magnetism govern the interactions of atoms and molecules, and consequently most of macroscopic processes, from biological to astrophysical. Physics II is an introductory course on electromagnetic theory and covers topics such as electromagnetic induction, electric circuits, and physical and geometric optics. The course will approach these topics in the active-learning style, with problem-solving sessions and mini-lectures. It is aimed at all students seeking the basic understanding of the electromagnetic theory, and particularly at those on a premed track or focusing on any of the physical sciences. Students are required to have taken Physics I and must concurrently register for the Physics II Lab sectio< n. This course can be taken at either the algebra level or calculus level, which will be noted in the student evaluations. Readings and written work will be assigned for each class.
Fundamental forces of electricity and magnetism govern the, interactions of atoms and molecules, and consequently most of, macroscopic processes, from biological to astrophysical. Physics, II is an introductory course on electromagnetic theory and covers, topics such as electromagnetic induction, electric circuits, and, physical and geometric optics. The course will approach these, topics in the active-learning style, with problem-solving, sessions and mini-lectures. It is aimed at all students seeking, the basic understanding of the electromagnetic theory, and, particularly at those on a premed track or focusing on any of the, physical sciences. Students are required to have taken Physics I, and must concurrently register for the Physics II Lab section., This course can be taken at either the algebra level or calculus, level, which will be noted in the student evaluations. Readings, and written work will be assigned for each class., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time., , Books:, , Title:Fundamentals of Physics, Volume 2, 12th Edition (E-book), Author:David Halliday, Robert Resnick, Jearl Walker, ISBN: 978-1-119-80124-5, Cost:$39.00 Fundamental forces of electricity and magnetism govern the interactions of atoms and molecules, and consequently most of macroscopic processes, from biological to astrophysical. Physics II is an introductory course on electromagnetic theory and covers topics such as electromagnetic induction, electric circuits, and physical and geometric optics. The course will approach these topics in the active-learning style, with problem-solving sessions and mini-lectures. It is aimed at all students seeking the basic understanding of the electromagnetic theory, and particularly at those on a premed track or focusing on any of the physical sciences. Students are required to have taken Physics I and must concurrently register for the Physics II Lab section. This course can be taken at either the algebra level or calculus level, which will be noted in the student evaluations. Readings and written work will be assigned for each class. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time. Books: Title:Fundamentals of Physics, Volume 2, 12th Edition (E-book) Author:David Halliday, Robert Resnick, Jearl Walker ISBN: 978-1-119-80124-5 Cost:$39.00 Fundamental forces of electricity and magnetism govern the, interactions of atoms and molecules, and consequently most of, macroscopic processes, from biological to astrophysical. Physics, II is an introductory course on electromagnetic theory and covers, topics such as electromagnetic induction, electric circuits, and, physical and geometric optics. The course will approach these, topics in the active-learning style, with problem-solving, sessions and mini-lectures. It is aimed at all students seeking, the basic understanding of the electromagnetic theory, and, particularly at those on a premed track or focusing on any of the, physical sciences. Students are required to have taken Physics I, and must concurrently register for the Physics II Lab section., This course can be taken at either the algebra level or calculus, level, which will be noted in the student evaluations. Readings, and written work will be assigned for each class. Fundamental forces of electricity and magnetism govern the interactions of atoms and molecules, and consequently most of macroscopic processes, from biological to astrophysical. Physics II is an introductory course on electromagnetic theory and covers topics such as electromagnetic induction, electric circuits, and physical and geometric optics. The course will approach these topics in the active-learning style, with problem-solving sessions and mini-lectures. It is aimed at all students seeking the basic understanding of the electromagnetic theory, and particularly at those on a premed track or focusing on any of the physical sciences. Students are required to have taken Physics I and must concurrently register for the Physics II Lab section. This course can be taken at either the algebra level or calculus level, which will be noted in the student evaluations. Readings and written work will be assigned for each class. Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time., , Books:, , Title:Fundamentals of Physics, Volume 2, 12th Edition (E-book), Author:David Halliday, Robert Resnick, Jearl Walker, ISBN: 978-1-119-80124-5, Cost:$39.00 NS-0205L-1 Physics II Lab (half Course) MW 02:20PM-03:50PM 3-PHYCgThis is a Lab section for NS-205, Physics II and students must be concurrently enrolled in both.
