All Course information is indexed & searchable. Use the Search Box below for Keywords in the Title, Summary, Instructor or Course Name. Or click on the table headings to arrange columns alphabetically: ascending or descending. <\/p>\n
| Course Title<\/th>\n | Course Name<\/th>\n | Summary<\/th>\n | Instructor<\/th>\n | Term<\/th>\n<\/tr>\n<\/thead>\n |
|---|---|---|---|---|
| CMS 573 A: Aesthetics<\/a><\/td>\n | \u201cA Discourse of the Body\u201d: Aesthetics and Media Technology<\/td>\n | This seminar mixes canonical and foundational figures such as Walter Benjamin and Marshall McLuhan with emerging scholarship from Byung-Chul Han and Sianne Ngai.<\/td>\n | Sonnet H. Retman<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| ENGL 537 A<\/a><\/td>\n | Topics In American Studies<\/td>\n | This course takes a key area of concern in Black studies: What does it mean to be a human being? \u201cBlackness,\u201d as a modern social category, signifies the contradictory condition of being human while at the same time being the position of doubted humanity.<\/td>\n | Habiba Ibrahim<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| Drama 583<\/a><\/td>\n | Analysis of Dramatic Texts<\/td>\n | Foundations in Performance Studies<\/td>\n | Scott Magelssen<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Seminar in Color: Aesthetics, Technologies, Materialities and Philosophies<\/td>\n | In recent years, colour studies has emerged as a new interdisciplinary field in the humanities and social sciences \u00a0and has been taken up by a number of film and media scholars.<\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| African-American 498 – Special Topics in African American Studies<\/a><\/td>\n | Black Aesthetics<\/td>\n | Black Aesthetics<\/td>\n | Sonnet H. Retman<\/td>\n | Spring 2013<\/td>\n<\/tr>\n |
| ART H 509 A: Seminar In Special Topics In Art History<\/a><\/td>\n | Eastern Europe and Global Contemporary Art<\/td>\n | Eastern Europe and Global Contemporary Art<\/td>\n | Adair Rounthwaite<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| ART H 524 – Topics in Baroque and Eighteenth Century Western Art<\/a><\/td>\n | Rome in the Seventeenth Century<\/td>\n | Rome in the Seventeenth Century<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| ART H 525 Topics in Modern and Contemporary Art and Architecture<\/a><\/td>\n | Performance Art<\/td>\n | Performance Art<\/td>\n | <\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| ART H 525 Topics in Modern and Contemporary Art and Architecture<\/a><\/td>\n | Alternative Art since 1960<\/td>\n | Alternative Art since 1960<\/td>\n | Adair Rounthwaite<\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| Art History 525 – Topics in Modern and Contemporary Art and Architecture<\/a><\/td>\n | Alternative Art since 1960<\/td>\n | Alternative Art since 1960<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| Art History 525 B – Topics in Modern and Contemporary Art and Architecture<\/a><\/td>\n | Art Museums - Theory, History, Practice<\/td>\n | Art Museums - Theory, History, Practice<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| Art History 581 – Seminar in Modern Art<\/a><\/td>\n | Pre-Raphaelite Stunners and Victorian Feminity<\/td>\n | Pre-Raphaelite Stunners and Victorian Feminity<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| ASIAN 590A, FREN 590C, RUSS 600A<\/a><\/td>\n | Translation Across the Disciplines<\/td>\n | Translation Across the Disciplines<\/td>\n | Cynthia Steele<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| BCULST 584 – Topics in Media Culture (at UW Bothell)<\/a><\/td>\n | Asian American Media in the Pacific Northwest: Histories and Change<\/td>\n | Asian American Media in the Pacific Northwest: Histories and Change<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| BCULST 584 Topics in Media Culture<\/a><\/td>\n | Cultural Politics of Popular Music<\/td>\n | Cultural Politics of Popular Music<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| BCULST 587 Topics in Cultural and Arts Practice<\/a><\/td>\n | Performance and Belonging: Citizenship, Culture and Identity<\/td>\n | Performance and Belonging: Citizenship, Culture and Identity<\/td>\n | <\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| BCULST 587 Topics in Cultural and Arts Practice<\/a><\/td>\n | Performing Community<\/td>\n | Performing Community<\/td>\n | <\/td>\n | Spring 2019<\/td>\n<\/tr>\n |
| BCULST 589A – Topics in Global Cultural Studies (UW Bothell)<\/a><\/td>\n | Culture and Resistance in the Americas<\/td>\n | Culture and Resistance in the Americas<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| BCULTS 589 Topics in Global Cultural Studies<\/a><\/td>\n | Culture and Resistance in the Americas<\/td>\n | Culture and Resistance in the Americas<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Bothell Creative Writing 512 – Poetics Seminar: Art, Technology, and Practice<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Bothell Cultural Studies 589 – Topics in Global Cultural Studies<\/a><\/td>\n | Culture and Resistance in the Americas<\/td>\n | Culture and Resistance in the Americas<\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| C LIT 496: Special Studies<\/a><\/td>\n | Literature and Film of the US-Mexican Border<\/td>\n | Literature and Film of the US-Mexican Border<\/td>\n | Cynthia Steele<\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| C LIT 497: Special Topics in Cinema Studies<\/a><\/td>\n | Disability in Russian Cinema<\/td>\n | Disability in Russian Cinema<\/td>\n | Jos\u00e9 Alaniz<\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| C LIT 507: History Of Literary Criticism And Theory I<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| C LIT 510 A: History Of Literary Criticism And Theory IV<\/a><\/td>\n | History of Literary Criticism<\/td>\n | History of Literary Criticism<\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| C LIT 510 A: History Of Literary Criticism And Theory IV<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| C LIT 510: History of Lit Crit<\/a><\/td>\n | Scandinavian Film<\/td>\n | Scandinavian Film<\/td>\n | <\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| C LIT 520 A: Methods And Issues In Cinema And Media Studies<\/a><\/td>\n | Theory, history and criticism of cinema and media studies<\/td>\n | Theory, history and criticism of cinema and media studies<\/td>\n | Jennifer M Bean<\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| C LIT 520: Methods And Issues In Cinema And Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | Jennifer M Bean<\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| C LIT 535: Cultural Criticism And Ideology Critique II<\/a><\/td>\n | Postcolonial Literature and Theory<\/td>\n | Postcolonial Literature and Theory<\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| C LIT 548 A: Studies In Nineteenth-Century Literature<\/a><\/td>\n | Romantic Aesthetics: The Beautiful, the Picturesque and the Sublime<\/td>\n | Romantic Aesthetics: The Beautiful, the Picturesque and the Sublime<\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| C LIT 551 A: Textual Theory<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| C LIT 551 A: Textual Theory<\/a><\/td>\n | Textual Studies and Digital Editing<\/td>\n | Textual Studies and Digital Editing<\/td>\n | Geoffrey Turnovsky<\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| C LIT 554 A: Digital Literary and Textual Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2019<\/td>\n<\/tr>\n |
