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Amherst College European Studies for 2012-13
121 Readings in the European Tradition I
Topics in the past have included readings and discussion of a series of related texts from Homer and Genesis to Dante: Homer's Iliad, selected Greek tragedies, Virgil's Aeneid, selections from the Bible, and from medieval texts. The theme this year will be "The Journey." Three class hours per week.
Open not only to European Studies majors but also to any student interested in the intellectual and literary development of the West, from antiquity through the Middle Ages. Required of European Studies majors.
Fall semester. Professor Doran.2015-16: Offered in Fall 2015
Other years: Offered in Fall 2007, Fall 2008, Fall 2009, Fall 2010, Fall 2011, Fall 2012, Fall 2013, Fall 2014
122 Readings in the European Tradition II
In this course, we will discuss writings and art that have contributed in important ways to the sense of what "European" means. The course covers the intellectual and artistic development of Europe from the Renaissance to the 21st century. The course will use a chronological and/or thematic template that focuses on dominant and persistent preoccupations of the European imagination. We will study poetry, drama, the novel, the essay, painting, photography, and film. In the past, we have studied works by Cervantes, Shakespeare, Montaigne, Molière, Mann, Swift, Voltaire, Wordsworth, Austen, Marx, Flaubert and Tolstoy. We have looked at art ranging from Velásquez to Picasso, filmmakers from Chaplin to Godard. This course welcomes all students who enjoy studying literature and essays in depth, as well as those interested in the visual arts. Required of European Studies majors.
Spring semester. Five College Professor Branson.2015-16: Offered in Spring 2016
Other years: Offered in Spring 2008, Spring 2009, Spring 2010, Spring 2011, Spring 2012, Spring 2013, Spring 2014, Spring 2015
125 Early Modern Europe
(Offered as HIST 125 [EUP] and EUST 125.) This introductory survey covers Western, Central and Eastern Europe and the European parts of the Ottoman Empire during the period from approximately 1500 to 1800. It looks at the main political developments of the period, with special attention to court culture, rebellions and revolutions, colonial expansion and contraction, and the clash of states and empires. It examines new developments in long-distance trade, agriculture, industry, finance, warfare, media and the arts, and their impact on social life, politics and the environment. It looks at the emergent slave systems of Europe and her colonies as well as the Ottoman Empire. And it analyzes religious conflict and accommodation with respect to Catholics, Protestants, the Eastern Orthodox, Jews, Muslims and "non-believers." The course aims to uncover the political, ethnic and religious diversity of Early Modern Europe as well as to plumb the roots of present-day conflicts and controversies about the historical definition of "Europe" and "Europeans." Two class meetings per week.
Spring semester. Professor Hunt.2015-16: Not offered
Other years: Offered in Fall 2009, Fall 2010, Spring 2013
130 World War I
(Offered as HIST 130 [EU] and EUST 130). When one thinks of the First World War today, a few stock images tend to come to mind: trenches, mud, the machine gun. Yet this insular vision does not do justice to the immensity and complexity of the twentieth century's first global conflict. This course aims to move beyond the conventional understanding of World War I by exploring its varied impact on Europe and the world. It examines how the war shaped the lives, beliefs, and emotions of people both on and off the battlefield, from European and colonial soldiers to politicians, civilians, and families. It also explores how the war has been commemorated, remembered, and studied, questioning whether later depictions of the "Great War" sufficiently capture the perspectives of those who lived through it. Through a close examination of the causes, course, and legacy of World War I, this course reflects upon the experience of modern warfare more generally. Readings and materials will be drawn from secondary and primary sources, including letters, diaries, memoirs, short stories, artwork, photographs, and films. Two class meetings per week.
Limited to 35 students. Omitted 2012-13. Professor Boucher.2015-16: Not offered
Other years: Offered in Spring 2015
132 Art and Architecture of Europe from 300 to 1500 C.E.
(Offered as ARHA 132 and EUST 132.) By learning how specifically to encounter the transcendent symbolism of the catacombs of Rome, the devotional intensity of monastic book illumination, the grandeur and vision of the first basilica of St. Peter, the Byzantine church of Hagia Sophia, and selected monasteries and cathedrals of France, we will trace the artistic realization of the spiritual idea of Jewish and Christian history from the transformation of the Roman Empire in the fourth century C.E. to the apocalyptic year of 1500 C.E. Several prophetic masterpieces by Albrecht Dürer, Leonardo da Vinci and Michelangelo Buonarroti completed on the very eve of the modern world will reveal a profound "forgotten awareness" crucial to our collective and private well-being but long obscured by the "renaissance" bias that called this period "medieval." Two class meetings per week.