This is a Lab section for NS-205, Physics II and students must be, concurrently enrolled in both, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This is a Lab section for NS-205, Physics II and students must be concurrently enrolled in both Students should expect to spend 6-8 hours weekly on work and preparation outside of class time` This is a Lab section for NS-205, Physics II and students must be, concurrently enrolled in both_ This is a Lab section for NS-205, Physics II and students must be concurrently enrolled in both MIX, DANCE, HALF NS-0223-1 Medical Anthropology Felicity Aulino M 04:00PM-07:00PMThis course is an introduction to the rich and growing field of medical anthropology: its theories, methods, and applications. Course materials will include full length ethnographies as well as a variety of shorter texts and visual work. Topics will include the culture of medicine, the experience of illness, immigration, embodiment, caregiving, addiction, violence, and humanitarian intervention. We will focus on how ethnographic research and social theory can enrich understanding of (and raise issues about) medicine and public health that are often left out of other disciplinary approaches. We will also consider attempts to improve individual and population health, and possibilities for wellbeing more generally. Throughout, we will emphasize two elements: 1) the vantage point of the local worlds in which people experience, narrate, and respond to illness and other forms of suffering; and 2) the ways in which large-scale forces contribute to such local experience. Keywords:care, health, medicine, public health, anthropology
This course is an introduction to the rich and growing field of, medical anthropology: its theories, methods, and applications., Course materials will include full length ethnographies as well, as a variety of shorter texts and visual work. Topics will, include the culture of medicine, the experience of illness,, immigration, embodiment, caregiving, addiction, violence, and, humanitarian intervention. We will focus on how ethnographic, research and social theory can enrich understanding of (and raise, issues about) medicine and public health that are often left out, of other disciplinary approaches. We will also consider attempts, to improve individual and population health, and possibilities, for wellbeing more generally. Throughout, we will emphasize two, elements: 1) the vantage point of the local worlds in which, people experience, narrate, and respond to illness and other, forms of suffering; and 2) the ways in which large-scale forces, contribute to such local experience., , Keywords:care, health, medicine, public health, anthropology, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class timeo This course is an introduction to the rich and growing field of medical anthropology: its theories, methods, and applications. Course materials will include full length ethnographies as well as a variety of shorter texts and visual work. Topics will include the culture of medicine, the experience of illness, immigration, embodiment, caregiving, addiction, violence, and humanitarian intervention. We < will focus on how ethnographic research and social theory can enrich understanding of (and raise issues about) medicine and public health that are often left out of other disciplinary approaches. We will also consider attempts to improve individual and population health, and possibilities for wellbeing more generally. Throughout, we will emphasize two elements: 1) the vantage point of the local worlds in which people experience, narrate, and respond to illness and other forms of suffering; and 2) the ways in which large-scale forces contribute to such local experience. Keywords:care, health, medicine, public health, anthropology Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course is an introduction to the rich and growing field of, medical anthropology: its theories, methods, and applications., Course materials will include full length ethnographies as well, as a variety of shorter texts and visual work. Topics will, include the culture of medicine, the experience of illness,, immigration, embodiment, caregiving, addiction, violence, and, humanitarian intervention. We will focus on how ethnographic, research and social theory can enrich understanding of (and raise, issues about) medicine and public health that are often left out, of other disciplinary approaches. We will also consider attempts, to improve individual and population health, and possibilities, for wellbeing more generally. Throughout, we will emphasize two, elements: 1) the vantage point of the local worlds in which, people experience, narrate, and respond to illness and other, forms of suffering; and 2) the ways in which large-scale forces, contribute to such local experience., , Keywords:care, health, medicine, public health, anthropology This course is an introduction to the rich and growing field of medical anthropology: its theories, methods, and applications. Course materials will include full length ethnographies as well as a variety of shorter texts and visual work. Topics will include the culture of medicine, the experience of illness, immigration, embodiment, caregiving, addiction, violence, and humanitarian intervention. We will focus on how ethnographic research and social theory can enrich understanding of (and raise issues about) medicine and public health that are often left out of other disciplinary approaches. We will also consider attempts to improve individual and population health, and possibilities for wellbeing more generally. Throughout, we will emphasize two elements: 1) the vantage point of the local worlds in which people experience, narrate, and respond to illness and other forms of suffering; and 2) the ways in which large-scale forces contribute to such local experience. Keywords:care, health, medicine, public health, anthropology faNS@hampshire.edu NS-0226-1 Gen. Chem. 1 LabThe laboratory section of General Chemistry. Laboratory work will include quantitative, qualitative, and instrumental analysis. An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry Keywords:Chemical reaction stoichiometry elements matter
F The laboratory section of General Chemistry. Laboratory work will, include quantitative, qualitative, and instrumental analysis. An, introduction to chemistry, including macroscopic properties of, matter, composition and stoichiometry, atomic and molecular, structure, bonding, and the behavior of gases. We will emphasize, the understanding and prediction of chemical behavior, as well as, the manifestation of chemistry in the world around us in, biological, environmental, and practical contexts. While there, are no prerequisites for the course, comfort with basic algebra, is strongly recommended. Chemistry 1 is the first term of a, two-semester course in general chemistry, , Keywords:Chemical reaction stoichiometry elements matter, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time7 The laboratory section of General Chemistry. Laboratory work will include quantitative, qualitative, and instrumental analysis. An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry Keywords:Chemical reaction stoichiometry elements matter Students should expect to spend 6-8 hours weekly on work and preparation outside of class time The laboratory section of General Chemistry. Laboratory work will, include quantitative, qualitative, and instrumental analysis. An, introduction to chemistry, including macroscopic properties of, matter, composition and stoichiometry, atomic and molecular, structure, bonding, and the behavior of gases. We will emphasize, the understanding and prediction of chemical behavior, as well as, the manifestation of chemistry in the world around us in, biological, environmental, and practical contexts. While there, are no prerequisites for the course, comfort with basic algebra, is strongly recommended. Chemistry 1 is the first term of a, two-semester course in general chemistry, , Keywords:Chemical reaction stoichiometry elements matter The laboratory section of General Chemistry. Laboratory work will include quantitative, qualitative, and instrumental analysis. An introduction to chemistry, including macroscopic properties of matter, composition and stoichiometry, atomic and molecular structure, bonding, and the behavior of gases. We will emphasize the understanding and prediction of chemical behavior, as well as the manifestation of chemistry in the world around us in biological, environmental, and practical contexts. While there are no prerequisites for the course, comfort with basic algebra is strongly recommended. Chemistry 1 is the first term of a two-semester course in general chemistry Keywords:Chemical reaction stoichiometry elements matter NS-0230-1 Confronting Question With DataMany hypotheses and questions are best addressed through the careful collection and analysis of data. This course will guide students in the development and execution of a data-driven, Division II supported project. Students will identify a relevant question that can be addressed through data analysis, they will identify sources of data, they will design an appropriate methodology, they will analyze their data, and they will write up and present their results. In the process, they will learn how to validate their methods, how to graphically and statistically present data and results, and how to effectively write up the results of a data-driven research project. They will also develop valuable assessment skills as they serve as reviewers for their peers. Course level will be determined by the analysis methods students wish to use ranging from descriptive statistics to machine learning and modeling.