| C LIT 554, Digital Literary And Textual Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| C LIT 596 A: Special Studies In Comparative Literature<\/a><\/td>\n | Narrating Nature<\/td>\n | Narrating Nature<\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| C LIT 596: Special Studies<\/a><\/td>\n | Film: Speed\/Simulation\/Implosion<\/td>\n | Film: Speed\/Simulation\/Implosion<\/td>\n | Jennifer M Bean<\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| C LIT 596: Special Studies<\/a><\/td>\n | Film: Hollywood and American Popular Culture<\/td>\n | Film: Hollywood and American Popular Culture<\/td>\n | <\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| C LIT 597 Special Topics in Cinema and Media Studies<\/a><\/td>\n | Comparative Film Studies<\/td>\n | Comparative Film Studies<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| CMS 497 Special Topics in Cinema and Media Studies<\/a><\/td>\n | Queer Theory<\/td>\n | Queer Theory<\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| CMS 520 A: Methods and Issues in Cinema and Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | James Tweedie<\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| CMS 520 A: Methods And Issues In Cinema And Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | Jennifer M Bean<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| CMS 520 A: Methods and Issues in Cinema and Media Studies<\/a><\/td>\n | <\/td>\n | Introduces central issues in film studies<\/td>\n | Yomi Braester<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| CMS 573 A: Aesthetics<\/a><\/td>\n | <\/td>\n | <\/td>\n | James Tweedie<\/td>\n | Spring 2020<\/td>\n<\/tr>\n |
| CMS 573 A: Aesthetics<\/a><\/td>\n | \u201cA Discourse of the Body\u201d: Aesthetics and Media Technology<\/td>\n | \u201cA Discourse of the Body\u201d: Aesthetics and Media Technology<\/td>\n | Yomi Braester<\/td>\n | Autumn 2020<\/td>\n<\/tr>\n |
| CMS 573 A: Aesthetics<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Construction of the Spanish nation in the context of cinematic production<\/td>\n | Construction of the Spanish nation in the context of cinematic production<\/td>\n | Eric Ames<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Public Spheres, Public Media<\/td>\n | Public Spheres, Public Media<\/td>\n | <\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Documentary<\/td>\n | Documentary<\/td>\n | Yomi Braester<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics in Cinema and Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2019<\/td>\n<\/tr>\n |
| CMS 597 A: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Seminar in Color: Aesthetics, Technologies, Materialities and Philosophies<\/td>\n | Seminar in Color: Aesthetics, Technologies, Materialities and Philosophies<\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| CMS 597 B: Special Topics In Cinema And Media Studies<\/a><\/td>\n | Film and the Photographic Imaginary<\/td>\n | Film and the Photographic Imaginary<\/td>\n | James Tweedie<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| CMS 597 B: Special Topics In Cinema And Media Studies<\/a><\/td>\n | American Cinema, Historiography, and Popular Culture, 1895-1940<\/td>\n | American Cinema, Historiography, and Popular Culture, 1895-1940<\/td>\n | Jennifer M Bean<\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| CMS 597 B: Special Topics in Cinema and Media Studies<\/a><\/td>\n | Media Archaeology<\/td>\n | Media Archaeology<\/td>\n | Sudhir Mahadevan<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| CMS 597 B: Special Topics In Cinema And Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | Sudhir Mahadevan<\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| COM 580 Nonverbal Communication<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Comp Lit 497<\/a><\/td>\n | Documentary and the Avant-Garde<\/td>\n | Documentary and the Avant-Garde<\/td>\n | Eric Ames<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| Comp Lit 502A w\/ ENGL 535 – The Theory Of Literature III: Special Topics<\/a><\/td>\n | Theory, Literature, and the Shape of Careers<\/td>\n | Theory, Literature, and the Shape of Careers<\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Comp Lit 520 – Methods and Issues in Cinema and Media Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| Comp Lit 551: Textual Theory<\/a><\/td>\n | Seminar in Textual Theory and the Arts<\/td>\n | Seminar in Textual Theory and the Arts<\/td>\n | Raimonda Modiano<\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| Comp Lit 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Publication Workshop<\/td>\n | Publication Workshop<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Comp Lit 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Re-Valuing Nature: Environmental Humanities in the 21st Century (C.E.)<\/td>\n | Re-Valuing Nature: Environmental Humanities in the 21st Century (C.E.)<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Comp Lit 596: Special Studies in Comparative Literature<\/a><\/td>\n | Film and Opera<\/td>\n | Film and Opera<\/td>\n | Eric Ames<\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Comparative Literature 520: Methods and Issues in Cinema Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Comparative Literature 574 – Scandinavian Auteurs<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Cinephilia: Cinematic Experience in Historical Context<\/td>\n | Cinephilia: Cinematic Experience in Historical Context<\/td>\n | <\/td>\n | Winter 2012<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Hispanic Women Writers and Directors<\/td>\n | Hispanic Women Writers and Directors<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Contemporary Film Theory<\/td>\n | Contemporary Film Theory<\/td>\n | Eric Ames<\/td>\n | Spring 2013<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | German Documentary in a Global Context<\/td>\n | German Documentary in a Global Context<\/td>\n | <\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Kant and Criticism<\/td>\n | Kant and Criticism<\/td>\n | <\/td>\n | Spring 2012<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | The Histories of Cinema in the Age of New Media<\/td>\n | The Histories of Cinema in the Age of New Media<\/td>\n | <\/td>\n | Autumn 2012<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Histories of Cinema in the Age of New Media<\/td>\n | Histories of Cinema in the Age of New Media<\/td>\n | <\/td>\n | Spring 2011<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Cinema and the Late 20th Century<\/td>\n | Cinema and the Late 20th Century<\/td>\n | <\/td>\n | Winter 2011<\/td>\n<\/tr>\n |
| Comparative Literature 596 – Special Studies in Comparative Literature<\/a><\/td>\n | Readings in Film and Media Studies<\/td>\n | Readings in Film and Media Studies<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Dance 420 – Dance Aesthetics<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Dance 490C – Special Studies in Dance<\/a><\/td>\n | Performance Studies<\/td>\n | Performance Studies<\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Dance 514 – Dance Research Symposium<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| Dance 515 – Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2012<\/td>\n<\/tr>\n |