Many hypotheses and questions are best addressed through the, careful collection and analysis of data. This course will guide, students in the development and execution of a data-driven,, Division II supported project. Students will identify a relevant, question that can be addressed through data analysis, they will, identify sources of data, they will design an appropriate, methodology, they will analyze their data, and they will write up, and present their results. In the process, the< y will learn how, to validate their methods, how to graphically and statistically, present data and results, and how to effectively write up the, results of a data-driven research project. They will also, develop valuable assessment skills as they serve as reviewers for, their peers. Course level will be determined by the analysis, methods students wish to use ranging from descriptive statistics, to machine learning and modeling., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time. Many hypotheses and questions are best addressed through the careful collection and analysis of data. This course will guide students in the development and execution of a data-driven, Division II supported project. Students will identify a relevant question that can be addressed through data analysis, they will identify sources of data, they will design an appropriate methodology, they will analyze their data, and they will write up and present their results. In the process, they will learn how to validate their methods, how to graphically and statistically present data and results, and how to effectively write up the results of a data-driven research project. They will also develop valuable assessment skills as they serve as reviewers for their peers. Course level will be determined by the analysis methods students wish to use ranging from descriptive statistics to machine learning and modeling. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time. Many hypotheses and questions are best addressed through the, careful collection and analysis of data. This course will guide, students in the development and execution of a data-driven,, Division II supported project. Students will identify a relevant, question that can be addressed through data analysis, they will, identify sources of data, they will design an appropriate, methodology, they will analyze their data, and they will write up, and present their results. In the process, they will learn how, to validate their methods, how to graphically and statistically, present data and results, and how to effectively write up the, results of a data-driven research project. They will also, develop valuable assessment skills as they serve as reviewers for, their peers. Course level will be determined by the analysis, methods students wish to use ranging from descriptive statistics, to machine learning and modeling. Many hypotheses and questions are best addressed through the careful collection and analysis of data. This course will guide students in the development and execution of a data-driven, Division II supported project. Students will identify a relevant question that can be addressed through data analysis, they will identify sources of data, they will design an appropriate methodology, they will analyze their data, and they will write up and present their results. In the process, they will learn how to validate their methods, how to graphically and statistically present data and results, and how to effectively write up the results of a data-driven research project. They will also develop valuable assessment skills as they serve as reviewers for their peers. Course level will be determined by the analysis methods students wish to use ranging from descriptive statistics to machine learning and modeling. NS-0236-1 Food Preservation Jenny VanWyk T 06:00PM-09:00PM THHwThis course is a group independent study on methods in food preservation. We will work collaboratively to learn methods of water bath canning of vegetables, lacto-fermentation, and dehydration. Topics concerning food safety will be emphasized. Instructor permission is required, please reach out to Prof VanWyk in advance. Keywords:Agriculture, Microbiology, Nutrition
This introductory laboratory-intensive course will explore the, process of doing scientific research in a molecular biology lab, (which is relevant to many fields of science including, neuroscience and other types of biomedical research). Students, will learn numerous techniques in the lab, including DNA, isolation, PCR, gel electrophoresis, restriction enzyme digests,, cloning, and basic microscopy. Students will engage in a, semester-long laboratory research project within a cancer biology, gene cloning context. Students will perform protocols, collect, and analyze data, and report their conclusions in written and, oral formats. This course is intended for students with little or, no experience in a biology lab, and it will help prepare students, for other laboratory courses such as Cell Biology. Students must, be able to come into the laboratory to complete work 10-12 hours, per week in the laboratory, including coming in outside of, designated class time., , Keywords:Laboratory research, genetic engineering, cloning,, neuroscience, cancer, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time.q This introductory laboratory-intensive course will explore the process of doing scientific research in a molecular biology lab (which is relevant to many fields of science including neuroscience and other types of biomedical research). Students will learn numerous techniques in the lab, including DNA isolation, PCR, gel electrophoresis, restriction enzyme digests, cloning, and basic microscopy. Students will engage in a semester-long laboratory research project within a cancer biology gene cloning context. Students will perform protocols, collect and analyze data, and report their conclusions in written and oral formats. This course is intended for students with little or no experience in a biology lab, and it will help prepare students for other laboratory courses such as Cell Biology. Students must be able to come into the laboratory to complete work 10-12 hours per week in the laboratory, including coming in outside of designated class time. Keywords:Laboratory research, genetic engineering, cloning, neuroscience, cancer Students should expect to spend 6-8 hours weekly on work and preparation outside of class time.z This course is a group independent study on methods in food, preservation. We will work collaboratively to learn methods of, water bath canning of vegetables, lacto-fermentation, and, dehydration. Topics concerning food safety will be emphasized. , Instructor permission is required, please reach out to Prof, VanWyk in advance. , , Keywords:Agriculture, Microbiology, Nutritions This course is a group independent study on methods in food preservation. We will work collaboratively to learn methods of water bath canning of vegetables, lacto-fermentation, and dehydration. Topics concerning food safety will be emphasized. Instructor permission is required, please reach out to Prof VanWyk in advance. Keywords:Agriculture, Microbiology, Nutrition jvwFAC@hampshire.edux Lab/Materials fee:$20, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time NS-0243-1 Calculus I Jeff BartonThis course introduces students to fundamental calculus concepts. The course prioritizes mathematical thinking, underlying concepts, and clear communication while de-emphasizing symbolic manipulation and rote exercises. We will apply the ideas of calculus such as derivatives, related rates, optimization, and integrals in a variety of contexts including epidemiology, ecology, and environmental sustainability. Students will use computers routinely to carry out calculations, experiment with parameter choices, and create informative graphs. Coding experience is not assumed, but some comfort with coding will be a plus. While there are no formal mathematical prerequisites, students should be comfortable with college level algebra. Keywords:Calculus, mathematics, modeling