| Dance 515 – Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Dance 515 – Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| DANCE 515 Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| Dance 515, Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| DANCE 515: Dance Research Methods<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| DANCE 520 A: Dance In Higher Education<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| DANCE 520 Dance in Higher Education<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| DANCE 520 Dance in Higher Education<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| Dance 530<\/a><\/td>\n | Graduate Dance Composition<\/td>\n | Graduate Dance Composition<\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Dance 530 Graduate Composition<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| Dance 536: Integrated Dance: History, Methodology, and Praxis<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Dance 544 – Topics in Dance History<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| DANCE 545 A: Contemporary Dance History<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| Dance 550 Dance Performance Ethnography<\/a><\/td>\n | <\/td>\n | <\/td>\n | Juliet McMains<\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| Drama 571 – Problems in Theatre History Research<\/a><\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Odai Johnson<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| Drama 571 – Problems in Theatre History Research<\/a><\/td>\n | Hoc Est Corpus Meum\/This is My Body: Performance and Embodiment in the Early Middle Ages<\/td>\n | Hoc Est Corpus Meum\/This is My Body: Performance and Embodiment in the Early Middle Ages<\/td>\n | Scott Magelssen<\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| DRAMA 571 A: Problems In Theatre History Research<\/a><\/td>\n | The Baroque<\/td>\n | The Baroque<\/td>\n | Odai Johnson<\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| DRAMA 571 Problems in Theatre History Research<\/a><\/td>\n | Nineteenth-Century Theatre and Popular Entertainment<\/td>\n | Nineteenth-Century Theatre and Popular Entertainment<\/td>\n | Scott Magelssen<\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| Drama 572 – Problems in Theatre History Research<\/a><\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Odai Johnson<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| Drama 572 – Problems in Theatre History Research<\/a><\/td>\n | The Baroque<\/td>\n | The Baroque<\/td>\n | <\/td>\n | Winter 2012<\/td>\n<\/tr>\n |
| Drama 572 – Problems in Theatre History Research<\/a><\/td>\n | The Baroque<\/td>\n | The Baroque<\/td>\n | Odai Johnson<\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| Drama 572 – Problems in Theatre History Research<\/a><\/td>\n | Reading the Long Eighteenth Century<\/td>\n | Reading the Long Eighteenth Century<\/td>\n | Odai Johnson<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| DRAMA 572 Problems in Theatre History Research<\/a><\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Odai Johnson<\/td>\n | Winter 2020<\/td>\n<\/tr>\n |
| Drama 572 Problems in Theatre History Research<\/a><\/td>\n | Spectacles of Power, the Baroque and State Performance of Power<\/td>\n | This inter-disciplinary course invites treatments of the period through a host of multiple art forms, as, indeed, was practiced in the period itself.<\/td>\n | Odai Johnson<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| Drama 573 – Problems in Theatre History Research<\/a><\/td>\n | Nineteenth-Century Theatre and Popular Entertainment<\/td>\n | Nineteenth-Century Theatre and Popular Entertainment<\/td>\n | Scott Magelssen<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| Drama 573 – Problems in Theatre History Research<\/a><\/td>\n | Conversations with Antiquity<\/td>\n | Conversations with Antiquity<\/td>\n | Odai Johnson<\/td>\n | Spring 2020<\/td>\n<\/tr>\n |
| DRAMA 573 Problems in Theatre History Research<\/a><\/td>\n | Religion, Performance and Anti-theatricality<\/td>\n | Religion, Performance and Anti-theatricality<\/td>\n | Scott Magelssen<\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| Drama 573: Problems in Theatre History Research<\/a><\/td>\n | Documentary Theatre<\/td>\n | Documentary Theatre<\/td>\n | Scott Magelssen<\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Drama 575 – Problems in Theatre History Research<\/a><\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Odai Johnson<\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Drama 575 – Seminar in Theatre History<\/a><\/td>\n | American Popular Entertainment and Culture: 1830s to the 1930s<\/td>\n | American Popular Entertainment and Culture: 1830s to the 1930s<\/td>\n | <\/td>\n | Autumn 2012<\/td>\n<\/tr>\n |
| Drama 575 – Seminar in Theatre History<\/a><\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Ruins: Classical Theatre and the Archeology of Memory<\/td>\n | Odai Johnson<\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| DRAMA 575 Seminar in Theatre History<\/a><\/td>\n | A New American Theatre: 1880s-1980s<\/td>\n | A New American Theatre: 1880s-1980s<\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| DRAMA 575 Seminar in Theatre History<\/a><\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Historiography - \"History, Memory, Narrative, and other disorders\"<\/td>\n | Odai Johnson<\/td>\n | Autumn 2020<\/td>\n<\/tr>\n |
| Drama 576 – Seminar in Theatre History<\/a><\/td>\n | Reading the Long 18th Century<\/td>\n | Reading the Long 18th Century<\/td>\n | Odai Johnson<\/td>\n | Autumn 2012<\/td>\n<\/tr>\n |
| Drama 576 – Seminar in Theatre History<\/a><\/td>\n | The Baroque<\/td>\n | The Baroque<\/td>\n | Odai Johnson<\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| Drama 576 Seminar in Theatre History<\/a><\/td>\n | Theatre of the Transnational English Renaissance<\/td>\n | Theatre of the Transnational English Renaissance<\/td>\n | Odai Johnson<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| Drama 576: Seminar in Theatre History<\/a><\/td>\n | Conversations with Antiquity<\/td>\n | Conversations with Antiquity<\/td>\n | Odai Johnson<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| Drama 577 – Seminar in Theatre History<\/a><\/td>\n | The Fervent Yeares: the making of Elizabethan theatre<\/td>\n | The Fervent Yeares: the making of Elizabethan theatre<\/td>\n | Odai Johnson<\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| Drama 577 – Seminar in Theatre History<\/a><\/td>\n | Dark Tourism<\/td>\n | Dark Tourism<\/td>\n | Scott Magelssen<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Drama 577 – Theatre History Seminar<\/a><\/td>\n | Founding Visions of the American Theatre<\/td>\n | Founding Visions of the American Theatre<\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| DRAMA 577 Seminar in Theatre History<\/a><\/td>\n | The Long Eighteenth Century<\/td>\n | The Long Eighteenth Century<\/td>\n | Odai Johnson<\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| Drama 581 – Analysis of Dramatic Texts<\/a><\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| Drama 581 – Analysis of Dramatic Texts<\/a><\/td>\n | Alternative and In Yer Face: Continuity and Rupture in Contemporary British Theatre<\/td>\n | Alternative and In Yer Face: Continuity and Rupture in Contemporary British Theatre<\/td>\n | <\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| Drama 581, Analysis of Dramatic Texts<\/a><\/td>\n | Advanced Critical Theory<\/td>\n | Advanced Critical Theory<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| Drama 582<\/a><\/td>\n | Early African American Performance<\/td>\n | Early African American Performance<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| Drama 582<\/a><\/td>\n | African American Performance<\/td>\n | African American Performance<\/td>\n | Stefka Mihaylova<\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| Drama 582 – Analysis of Dramatic Texts<\/a><\/td>\n | The Body in Performance<\/td>\n | The Body in Performance<\/td>\n | Stefka Mihaylova<\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Drama 582 – Analysis of Dramatic Texts<\/a><\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| Drama 582 – Drama Text Analysis<\/a><\/td>\n | Advanced Critical Theory<\/td>\n | Advanced Critical Theory<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2020<\/td>\n<\/tr>\n |
| Drama 583 – Analysis of Dramatic Texts<\/a><\/td>\n | The Historical Avant-Garde<\/td>\n | The Historical Avant-Garde<\/td>\n | Stefka Mihaylova<\/td>\n | Spring 2012<\/td>\n<\/tr>\n |
| Drama 583 – Drama Text Analysis<\/a><\/td>\n | The New Avant-Gardes<\/td>\n | The New Avant-Gardes<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Drama 583 – Drama Text Analysis<\/a><\/td>\n | The New Avant Gardes<\/td>\n | The New Avant Gardes<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| Drama 583 Analysis of Dramatic Texts<\/a><\/td>\n | Foundations in Performance Studies<\/td>\n | Foundations in Performance Studies<\/td>\n | Scott Magelssen<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| Drama 585 – Seminar in Dramatic Theory<\/a><\/td>\n | Emerging Discourses in Theatre\/Performance Studies II<\/td>\n | Emerging Discourses in Theatre\/Performance Studies II<\/td>\n | Scott Magelssen<\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| Drama 585 Seminar in Dramatic Theory<\/a><\/td>\n | The Historical Avant Garde<\/td>\n | The Historical Avant Garde<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| DRAMA 585 Seminar in Dramatic Theory<\/a><\/td>\n | African American Performance<\/td>\n | African American Performance<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2020<\/td>\n<\/tr>\n |
| Drama 585: Seminar in Dramatic Theory<\/a><\/td>\n | Foundations in Performance Studies<\/td>\n | Foundations in Performance Studies<\/td>\n | Scott Magelssen<\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Drama 586 – Seminar in Dramatic Theory<\/a><\/td>\n | Performing Race<\/td>\n | This course examines some of the major twentieth-century critical debates about racial representation.<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| Drama 586 – Seminar in Dramatic Theory<\/a><\/td>\n | The Historical Avant-Garde<\/td>\n | The Historical Avant-Garde<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| DRAMA 586 Seminar in Dramatic Theory<\/a><\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Modern Theatre and Modern Technology<\/td>\n | Stefka Mihaylova<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| Drama 586 Seminar in Dramatic Theory<\/a><\/td>\n | African Theater and Performance<\/td>\n | African Theater and Performance<\/td>\n | Catherine Cole<\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| Drama 587 – Seminar in Dramatic Theory<\/a><\/td>\n | Memory, Theatre and Performance<\/td>\n | Memory, Theatre and Performance<\/td>\n | Scott Magelssen, Catherine Cole<\/td>\n | Spring 2013<\/td>\n<\/tr>\n |
| Drama 587 – Seminar in Dramatic Theory<\/a><\/td>\n | Emerging Discourses in Theatre and Performance Studies<\/td>\n | Emerging Discourses in Theatre and Performance Studies<\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| Drama 587 – Seminar in Dramatic Theory<\/a><\/td>\n | Performance in and from the Global South<\/td>\n | Performance in and from the Global South<\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Drama 587 Seminar in Dramatic Theatre<\/a><\/td>\n | Foundations in Performance Studies<\/td>\n | Foundations in Performance Studies<\/td>\n | Scott Magelssen<\/td>\n | Spring 2019<\/td>\n<\/tr>\n |
| DXArts 598 – Advanced Topics in Digital Arts and Experimental Media<\/a><\/td>\n | Truth and Honesty in Art<\/td>\n | Truth and Honesty in Art<\/td>\n | <\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| ENGL 503 A<\/a><\/td>\n | Studies In Print Culture And Publication<\/td>\n | Studies In Print Culture And Publication<\/td>\n | William R. Streitberger<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| ENGL 506 A: Modern And Contemporary Critical Theory<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| ENGL 506 A: Modern and Contemporary Critical Theory<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| ENGL 518 A: Shakespeare<\/a><\/td>\n | Editing Shakespeare<\/td>\n | Editing Shakespeare<\/td>\n | William R. Streitberger<\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| ENGL 532 A: Nineteenth-Century American Literature<\/a><\/td>\n | Transgression in Nineteenth-Century American Literature and Culture: The Importance of the Inappropriate<\/td>\n | Transgression in Nineteenth-Century American Literature and Culture: The Importance of the Inappropriate<\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| ENGL 537 A: Topics In American Studies<\/a><\/td>\n | Methods in Critical Race, Feminist, and Queer Cultural Studies<\/td>\n | Methods in Critical Race, Feminist, and Queer Cultural Studies<\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| ENGL 537 A: Topics In American Studies<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| ENGL 540 A: Modern Literature<\/a><\/td>\n | Fashion and Modernism<\/td>\n | Fashion and Modernism<\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| ENGL 540 A: Modern Literature<\/a><\/td>\n | British and American Modernism<\/td>\n | British and American Modernism<\/td>\n | <\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| ENGL 541 A: Contemporary Literature<\/a><\/td>\n | Historiography and Temporality in Black Literary Studies<\/td>\n | Historiography and Temporality in Black Literary Studies<\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| ENGL 544 A: World Literature In English<\/a><\/td>\n | Neobaroque Designs in 20th-century World Literature<\/td>\n | Neobaroque Designs in 20th-century World Literature<\/td>\n | <\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| ENGL 546 A: Topics in Twentieth-Century Literature<\/a><\/td>\n | Fashion and Modernism<\/td>\n | Fashion and Modernism<\/td>\n | <\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| ENGL 556 A: Cultural Studies<\/a><\/td>\n | Cultural Studies: Methods and Popular Objects<\/td>\n | Cultural Studies: Methods and Popular Objects<\/td>\n | <\/td>\n | Autumn 2019<\/td>\n<\/tr>\n |
| ENGL 556 A: Cultural Studies<\/a><\/td>\n | Black Radicalism, Anti-Colonialism, Marxism, and Communism: literary and critical studies<\/td>\n | Black Radicalism, Anti-Colonialism, Marxism, and Communism: literary and critical studies<\/td>\n | <\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| ENGL 556 B: Cultural Studies<\/a><\/td>\n | Race, Sex, Science: A Course in Queer and Trans Critique<\/td>\n | Race, Sex, Science: A Course in Queer and Trans Critique<\/td>\n | <\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| ENGL 556 Cultural Studies<\/a><\/td>\n | American Studies after Late Modernity: Contemporary Directions<\/td>\n | American Studies after Late Modernity: Contemporary Directions<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| ENGL 559 A: Literature And Other Disciplines<\/a><\/td>\n | What is Literary History?<\/td>\n | What is Literary History?<\/td>\n | Jeffrey Knight<\/td>\n | Spring 2020<\/td>\n<\/tr>\n |
| English 506 – Modern and Contemporary Critical Theory<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| English 546 A – Topics in 20th Century Literature<\/a><\/td>\n | Civilization and Its Discontents: Modernism and Cultural Crisis<\/td>\n | Civilization and Its Discontents: Modernism and Cultural Crisis<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| English 546 B – Topics in 20th Century Literature<\/a><\/td>\n | Into the Wild: Contemporary Representations of Wilderness<\/td>\n | Into the Wild: Contemporary Representations of Wilderness<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| English 546: Topics in Twentieth-Century Literature<\/a><\/td>\n | \u201cWhen the Page Floats Transformed\u201d: Literary Fiction\/Feature Film<\/td>\n | \u201cWhen the Page Floats Transformed\u201d: Literary Fiction\/Feature Film<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| English 554: Theories of Structure, Genre, Form, and Function<\/a><\/td>\n | Close Reading and Its Discontents<\/td>\n | Close Reading and Its Discontents<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| English 555 – Feminist Theories<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| English 593 – Textual Criticism<\/a><\/td>\n | Textual Theory<\/td>\n | Textual Theory<\/td>\n | Jeffrey Knight<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| English 593 – Textual Criticism<\/a><\/td>\n | Textual Studies: Printed Text<\/td>\n | Textual Studies: Printed Text<\/td>\n | William R. Streitberger<\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| ETHICS 512: Justice Matters<\/a><\/td>\n | <\/td>\n | This course asks what makes social policies and institutions ethically acceptable, primarily through a discussion about justice and injustice.<\/td>\n | <\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| Feminist Performance Ethnography: Performing Art As and At the Site of Feminist Liberational Praxis<\/a><\/td>\n | Performing Art As and At the Site of Feminist Liberational Praxis<\/td>\n | The course will explore the relationship between ideas and practices of feminism, performance and ethnography through readings, writing, movement, artistic expression, watching performances and performance<\/td>\n | <\/td>\n | Autumn 2020<\/td>\n<\/tr>\n |