This course introduces students to fundamental calculus concepts., The course prioritizes mathematical thinking, underlying, concepts, and clear communication while de-emphasizing symbolic, manipulation and rote exercises. We will apply the ideas of, calculus such as derivatives, related rates, optimization, and, integrals in a variety of co< ntexts including epidemiology,, ecology, and environmental sustainability. Students will use, computers routinely to carry out calculations, experiment with, parameter choices, and create informative graphs. Coding, experience is not assumed, but some comfort with coding will be a, plus. While there are no formal mathematical prerequisites,, students should be comfortable with college level algebra., , Keywords:Calculus, mathematics, modeling, , Lab/Materials fee:, , We will use an online homework system that costs $25.00 per, student., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time. This course introduces students to fundamental calculus concepts. The course prioritizes mathematical thinking, underlying concepts, and clear communication while de-emphasizing symbolic manipulation and rote exercises. We will apply the ideas of calculus such as derivatives, related rates, optimization, and integrals in a variety of contexts including epidemiology, ecology, and environmental sustainability. Students will use computers routinely to carry out calculations, experiment with parameter choices, and create informative graphs. Coding experience is not assumed, but some comfort with coding will be a plus. While there are no formal mathematical prerequisites, students should be comfortable with college level algebra. Keywords:Calculus, mathematics, modeling Lab/Materials fee: We will use an online homework system that costs $25.00 per student. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time. This course introduces students to fundamental calculus concepts., The course prioritizes mathematical thinking, underlying, concepts, and clear communication while de-emphasizing symbolic, manipulation and rote exercises. We will apply the ideas of, calculus such as derivatives, related rates, optimization, and, integrals in a variety of contexts including epidemiology,, ecology, and environmental sustainability. Students will use, computers routinely to carry out calculations, experiment with, parameter choices, and create informative graphs. Coding, experience is not assumed, but some comfort with coding will be a, plus. While there are no formal mathematical prerequisites,, students should be comfortable with college level algebra., , Keywords:Calculus, mathematics, modeling This course introduces students to fundamental calculus concepts. The course prioritizes mathematical thinking, underlying concepts, and clear communication while de-emphasizing symbolic manipulation and rote exercises. We will apply the ideas of calculus such as derivatives, related rates, optimization, and integrals in a variety of contexts including epidemiology, ecology, and environmental sustainability. Students will use computers routinely to carry out calculations, experiment with parameter choices, and create informative graphs. Coding experience is not assumed, but some comfort with coding will be a plus. While there are no formal mathematical prerequisites, students should be comfortable with college level algebra. Keywords:Calculus, mathematics, modeling jtbNS@hampshire.edu Lab/Materials fee:, , We will use an online homework system that costs $25.00 per, student., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time. NS-0257-1 Human Physiology Cynthia (CJ) Gill'With humans as our primary model system, we will cover cellular and general tissue physiology and the endocrine, nervous, muscular, cardiovascular, reproductive, respiratory, and renal organ systems. Primary emphasis is on functional processes in these systems. A focus will be on cellular and molecular mechanisms common across systems. Students will engage in class problems, lectures, and reading of textbook literature. Basic knowledge of and comfort with biology, chemistry and math is necessary. Keywords:biology, health, science, anatomy
With humans as our primary model system, we will cover cellular, and general tissue physiology and the endocrine, nervous,, muscular, cardiovascular, reproductive, respiratory, and renal, organ systems. Primary emphasis is on functional processes in, these systems. A focus will be on cellular and molecular, mechanisms common across systems. Students will engage in class, problems, lectures, and reading of textbook literature. Basic, knowledge of and comfort with biology, chemistry and math is, necessary., , Keywords:biology, health, science, anatomy, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time With humans as our primary model system, we will cover cellular and general tissue physiology and the endocrine, nervous, muscular, cardiovascular, reproductive, respiratory, and renal organ systems. Primary emphasis is on functional processes in these systems. A focus will be on cellular and molecular mechanisms common across systems. Students will engage in class problems, lectures, and reading of textbook literature. Basic knowledge of and comfort with biology, chemistry and math is necessary. Keywords:biology, health, science, anatomy Students should expect to spend 6-8 hours weekly on work and preparation outside of class time+ With humans as our primary model system, we will cover cellular, and general tissue physiology and the endocrine, nervous,, muscular, cardiovascular, reproductive, respiratory, and renal, organ systems. Primary emphasis is on functional processes in, these systems. A focus will be on cellular and molecular, mechanisms common across systems. Students will engage in class, problems, lectures, and reading of textbook literature. Basic, knowledge of and comfort with biology, chemistry and math is, necessary., , Keywords:biology, health, science, anatomy! With humans as our primary model system, we will cover cellular and general tissue physiology and the endocrine, nervous, muscular, cardiovascular, reproductive, respiratory, and renal organ systems. Primary emphasis is on functional processes in these systems. A focus will be on cellular and molecular mechanisms common across systems. Students will engage in class problems, lectures, and reading of textbook literature. Basic knowledge of and comfort with biology, chemistry and math is necessary. Keywords:biology, health, science, anatomy cjgNS@hampshire.edu NS-0276-1 Organic Chemistry I Rayane Moreira MWF 09:00AM-10:20AMThis course is an introduction to the structure, properties, reactivity, and spectroscopy of organic molecules, as well as their significance in our daily lives. We will first lay down the groundwork for the course, covering bonding, physical properties of organic compounds, conformational analysis, stereochemistry, and kinetics and thermodynamics of organic reactions. We will then move on to the reactions of alkanes, alkyl halides, alcohols and ethers, alkenes, and alkynes, emphasizing the molecular mechanisms that allow us to predict and understand chemical behavior. The central focus of the course will be the use of fundamental chemical principles to predict and understand molecular behavior; weekly problem sets and problem solving sessions will be used to foster both mechanistic and synthetic thinking. Additionally, student-led presentations will address the role organic molecules play in biology, industry, society, and the environment.