| French 590 – Qualitative Research Methods (taught in English)<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| French 590 Special Seminar and Conference<\/a><\/td>\n | Translation and Its Publics<\/td>\n | Translation and Its Publics<\/td>\n | <\/td>\n | Spring 2019<\/td>\n<\/tr>\n |
| Gender, Women and Sexuality Studies 451 – Latina Cultural Production<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Gender, Women, and Sexuality Studies 542: Gender, Music, Nation<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| German 421 – Studies In Eighteenth-Century Literature And Culture<\/a><\/td>\n | Dramatic Turns: 18th Century German Theatre<\/td>\n | Dramatic Turns: 18th Century German Theatre<\/td>\n | Ellwood Wiggins<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| German 421: Studies in Eighteenth Century Literature and Culture<\/a><\/td>\n | Dramatic Turns: 18th Century German Theatre<\/td>\n | Dramatic Turns: 18th Century German Theatre<\/td>\n | Ellwood Wiggins<\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| GERMAN 500 A: Literary Theory, Methodology, and Bibliography<\/a><\/td>\n | <\/td>\n | Historical survey and analysis of criticism (Methodengeschichte) and modern trends in contemporary theory.<\/td>\n | Jason Groves<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| German 575 – Teaching of German Literature and Civilization<\/a><\/td>\n | Sympathy for the Devil: The Rhetoric of Compassion<\/td>\n | Sympathy for the Devil: The Rhetoric of Compassion<\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| German 580 – Seminar in German Literature<\/a><\/td>\n | The Germans and the Greeks<\/td>\n | The Germans and the Greeks<\/td>\n | <\/td>\n | Winter 2013<\/td>\n<\/tr>\n |
| GERMAN 580 A: Seminar In German Literature<\/a><\/td>\n | The Ends of Tragedy or the Origins of the Mourning Play<\/td>\n | The Ends of Tragedy or the Origins of the Mourning Play<\/td>\n | <\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| German 580 A: Seminar in German Literature<\/a><\/td>\n | The Wound: Violence, Trauma, Cure<\/td>\n | The Wound: Violence, Trauma, Cure<\/td>\n | <\/td>\n | Winter 2020<\/td>\n<\/tr>\n |
| German 582, C Lit 596 – Seminar in Drama<\/a><\/td>\n | Intertextuality in Shakespeare, Lenz, and B\u00fcchner<\/td>\n | Intertextuality in Shakespeare, Lenz, and B\u00fcchner<\/td>\n | Ellwood Wiggins<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| German 582: Seminar in Drama<\/a><\/td>\n | Performing Recognition: Anagnorisis and Action<\/td>\n | Performing Recognition: Anagnorisis and Action<\/td>\n | Ellwood Wiggins<\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| GERMAN 582A \/ C LIT 596A<\/a><\/td>\n | Myth, Language, and Play<\/td>\n | Myth, Language, and Play<\/td>\n | Ellwood Wiggins<\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| German 590 A: Philosophical Issues In German Culture<\/a><\/td>\n | The Ethics and Aesthetics of Sympathy<\/td>\n | The Ethics and Aesthetics of Sympathy<\/td>\n | Ellwood Wiggins<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| GERMAN 590 A: Philosophical Issues in German Culture<\/a><\/td>\n | Sense and Sensibility: Ethics and Emotions in the 18th Century<\/td>\n | Sense and Sensibility: Ethics and Emotions in the 18th Century<\/td>\n | Ellwood Wiggins<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| GERMAN 590: Philosophical Issues In German Culture<\/a><\/td>\n | Literary Animals in German Cultural History or What is and to What Effect Do We Study German Human-Animal Relations?<\/td>\n | Literary Animals in German Cultural History or What is and to What Effect Do We Study German Human-Animal Relations?<\/td>\n | Sabine Wilke<\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| German 592 – Cultural Studies<\/a><\/td>\n | Impacted Nature<\/td>\n | Impacted Nature<\/td>\n | Sabine Wilke<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| German 592 – Cultural Studies<\/a><\/td>\n | The Anthropocene: The Future of the Human\/ities<\/td>\n | The Anthropocene: The Future of the Human\/ities<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| German 592: Cultural Studies<\/a><\/td>\n | Film and Opera<\/td>\n | Film and Opera<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Grad School 525 – Acting Up: Teaching Theatre for Change<\/a><\/td>\n | <\/td>\n | In this course, students practice using the language and methods of theater to challenge institutional oppression and advance community dialogue about power and privilege.<\/td>\n | Tikka Sears<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| Grad School 525 Acting Up: Teaching Theater for Change<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2020<\/td>\n<\/tr>\n |
| Grad School 630 – Special Topics in College\/University Teaching<\/a><\/td>\n | Teaching and Learning in Higher Education: Frameworks and Practices<\/td>\n | Teaching and Learning in Higher Education: Frameworks and Practices<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Grad School 630: Special Topics in College\/University Teaching<\/a><\/td>\n | Teaching in Learning in Higher Education<\/td>\n | Teaching in Learning in Higher Education<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| Grad School 636 – Engaging Transgressions: Living Just Relationships<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| Graduate School 630 – Special Topics in University Teaching<\/a><\/td>\n | Campus to Career - Landing your First Teaching Interview<\/td>\n | Campus to Career - Landing your First Teaching Interview<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Graduate School 637<\/a><\/td>\n | Microagressions<\/td>\n | Microagressions<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| GRD 630: Teaching and Learning in Higher Education: Frameworks and Practices<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| GRDSCH 525 \/ HUM 595<\/a><\/td>\n | Acting Up: Amplifying Voices Through Interactive Theater as Pedagogy<\/td>\n | Acting Up: Amplifying Voices Through Interactive Theater as Pedagogy<\/td>\n | <\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| GRDSCH 525 Interactive Theater as Pedagogy<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| GRDSCH 540 Hybrid Pedagogies: Using Technology in Teaching<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2020<\/td>\n<\/tr>\n |
| GRDSCH 595: From Campus to Career<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Summer 2020<\/td>\n<\/tr>\n |
| GRDSCH 630 Special Topics in College\/University Teaching<\/a><\/td>\n | Acting Up: Teaching Theater for Change<\/td>\n | Acting Up: Teaching Theater for Change<\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| GRDSCH 640 Seminar on Topics of Diversity and Justice<\/a><\/td>\n | Engaging Privilege<\/td>\n | Engaging Privilege<\/td>\n | <\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| GWSS 332\u2014Black Feminist Geographies<\/a><\/td>\n | <\/td>\n | <\/td>\n | Kemi Adeyemi<\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| GWSS 564 A: Queer Desires<\/a><\/td>\n | <\/td>\n | <\/td>\n | Kemi Adeyemi<\/td>\n | Spring 2020<\/td>\n<\/tr>\n |