, This course is an introduction to the structure, properties,, reactivity, and spectroscopy of organic molecules, as well as, their significance in our daily lives. We will first lay down the, groundwork for the course, covering bonding, physical properties, of organic compounds, conformational analysis, stereochemistry,, and kinetics and thermodynamics of organic reactions. We will, then move on to the reactions of alkanes, alkyl halides, alcohols, and ethers, alkenes, and alkynes, emphasizing the molecular, mechanisms that allow us to predict and understand chemical, behavior. The central focus of the course will be the use of, fundamental chemical principles to predict and understand, molecular behavior; weekly problem sets and problem solving< , sessions will be used to foster both mechanistic and synthetic, thinking. Additionally, student-led presentations will address, the role organic molecules play in biology, industry, society,, and the environment., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time This course is an introduction to the structure, properties, reactivity, and spectroscopy of organic molecules, as well as their significance in our daily lives. We will first lay down the groundwork for the course, covering bonding, physical properties of organic compounds, conformational analysis, stereochemistry, and kinetics and thermodynamics of organic reactions. We will then move on to the reactions of alkanes, alkyl halides, alcohols and ethers, alkenes, and alkynes, emphasizing the molecular mechanisms that allow us to predict and understand chemical behavior. The central focus of the course will be the use of fundamental chemical principles to predict and understand molecular behavior; weekly problem sets and problem solving sessions will be used to foster both mechanistic and synthetic thinking. Additionally, student-led presentations will address the role organic molecules play in biology, industry, society, and the environment. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course is an introduction to the structure, properties,, reactivity, and spectroscopy of organic molecules, as well as, their significance in our daily lives. We will first lay down the, groundwork for the course, covering bonding, physical properties, of organic compounds, conformational analysis, stereochemistry,, and kinetics and thermodynamics of organic reactions. We will, then move on to the reactions of alkanes, alkyl halides, alcohols, and ethers, alkenes, and alkynes, emphasizing the molecular, mechanisms that allow us to predict and understand chemical, behavior. The central focus of the course will be the use of, fundamental chemical principles to predict and understand, molecular behavior; weekly problem sets and problem solving, sessions will be used to foster both mechanistic and synthetic, thinking. Additionally, student-led presentations will address, the role organic molecules play in biology, industry, society,, and the environment. This course is an introduction to the structure, properties, reactivity, and spectroscopy of organic molecules, as well as their significance in our daily lives. We will first lay down the groundwork for the course, covering bonding, physical properties of organic compounds, conformational analysis, stereochemistry, and kinetics and thermodynamics of organic reactions. We will then move on to the reactions of alkanes, alkyl halides, alcohols and ethers, alkenes, and alkynes, emphasizing the molecular mechanisms that allow us to predict and understand chemical behavior. The central focus of the course will be the use of fundamental chemical principles to predict and understand molecular behavior; weekly problem sets and problem solving sessions will be used to foster both mechanistic and synthetic thinking. Additionally, student-led presentations will address the role organic molecules play in biology, industry, society, and the environment. rfmNS@hampshire.edu NS-0277-1 Organic Chemistry I Lab TH 01:00PM-06:00PMThis course will provide an introduction to organic laboratory techniques and experimental design through a progression of structured, inquiry-based, and student-designed experiments. Emphasis will be placed on the synthesis, purification, and characterization of organic compounds, but we will also carry out an inquiry-based mechanistic study of organic reactivity. Students will gain experience with reaction setup, liquid-liquid extraction, distillation, recrystallization, column chromatography, GC/MS, NMR and infrared spectroscopy, and other common synthetic and analytical methods. In the last weeks of the semester, students work in small groups to design and execute a mini-project of their own.
/ This course will provide an introduction to organic laboratory, techniques and experimental design through a progression of, structured, inquiry-based, and student-designed experiments., Emphasis will be placed on the synthesis, purification, and, characterization of organic compounds, but we will also carry out, an inquiry-based mechanistic study of organic reactivity., Students will gain experience with reaction setup, liquid-liquid, extraction, distillation, recrystallization, column, chromatography, GC/MS, NMR and infrared spectroscopy, and other, common synthetic and analytical methods. In the last weeks of the, semester, students work in small groups to design and execute a, mini-project of their own., , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time! This course will provide an introduction to organic laboratory techniques and experimental design through a progression of structured, inquiry-based, and student-designed experiments. Emphasis will be placed on the synthesis, purification, and characterization of organic compounds, but we will also carry out an inquiry-based mechanistic study of organic reactivity. Students will gain experience with reaction setup, liquid-liquid extraction, distillation, recrystallization, column chromatography, GC/MS, NMR and infrared spectroscopy, and other common synthetic and analytical methods. In the last weeks of the semester, students work in small groups to design and execute a mini-project of their own. Students should expect to spend 6-8 hours weekly on work and preparation outside of class time This course will provide an introduction to organic laboratory, techniques and experimental design through a progression of, structured, inquiry-based, and student-designed experiments., Emphasis will be placed on the synthesis, purification, and, characterization of organic compounds, but we will also carry out, an inquiry-based mechanistic study of organic reactivity., Students will gain experience with reaction setup, liquid-liquid, extraction, distillation, recrystallization, column, chromatography, GC/MS, NMR and infrared spectroscopy, and other, common synthetic and analytical methods. In the last weeks of the, semester, students work in small groups to design and execute a, mini-project of their own. This course will provide an introduction to organic laboratory techniques and experimental design through a progression of structured, inquiry-based, and student-designed experiments. Emphasis will be placed on the synthesis, purification, and characterization of organic compounds, but we will also carry out an inquiry-based mechanistic study of organic reactivity. Students will gain experience with reaction setup, liquid-liquid extraction, distillation, recrystallization, column chromatography, GC/MS, NMR and infrared spectroscopy, and other common synthetic and analytical methods. In the last weeks of the semester, students work in small groups to design and execute a mini-project of their own. NS-0287-1 Bees6Bees originated approximately 120 million years ago, evolving alongside flowering plants and diversifying today into more than 20,000 species worldwide. This course uses bees (both managed and wild species) as a model to synthesize core concepts in biology. Through discussions on advanced topics in ecology and evolution, we will analyze the factors influencing bee population distributions, abundance, adaptations, and evolutionary relationships. By engaging deeply with a single taxonomic group, students will integrate knowledge across core biological disciplines-ecology, evolution, taxonomy, genetics, ecophysiology, behavior, conservation, disease, and agroecology. A central focus will be pollination ecology, including the politics, economics, and consequences of global pollinator declines, and the impacts of climate change on pollination networks. This upper-division course emphasizes scientific writing, peer review, experimental design, taxonomy, and student-led discussions of primary literature. Keywords:Entomology, Ecology, Biology, Taxono< my, Evolution
This laboratory course will involve a full-class, full-semester, research project aimed at the synthesis of catalysts allowing the, use of renewable materials as chemical building blocks. Students, will become proficient in synthetic organic laboratory techniques, including running and monitoring air- and moisture-sensitive, reactions. purifying compounds by extraction, distillation, and, column chromatography, and characterizing compounds using, physical, spectrometric and spectroscopic techniques, especially, NMR and GC/MS. In addition to laboratory techniques, emphasis, will be placed on use of primary literature, data interpretation,, and experimental design. , , Prerequisite: Organic Chemistry I with Lab. Corequisite: Organic, Chemistry II., , Keywords:Chemistry, organic, laboratory, research, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time.{ This laboratory course will involve a full-class, full-semester research project aimed at the synthesis of catalysts allowing the use of renewable materials as chemical building blocks. Students will become proficient in synthetic organic laboratory techniques including running and monitoring air- and moisture-sensitive reactions. purifying compounds by extraction, distillation, and column chromatography, and characterizing compounds using physical, spectrometric and spectroscopic techniques, especially NMR and GC/MS. In addition to laboratory techniques, emphasis will be placed on use of primary literature, data interpretation, and experimental design. Prerequisite: Organic Chemistry I with Lab. Corequisite: Organic Chemistry II. Keywords:Chemistry, organic, laboratory, research Students should expect to spend 6-8 hours weekly on work and preparation outside of class time.B Bees originated approximately 120 million years ago, evolving, alongside flowering plants and diversifying today into more than, 20,000 species worldwide. This course uses bees (both managed and, wild species) as a model to synthesize core concepts in biology., Through discussions on advanced topics in ecology and evolution,, we will analyze the factors influencing bee population, distributions, abundance, adaptations, and evolutionary, relationships. By engaging deeply with a single taxonomic group,, students will integrate knowledge across core biological, disciplines-ecology, evolution, taxonomy, genetics,, ecophysiology, behavior, conservation, disease, and agroecology., A central focus will be pollination ecology, including the, politics, economics, and consequences of global pollinator, declines, and the impacts of climate change on pollination, networks. This upper-division course emphasizes scientific, writing, peer review, experimental design, taxonomy, and, student-led discussions of primary literature., , Keywords:Entomology, Ecology, Biology, Taxonomy, Evolution0 Bees originated approximately 120 million years ago, evolving alongside flowering plants and diversifying today into more than 20,000 species worldwide. This course uses bees (both managed and wild species) as a model to synthesize core concepts in biology. Through discussions on advanced topics in ecology and evolution, we will analyze the factors influencing bee population distributions, abundance, adaptations, and evolutionary relationships. By engaging deeply with a single taxonomic group, students will integrate knowledge across core biological disciplines-ecology, evolution, taxonomy, genetics, ecophysiology, behavior, conservation, disease, and agroecology. A central focus will be pollination ecology, including the politics, economics, and consequences of global pollinator declines, and the impacts of climate change on pollination networks. This upper-division course emphasizes scientific writing, peer review, experimental design, taxonomy, and student-led discussions of primary literature. Keywords:Entomology, Ecology, Biology, Taxonomy, Evolutionx Lab/Materials fee:$30, , Students should expect to spend 6-8 hours weekly on work and, preparation outside of class time NS-0357-1 OPRA OPRA-0105-1 Beginning Yoga Sebastian Merrill T 10:30AM-11:50AM RCCLearn the foundations of yoga through the practice of yoga postures, breathing, techniques, yoga philosophy and meditation. Intended for students who are new to yoga or those looking for an introduction to yoga beyond the poses. Expect detail-oriented instruction, dynamic exploration of movement, and guided relaxation. Please bring your own yoga mat if possible. Yoga mats are for sale at the OPRA equipment room. Five Colleges students will be graded pass/fail.