| GWSS 590 A: Special Topics<\/a><\/td>\n | Feminist Fights<\/td>\n | Feminist Fights<\/td>\n | Kemi Adeyemi<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| GWSS 590B – Special Topics<\/a><\/td>\n | Performing Black Queer Gender(s)<\/td>\n | Performing Black Queer Gender(s)<\/td>\n | Kemi Adeyemi<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| HINDI\/URDU 424\/524<\/a><\/td>\n | Survey of Modern Hindi\/Urdu Literature: Drama<\/td>\n | Survey of Modern Hindi\/Urdu Literature: Drama<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| History 580: Gender and History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Susan Glenn<\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| History 590 – Topics in History<\/a><\/td>\n | Foucault and History<\/td>\n | Foucault and History<\/td>\n | <\/td>\n | Spring 2012<\/td>\n<\/tr>\n |
| History 590: Topics in History<\/a><\/td>\n | Foucault and History<\/td>\n | Foucault and History<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| History 598 – Methods of Historical Research<\/a><\/td>\n | Trauma, Archives, and Colonialism<\/td>\n | Trauma, Archives, and Colonialism<\/td>\n | Laurie J. Sears<\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| History of Asia 534: Indonesian Histories, Oral Traditions, and Archives<\/a><\/td>\n | <\/td>\n | <\/td>\n | Laurie J. Sears<\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| HSTAS – Islam, Mysticism, Politics, and Performance in Indonesia<\/a><\/td>\n | <\/td>\n | <\/td>\n | Laurie J. Sears<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| HSTAS 534 Indonesian Histories, Oral Traditions, and Archives<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| HSTAS 566 Islam, Mysticism, Politics, and Performance in Indonesia<\/a><\/td>\n | <\/td>\n | <\/td>\n | Laurie J. Sears<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| HSTCMP 509 A: Foucault And History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Laurie J. Sears<\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| HSTCMP 580 A: Gender and History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Susan Glenn<\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| HSTCMP 580 Gender and History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Susan Glenn<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| HSTCMP 590 Topics in History<\/a><\/td>\n | Thinking through Things: Objects, Desire, and the Birth of Globalization<\/td>\n | Thinking through Things: Objects, Desire, and the Birth of Globalization<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| HSTCMP 590 Topics in History<\/a><\/td>\n | Thinking Through (Curious, Material, Global) Things: Objects, Desire, and the Birth of Globalization<\/td>\n | Thinking Through (Curious, Material, Global) Things: Objects, Desire, and the Birth of Globalization<\/td>\n | <\/td>\n | Autumn 2018<\/td>\n<\/tr>\n |
| HUM 595A<\/a><\/td>\n | Public Scholarship in a Post-Affirmative Action Era<\/td>\n | Public Scholarship in a Post-Affirmative Action Era<\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| HUM 596 B Humanities Research Seminar<\/a><\/td>\n | Exposed: Public Environmental Humanities<\/td>\n | Exposed: Public Environmental Humanities<\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| HUM 597 – Special Topics in the Humanities<\/a><\/td>\n | Feminism and Visual Theories<\/td>\n | Feminism and Visual Theories<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| HUM 597 Special Topics in the Humanities<\/a><\/td>\n | Humanities Career Exploration<\/td>\n | Humanities Career Exploration<\/td>\n | <\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| HUM 597 Special Topics in the Humanities<\/a><\/td>\n | Humanitarianisms Part II: Comparative Humanitarianism<\/td>\n | Humanitarianisms Part II: Comparative Humanitarianism<\/td>\n | <\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| HUM 597 Special Topics in the Humanities<\/a><\/td>\n | The Arts of Politics: Cultural Agency, Memory, Resilience<\/td>\n | The Arts of Politics: Cultural Agency, Memory, Resilience<\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| HUM 597A (1 credit, C\/NC)<\/a><\/td>\n | Improvisational Crossings: Social Dance as Interdisciplinary Intervention<\/td>\n | Improvisational Crossings: Social Dance as Interdisciplinary Intervention<\/td>\n | <\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| HUM 597C Special topics<\/a><\/td>\n | First Nations Art, Resistance, and Governance: Haida and Kwakwaka\u2019wakw Art Against Extraction<\/td>\n | First Nations Art, Resistance, and Governance: Haida and Kwakwaka\u2019wakw Art Against Extraction<\/td>\n | <\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| Humanities 596 A<\/a><\/td>\n | The Black Embodiments Studio<\/td>\n | The Black Embodiments Studio<\/td>\n | <\/td>\n | Winter 2020<\/td>\n<\/tr>\n |
| Humanities 597: Special Topics in the Humanities<\/a><\/td>\n | Society for cinema and media studies micro-seminar<\/td>\n | Society for cinema and media studies micro-seminar<\/td>\n | <\/td>\n | Winter 2014<\/td>\n<\/tr>\n |
| INFX 598 A\/B: Digital Media & Community Development<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| International Studies (JSIS) 480: Special Topics in Latin America<\/a><\/td>\n | Mexican Cinema<\/td>\n | Mexican Cinema<\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Italian 466: Italian Society in Cinema<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| JAPAN 561 NO AND KYOGEN<\/a><\/td>\n | NO AND KYOGEN<\/td>\n | Close reading and analysis of No texts in Japanese, with some attention to Kyogen<\/td>\n | Paul S. Atkins<\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| Japan 561 – No and Kyogen<\/a><\/td>\n | <\/td>\n | <\/td>\n | Paul S. Atkins<\/td>\n | Winter 2012<\/td>\n<\/tr>\n |
| Japan 561: Noh and Kyogen<\/a><\/td>\n | <\/td>\n | <\/td>\n | Paul S. Atkins<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Japan 571 Advanced Readings in Classical Japanese Literature<\/a><\/td>\n | Medieval Japanese Performance<\/td>\n | Medieval Japanese Performance<\/td>\n | Paul S. Atkins<\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| JSIS 480 Special Topics in Latin American Studies<\/a><\/td>\n | Narco Narrative\/Mexican Cinema<\/td>\n | Narco Narrative\/Mexican Cinema<\/td>\n | <\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| JSIS 596 Field Seminar in Religions, Cultures, and Civilizations<\/a><\/td>\n | Religions, Cultures, and Civilizations<\/td>\n | Religions, Cultures, and Civilizations<\/td>\n | <\/td>\n | Winter 2015<\/td>\n<\/tr>\n |
| JSIS A 534 – Indonesian Histories, Oral Traditions, and Archives<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| JSIS A 586 – Islam, Mysticism, Politics, and Performance in Indonesia<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Museum 563: Who Owns Humanity?<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Spring 2021<\/td>\n<\/tr>\n |
| Museum 588<\/a><\/td>\n | Learning to Look: An Approach to Examining Material Culture<\/td>\n | Learning to Look: An Approach to Examining Material Culture<\/td>\n | <\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| Museum 588 – Special Topics in Museology<\/a><\/td>\n | Museum Theatre and Performance<\/td>\n | We'll examine a range of performance forms from auditorium-style plays to immersive and interactive performance programs.<\/td>\n | Scott Magelssen<\/td>\n | Spring 2015<\/td>\n<\/tr>\n |
| Museum 588 – Special Topics in Museology<\/a><\/td>\n | Museum Theatre and Performance<\/td>\n | Museum Theatre and Performance<\/td>\n | Scott Magelssen<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Music 512 – Seminar in Ethnomusicology<\/a><\/td>\n | Music and Gender<\/td>\n | Music and Gender<\/td>\n | Christina M. Sunardi<\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| Music 512: Seminar in Ethnomusicology<\/a><\/td>\n | Music, Gender, and Performance<\/td>\n | Music, Gender, and Performance<\/td>\n | Christina M. Sunardi<\/td>\n | Winter 2017<\/td>\n<\/tr>\n |