Learn the foundations of yoga through the practice of yoga, postures, breathing, techniques, yoga philosophy and meditation., Intended for students who are new to yoga or those looking for an, introduction to yoga beyond the poses. Expect detail-oriented, instruction, dynamic exploration of movement, and guided, relaxation. Please bring your own yoga mat. Yoga mats are for, sale at the OPRA equipment room. Five Colleges students will be, graded pass/fail. Learn the foundations of yoga through the practice of yoga postures, breathing, techniques, yoga philosophy and meditation. Intended for students who are new to yoga or those looking for an introduction to yoga beyond the poses. Expect detail-oriented instruction, dynamic exploration of movement, and guided relaxation. Please bring your own yoga mat. Yoga mats are for sale at the OPRA equipment room. Five Colleges students will be graded pass/fail. smOP@hampshire.edu CCR, MIX OPRA-0131-1 Outdoor Adventure Sampler Eric Nazar F 09:00AM-01:00PM OBASKET|This course is an opportunity to experience many outdoor adventure activities while exploring natural areas in Western Massachusetts. Activities may include biking, hiking, paddling and more. This course is an opportunity to get out each week and learn new outdoor adventure skills. No experience with any of the outdoor activities is required to participate in this class.
z This course is an opportunity to experience many outdoor, adventure activities while exploring natural areas in Western, Massachusetts. Activities may include biking, hiking, paddling, and more. This course is an opportunity to get out each week and, learn new outdoor adventure skills. No experience with any of the, outdoor activities is required to participate in this class.u This course is an opportunity to experience many outdoor adventure activities while exploring natural areas in Western Massachusetts. Activities may include biking, hiking, paddling and more. This course is an opportunity to get out each week and learn new outdoor adventure skills. No experience with any of the outdoor activities is required to participate in this class. ennOP@hampshire.edu OPRA-0151-1 Outdoor Rock Climbing Michelle Lloyd-Dedischew F 12:30PM-05:00PMOutdoor rock climbing is designed to give students experience outdoors on natural rock faces with an emphasis on risk management, outdoor climbing technique, and outdoor-specific rope systems. Students will walk away from this course with the skills to be a confident "second" in outdoor climbing spaces. We will climb at local, outdoor locations. will spend time at the 91è rock wall and local rock climbing gyms with the goal of becoming more efficient climbers. Students do not need any experience climbing indoor or out but should be able to hike on uneven terrain for up to one mile carrying up to 25lbs. 5-College students will be graded pass/fail. The last day of this course is 11/21/25.
Outdoor rock climbing is designed to give students experience, outdoors on natural rock faces with an emphasis on risk, management, outdoor climbing technique, and outdoor-specific rope, systems. Students will walk away from this course with the skills, to be a confident "second" in outdoor climbing spaces. We will, climb at local, outdoor locations. will spend time at the, 91è rock wall and local rock climbing gyms with the goal of, becoming more efficient climbers. Students do not need any, experience climbing indoor or< out but should be able to hike on, uneven terrain for up to one mile carrying up to 25lbs. , 5-College students will be graded pass/fail. The last day of this, course is 11/21/25., , Outdoor rock climbing is designed to give students experience outdoors on natural rock faces with an emphasis on risk management, outdoor climbing technique, and outdoor-specific rope systems. Students will walk away from this course with the skills to be a confident "second" in outdoor climbing spaces. We will climb at local, outdoor locations. will spend time at the 91è rock wall and local rock climbing gyms with the goal of becoming more efficient climbers. Students do not need any experience climbing indoor or out but should be able to hike on uneven terrain for up to one mile carrying up to 25lbs. 5-College students will be graded pass/fail. The last day of this course is 11/21/25. Outdoor rock climbing is designed to give students experience, outdoors on natural rock faces with an emphasis on risk, management, outdoor climbing technique, and outdoor-specific rope, systems. Students will walk away from this course with the skills, to be a confident "second" in outdoor climbing spaces. We will, climb at local, outdoor locations. will spend time at the, 91è rock wall and local rock climbing gyms with the goal of, becoming more efficient climbers. Students do not need any, experience climbing indoor or out but should be able to hike on, uneven terrain for up to one mile carrying up to 25lbs. , 5-College students will be graded pass/fail. The last day of this, course is 11/21/25. mldOP@hampshire.edu OPRA-0175-1 Trail Maintenance& Restoration F 09:00AM-12:00PM FOYERuTrail Maintenance & Restoration: Participants in this course will inspect, assess and document trail conditions on publicly accessible lands near campus and in the 91è woods. We will work in conjunction with local land stewards to move toward living out land acknowledgements. Participants will clear trails of blowdown debris, maintain accessible trail widths, and address wet, damaged or eroded areas through trail relocations, dirtwork, stonework or woodwork. Participants will use saws, loppers and other hand tools. 5-College students will be graded pass/fail. The final day of this course will be 11/21/25.
Trail Maintenance & Restoration: Participants in this course will, inspect, assess and document trail conditions on publicly, accessible lands near campus and in the 91è woods. We will, work in conjunction with local land stewards to move toward, living out land acknowledgements. Participants will clear trails, of blowdown debris, maintain accessible trail widths, and address, wet, damaged or eroded areas through trail relocations, dirtwork,, stonework or woodwork. Participants will use saws, loppers and, other hand tools. 5-College students will be graded pass/fail., The final day of this course will be 11/21/25., , Lab/Materials fee:$50 Trail Maintenance & Restoration: Participants in this course will inspect, assess and document trail conditions on publicly accessible lands near campus and in the 91è woods. We will work in conjunction with local land stewards to move toward living out land acknowledgements. Participants will clear trails of blowdown debris, maintain accessible trail widths, and address wet, damaged or eroded areas through trail relocations, dirtwork, stonework or woodwork. Participants will use saws, loppers and other hand tools. 5-College students will be graded pass/fail. The final day of this course will be 11/21/25. Lab/Materials fee:$50t Trail Maintenance & Restoration: Participants in this course will, inspect, assess and document trail conditions on publicly, accessible lands near campus and in the 91è woods. We will, work in conjunction with local land stewards to move toward, living out land acknowledgements. Participants will clear trails, of blowdown debris, maintain accessible trail widths, and address, wet, damaged or eroded areas through trail relocations, dirtwork,, stonework or woodwork. Participants will use saws, loppers and, other hand tools. 5-College students will be graded pass/fail., The final day of this course will be 11/21/25.k Trail Maintenance & Restoration: Participants in this course will inspect, assess and document trail conditions on publicly accessible lands near campus and in the 91è woods. We will work in conjunction with local land stewards to move toward living out land acknowledgements. Participants will clear trails of blowdown debris, maintain accessible trail widths, and address wet, damaged or eroded areas through trail relocations, dirtwork, stonework or woodwork. Participants will use saws, loppers and other hand tools. 5-College students will be graded pass/fail. The final day of this course will be 11/21/25. Lab/Materials fee:$50 OPRA-0180-1 Weight Training MW 09:00AM-10:00AM MSC EXERC>Weight Training: Students in this course will practice and learn the basics of using weighted and unweighted exercise to train flexibility/mobility, strength, speed, endurance and coordination. Students will design and receive feedback on an individualized weight training program. Each class session will include cardio warmup, stretching, and weight lifting. Participants who have never been involved in a fitness program are especially welcome, along with experienced students of weight training methods. The instructor for the Fall this class will be John Snyder.
/ Students in this course will practice and learn the basics of, using weighted and unweighted exercise to train, flexibility/mobility, strength, speed, endurance and, coordination. Students will design and receive feedback on an, individualized weight training program. Each class session will, include cardio warmup, stretching, and weight lifting., Participants who have never been involved in a fitness program, are especially welcome, along with experienced students of weight, training method., , The course instructor for spring 2026 will be John Snyder.% Students in this course will practice and learn the basics of using weighted and unweighted exercise to train flexibility/mobility, strength, speed, endurance and coordination. Students will design and receive feedback on an individualized weight training program. Each class session will include cardio warmup, stretching, and weight lifting. Participants who have never been involved in a fitness program are especially welcome, along with experienced students of weight training method. The course instructor for spring 2026 will be John Snyder.@ Weight Training: Students in this course will practice and learn, the basics of using weighted and unweighted exercise to train, flexibility/mobility, strength, speed, endurance and, coordination. Students will design and receive feedback on an, individualized weight training program. Each class session will, include cardio warmup, stretching, and weight lifting., Participants who have never been involved in a fitness program, are especially welcome, along with experienced students of weight, training methods. The instructor for the Fall this class will be, John Snyder.7 Weight Training: Students in this course will practice and learn the basics of using weighted and unweighted exercise to train flexibility/mobility, strength, speed, endurance and coordination. Students will design and receive feedback on an individualized weight training program. Each class session will include cardio warmup, stretching, and weight lifting. Participants who have never been involved in a fitness program are especially welcome, along with experienced students of weight training methods. The instructor for the Fall this class will be John Snyder. OPRA-0185-1 Fundamentals of Tennis Jamie Morrell W 12:00PM-01:00PM CTS/TRKFundamentals of Tennis: This class covers basic tennis techniques. Our focus will be on developing smooth confident strokes. Students will also spend time learning the rules of the game and playing. 5-College students will be graded pass/fail
Fundamentals of Tennis: This class covers basic tennis, techni< \ ques. Our focus will be on developing smooth confident, strokes. Students will also spend time learning the rules of the, game and playing. 5-College students will be graded pass/fail. Fundamentals of Tennis: This class covers basic tennis techniques. Our focus will be on developing smooth confident strokes. Students will also spend time learning the rules of the game and playing. 5-College students will be graded pass/fail. Fundamentals of Tennis: This class covers basic tennis, techniques. Our focus will be on developing smooth confident, strokes. Students will also spend time learning the rules of the, game and playing., , 5-College students will be graded pass/fail Fundamentals of Tennis: This class covers basic tennis techniques. Our focus will be on developing smooth confident strokes. Students will also spend time learning the rules of the game and playing. 5-College students will be graded pass/fail jdmMS@hampshire.edu OPRA-ASST-1 Instructor Assistant& Michelle Lloyd-Dedischew, Jazzy Ilsley - mldOP@hampshire.edu; TRCOM, CCR, NOHUB OPRA-ASST-2' Michelle Lloyd-Dedischew, Lily Vizcaino OPRA-ASST-3& Michelle Lloyd-Dedischew, Mia Sullivan OPRA-ASST-4 Eric Nazar, Malena PricewMalena served in an exemplary way as instructor assistant for the Outdoor Adventure Sampler this fall, helping lead 6 fellow 91è students on adventures ranging from canoeing the Swift River to gravel biking Sand Hill Road to cross country skiing in the Berkshires.
This course was an opportunity to experience many outdoor adventure activities while exploring natural areas in Western Massachusetts. This course was an opportunity to get out each week and learn new outdoor adventure skills. No experience with any of the outdoor activities was required to participate in this class.
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