| Music 540 – Music in Asian America<\/a><\/td>\n | <\/td>\n | <\/td>\n | Christina M. Sunardi<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| Music 577 – Composers of the Twentieth Century<\/a><\/td>\n | American Experimentalism<\/td>\n | American Experimentalism<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Russian 423 – Russian Film<\/a><\/td>\n | Sergei Eisenstein in Moscow and Hollywood<\/td>\n | Sergei Eisenstein in Moscow and Hollywood<\/td>\n | <\/td>\n | Autumn 2013<\/td>\n<\/tr>\n |
| Russian 542 – Seminar in Russian Poetry<\/a><\/td>\n | Drama and theatre in Russia from the late 17th through the 20th centuries<\/td>\n | Drama and theatre in Russia from the late 17th through the 20th centuries<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| SCAND 504 A: Contemporary Literary Theory<\/a><\/td>\n | IBSEN AND THE FUTURE<\/td>\n | IBSEN AND THE FUTURE<\/td>\n | Olivia Gunn<\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| SCAND 504 Contemporary Literary Theory<\/a><\/td>\n | \u201cQueer(ed) Sources, Queer Texts, Queer Futures?\u201d<\/td>\n | \u201cQueer(ed) Sources, Queer Texts, Queer Futures?\u201d<\/td>\n | Olivia Gunn<\/td>\n | Spring 2017<\/td>\n<\/tr>\n |
| SCAND 505 – Topics in Nordic Drama and Film<\/a><\/td>\n | Whiteness, Race, Class, and Privilege in Nordic Drama and Film<\/td>\n | Whiteness, Race, Class, and Privilege in Nordic Drama and Film<\/td>\n | Ann-Charlotte Gavel Adams<\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| SCAND 505 A: Topics In Scandinavian Drama And Film<\/a><\/td>\n | <\/td>\n | <\/td>\n | Andrew Nestingen<\/td>\n | Autumn 2017<\/td>\n<\/tr>\n |
| SCAND 514 A: Media in Scandinavian Studies<\/a><\/td>\n | <\/td>\n | Cinematic texts, genres, movements, themes, authorships, and technologies significant to the field.<\/td>\n | Andrew Nestingen<\/td>\n | Winter 2021<\/td>\n<\/tr>\n |
| SCAND 581 A: August Strindberg And European Cultural History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Ann-Charlotte Gavel Adams<\/td>\n | Autumn 2016<\/td>\n<\/tr>\n |
| Scand 590 – Special Topics in Scandinavian Literature<\/a><\/td>\n | Cinema, Migration and the Making of the Other in Modern Sweden<\/td>\n | Cinema, Migration and the Making of the Other in Modern Sweden<\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| SCAND 590 Special Topics in Scandinavian Literature<\/a><\/td>\n | The Films of Ingmar Bergman:: Gender, Feminism, and Art Cinema<\/td>\n | The Films of Ingmar Bergman:: Gender, Feminism, and Art Cinema<\/td>\n | <\/td>\n | Spring 2018<\/td>\n<\/tr>\n |
| Scandinavian 581 – August Strindberg and European Cultural History<\/a><\/td>\n | <\/td>\n | <\/td>\n | Ann-Charlotte Gavel Adams<\/td>\n | Autumn 2012<\/td>\n<\/tr>\n |
| Scandinavian 590 – Special Topics<\/a><\/td>\n | Norwegian Reproduction<\/td>\n | Norwegian Reproduction<\/td>\n | <\/td>\n | Spring 2014<\/td>\n<\/tr>\n |
| Slavic 423 – East European Film<\/a><\/td>\n | Major East European film makers<\/td>\n | Major East European film makers<\/td>\n | <\/td>\n | Spring 2016<\/td>\n<\/tr>\n |
| Soc W 598A – Intergrative Seminar<\/a><\/td>\n | Digital Storytelling for Social Impact<\/td>\n | Digital Storytelling for Social Impact<\/td>\n | <\/td>\n | Winter 2016<\/td>\n<\/tr>\n |
| SPAN 596 & CMS 597<\/a><\/td>\n | Hispanic film and the film festival phenomenon<\/td>\n | Hispanic film and the film festival phenomenon<\/td>\n | Leigh Mercer<\/td>\n | Winter 2018<\/td>\n<\/tr>\n |
| Spanish 447: Latin American Theater<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Autumn 2014<\/td>\n<\/tr>\n |
| Spanish 595 – Literary Problems: Nineteenth Century<\/a><\/td>\n | Spanish theater in the 19th and Early 20th Centuries<\/td>\n | Spanish theater in the 19th and Early 20th Centuries<\/td>\n | <\/td>\n | Autumn 2015<\/td>\n<\/tr>\n |
| The Black Embodiments Studio<\/a><\/td>\n | <\/td>\n | <\/td>\n | <\/td>\n | Winter 2019<\/td>\n<\/tr>\n |
| AFRAM 404 A: Advanced African American Studies In Humanities<\/a><\/td>\n | Black Sound Studies & The Archive<\/td>\n | we will focus on various aspects of Black sound, including voice, soundscapes, audio technologies, music making, performance repertoires and modes of listening.<\/td>\n | Sonnet H. Retman<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| CLAS 432 A: Classical Mythology In Film<\/a><\/td>\n | Classical Mythology in Film<\/td>\n | By studying major, in most cases authoritative, versions of ancient myths that were turned into films and comparing the ancient and modern renditions, students will be able to observe what modern cinematic narrators were drawn to and interested in achievi<\/td>\n | James J. Clauss<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| CMS 525 A: Cinema and Media Studies Pedagogy<\/a><\/td>\n | <\/td>\n | Explores some of the fundamental and practical matters of teaching at the college level, with particular focus on the area of cinema and media studies.<\/td>\n | Eric Ames<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| CMS 572 A: Historiography<\/a><\/td>\n | <\/td>\n | Assessment of processes through which film and\/or media histories are constructed.<\/td>\n | Jennifer M Bean<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| Drama 571 Problems in Theatre History Research<\/a><\/td>\n | Transnational theatre in the Atlantic World<\/td>\n | The movement of theatre-culture across geographies.<\/td>\n | Odai Johnson<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| Drama 581 Drama Text Analysis<\/a><\/td>\n | The Historical Avant Garde<\/td>\n | This course examines the historical avant-garde, focusing on three major media: the manifesto, performance (including theatre and cabaret), and film.<\/td>\n | Stefka Mihaylova<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| ENGL 510 A: History of Literary Criticism and Theory IV<\/a><\/td>\n | <\/td>\n | Contemporary ways of approaching literature and culture are rooted the preceding wave of postructucturalism and deconstruction, and are only superficially understood without an understanding of that preceding wave. This course is intended to provide the<\/td>\n | <\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| ENGL 555 A: Feminist Theories<\/a><\/td>\n | Re\/visioning \"Feminist Theory\"<\/td>\n | Explores re\/vision as a feminist theoretical method and political praxis that articulates (in the sense of joins) theory and politics, and elaborates (in the sense of expands and expounds) feminism as a sociocultural and sociopolitical project across time<\/td>\n | <\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| ENGL 599 A: Special Studies in English<\/a><\/td>\n | Professionalization for English and humanities graduate students<\/td>\n | This course in professionalization for English and humanities graduate students is intended to make the academic imperative to \u201cpublish or perish\u201d less daunting and to assist students as they begin building their career dossier.<\/td>\n | Jeffrey Knight<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| GERMAN 421 A: Studies in Eighteenth-Century Literature and Culture<\/a><\/td>\n | Modern German World Theater: Playing and Reality<\/td>\n | Examines the German and Viennese theater of the long 18th century<\/td>\n | Brigitte Prutti<\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| AH 400\/525 Contesting the Status Quo: Art and Social Action since 1960<\/a><\/td>\n | Contesting the Status Quo: Art and Social Action since 1960<\/td>\n | Rather than present a broad survey of this trend, this class will examine several of the most significant, self-conscious politics of artistic production from the 1960s to the present.<\/td>\n | Kolya Rice<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| DRAMA 582 A: Performance Ethnography<\/a><\/td>\n | Performance Ethnography<\/td>\n | This course engages Black aesthetics, staging dialogues between Black art practices and aesthetic theories, with What are the methods for observing, engaging, and embodying culture?<\/td>\n | Jasmine Mahmoud<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| DRAMA 572 A: Emerging Discourses in Theatre\/Performance Studies<\/a><\/td>\n | Problems in Theatre History Research<\/td>\n | Methods and techniques of research, interpretation, and writing in theatre history. Relationship of theatre arts to culture in diverse periods and places.<\/td>\n | Scott Magelssen<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| DANCE 545 A: Contemporary Dance History<\/a><\/td>\n | Contemporary Dance History<\/td>\n | Examines the development of social and performance-based dance from the beginning of the twentieth century to the present with particular emphasis on major international stylistic trends, cultural influences, and principal artists and their work.<\/td>\n | Jennifer Salk<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| C LIT 424 A: The Epic Tradition<\/a><\/td>\n | The Epic Tradition<\/td>\n | We will focus on traditional tales passed down orally from one generation to the next and visit many times and places, from the ancient Near East, Greece, and India, to medieval Central Asia and Europe.<\/td>\n | Olga Levaniouk<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| German 580: Acted Over: Staging Revolution<\/a><\/td>\n | Acted Over: Staging Revolution<\/td>\n | Performances of revolution confront us with the specter of both literary and historical structures of repetition. Marx casts this problem as a generic one in which history appears twice: \u201cfirst as tragedy, then as farce.\u201d In this course, we'll explore the<\/td>\n | Ellwood Wiggins<\/td>\n | Winter 2022<\/td>\n<\/tr>\n |
| DRAMA 373 A: Theatre History III<\/a><\/td>\n | Theatre History III<\/td>\n | Focuses on the explosion of new theatre and performance forms across the globe from the from the mid-nineteenth century to the present.<\/td>\n | Jasmine Mahmoud<\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| Acting Up: Teaching Theater for Change<\/a><\/td>\n | Acting Up: Teaching Theater for Change<\/td>\n | In this multidisciplinary course, students practice using the language and methods of theater to challenge institutional oppression and advance community dialogue about power and privilege.<\/td>\n | Tikka Sears<\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| The New Avant-Gardes: US Avant-Garde Performance after World-War II<\/a><\/td>\n | The New Avant-Gardes: US Avant-Garde Performance after World-War II<\/td>\n | This course examines the conditions under which avant-garde aesthetic has emerged in the US and elsewhere since WWII. Key moments include the Paris student riots of 1968, which many critics have endowed with the status of the first neo-avant-garde perform<\/td>\n | Stefka Mihaylova<\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| ASIAN 498 C: Special Topics<\/a><\/td>\n | JAPANESE THROUGH SONGS<\/td>\n | <\/td>\n | <\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| ENGL 555 A: Feminist Theories<\/a><\/td>\n | Feminist Theories: Public-Facing Feminist Scholarship in the Humanities<\/td>\n | This course surveys contemporary public-facing, humanistic work in feminist studies, highlighting communication in multiple forms and modes including blogs, websites, podcasts, op-eds, monographs, and video.<\/td>\n | <\/td>\n | Aut 21<\/td>\n<\/tr>\n |
| CLAS 430 \/ C LIT 496 A<\/a><\/td>\n | Greek and Roman Mythology<\/td>\n | Principal myths found in classical and later literature.<\/td>\n | <\/td>\n | Spring 2022<\/td>\n<\/tr>\n |
| DRAMA 581: Publics and Performance<\/a><\/td>\n | Analysis of Dramatic Texts<\/td>\n | Analytic approaches to dramatic materials, concentrating on semiotics, Marxism, feminism, or a related critical theory.<\/td>\n | Jasmine Mahmoud<\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| DRAMA 571: Religion, Performance and Antitheatricality<\/a><\/td>\n | Problems in Theatre History Research<\/td>\n | Religion, Performance and Antitheatricality<\/td>\n | Scott Magelssen<\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| DRAMA 494: Black Theatre to 1965<\/a><\/td>\n | Black Theatre to 1965<\/td>\n | Topics in drama, history, and criticism. See Time Schedule for specific topic.<\/td>\n | Stefka Mihaylova<\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| Art H 581: The Avant-Garde\u2019s Critical Heritage Across the Arts and Humanities:\u00a0<\/a><\/td>\n | The Avant-Garde\u2019s Critical Heritage Across the Arts and Humanities:<\/td>\n | THE AVANT-GARDE'S CRITICAL HERITAGE ACROSS THE ARTS AND HUMANITIES<\/td>\n | <\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| HUM 597B: Black Curatorial Practice<\/a><\/td>\n | Black Curatorial Practice<\/td>\n | <\/td>\n | Jasmine Mahmoud<\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| CHID 496C: Minority Languages and Digital Media<\/a><\/td>\n | Minority Languages and Digital Media:<\/td>\n | <\/td>\n | <\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| CMS 525 A: Cinema and Media Studies Pedagogy<\/a><\/td>\n | Cinema and Media Studies Pedagogy<\/td>\n | Pedagogical approaches to cinema and media studies. Introduces teaching tools, technologies and modes of practice.<\/td>\n | James Tweedie<\/td>\n | Autumn 2022<\/td>\n<\/tr>\n |
| CMS 270 B: Perspectives On Film: Introduction<\/a><\/td>\n | Perspectives On Film: Introduction<\/td>\n | Introduction to film form, style, and techniques. Examples from silent film and from contemporary film.<\/td>\n | James Tweedie<\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| DRAMA 494 A: Special Studies in Theatre and Drama<\/a><\/td>\n | Special Studies in Theatre and Drama<\/td>\n | Topics in drama, history, and criticism. See Time Schedule for specific topic.<\/td>\n | Jasmine Mahmoud<\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| Drama 583 Foundations in Performance Studies<\/a><\/td>\n | Foundations in Performance Studies<\/td>\n | This course focuses on the emerging \u201cknowledge formation\u201d of performance studies.<\/td>\n | Scott Magelssen<\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| SCAND 514 A: Media in Scandinavian Studies<\/a><\/td>\n | Media in Scandinavian Studies<\/td>\n | Cinematic texts, genres, movements, themes, authorships, and technologies significant to the field.<\/td>\n | Andrew Nestingen<\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| GERMAN 590 A: Philosophical Issues in German Culture<\/a><\/td>\n | Philosophical Issues in German Culture<\/td>\n | Seminar on rotating special topics dealing with the impact of particular thinkers, movements, or philosophical problems in German culture.<\/td>\n | <\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| DRAMA 573 A: Problems in Theatre History Research<\/a><\/td>\n | Conversations with Antiquity<\/td>\n | Conversations with Antiquity<\/td>\n | Odai Johnson<\/td>\n | Spring 2023<\/td>\n<\/tr>\n |
| DANCE 345\/545 A: Contemporary Dance Histories<\/a><\/td>\n | The Body Electric: Contemporary American Performance at the Nexus of Dance and Theater<\/td>\n | The Body Electric: Contemporary American Performance at the Nexus of Dance and Theater<\/td>\n | <\/td>\n | Spring 2023<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":" List of Past Courses and Seminars taught by CPS faculty & affiliates. All Course information is indexed & searchable. Use the Search Box below for Keywords in the Title, Summary, Instructor or Course Name. Or click on the table headings to arrange columns alphabetically: ascending or descending.<\/p>\n |