Omitted 2012-13. Professor Upton.2015-16: Not offered
133 Europe in the Twentieth Century
(Offered as HIST 132 [EU] and EUST 133.) This course offers a broad survey of European history in the twentieth century. It will cover events such as World War I; the Bolshevik Revolution and the ensuing Soviet experiment; the Spanish Civil War; Nazism, World War II, and the Holocaust; the Cold War in Europe; the collapse of communism; and the Balkan Wars in the 1990s. In addition, the course will focus on the broad themes of twentieth-century European history: the confrontation between liberalism, fascism, and communism; the role of nationalism; the development of the welfare state; the decline of Europe's role in the world; the movement for European unity; and changing notions of race, class, and gender during the course of the century. Course materials will focus on primary documents, including films, memoirs, novels, political manifestos, and government and other official documents. Three class meetings per week.
Limited to 60 students. Omitted 2012-13. Professor Epstein.2015-16: Not offered
135 Art and Architecture of Europe from 1400 to 1800
(Offered as ARHA 135 and EUST 135.) This course is an introduction to painting, sculpture, and architecture of the early modern period. The goal of the course is to identify artistic innovations that characterize European art from the Renaissance to the French Revolution, and to situate the works of art historically, by examining the intellectual, political, religious, and social currents that contributed to their creation. In addition to tracing stylistic change within the oeuvre of individual artists and understanding its meaning, we will investigate the varied character of art, its interpretation, and its context in different regions, including Italy, France, Spain, Germany and the Netherlands.
Limited to 30 students. Omitted 2012-13. Professor Courtright.2015-16: Offered in Fall 2015 and Spring 2016
Other years: Offered in Fall 2007, Fall 2009, Spring 2011, Spring 2012, Spring 2014, Spring 2015
145 The Modern World
(Offered as ARHA 145 and EUST 145.) This course will explore the self-conscious invention of modernism in painting, sculpture and architecture, from the visual clarion calls of the French Revolution to the performance art and earthworks of "art now." As we move from Goya, David, Monet and Picasso to Kahlo, Kiefer and beyond, we will be attentive to changing responses toward a historical past or societal present, the stance toward popular and alien cultures, the radical redefinition of all artistic media, changing representations of nature and gender, as well as the larger problem of mythologies and meaning in the modern period. Study of original objects and a range of primary texts (artists' letters, diaries, manifestos, contemporary criticism) will be enhanced with readings from recent historical and theoretical secondary sources.
Limited to 75 students. Omitted 2012-13. Professor Staller.2015-16: Not offered
146 Art From the Realm of Dreams
(Offered as ARHA 146, EUST 146, and WAGS 113.) We begin with a long-standing Spanish obsession with dreams, analyzing images and texts by Calderón, Quevedo and Goya. We next will consider a range of dream workers from a range of cultures, centuries, and disciplines--among them Apollinaire, Freud, Breton, Dalí, Carrington, and Kahlo--as well as others working around the globe in our own time.
Limited to 20 students. Spring semester. Professor Staller.2015-16: Not offered
Other years: Offered in Spring 2012, Spring 2013, Spring 2014
201 Napoleon's Legends
Napoleon Bonaparte's legacy in French domestic and international politics and military strategy profoundly influenced nineteenth-century Europe. But so did the legends surrounding him, created before his great defeat and exile, and nurtured after his death in 1821. In painting, caricature, and sculpture, literature, music, and film, the legends--positive and negative--of Napoleon have served many ends. The cultural complexity of nineteenth- and twentieth-century Europe becomes clearer when one understands the motives behind and results of these representations of Napoleon.
In this course, we will study painting (e.g., David and Goya), narrative fiction (e.g., Balzac, Stendhal, and Tolstoy), poetry (e.g., Wordsworth and Hugo), music (e.g., Beethoven), urban history and architecture (e.g., of Paris), and the silent and sound films of our century (e.g., Gance). We will examine how different generations and a variety of cultures appropriated the real and imagined images of Napoleon for social, political, and artistic ends, and thereby influenced the creation of modern Europe. Three class hours per week.
Fall semester. Professor Rosbottom.2015-16: Not offered
Other years: Offered in Spring 2009, Fall 2012, Spring 2015
202 World War II in European Literature and Film
This course is designed to introduce students to the impact that World War II (1939-1945) had and continues to have on the society and culture of several European nations. As the last of the generation that lived during the war passes on, their grandchildren persist in raising questions about the reasons and effects of this political cataclysm. During the war, and afterwards with more or less intensity, writers and filmmakers made and have made attempts to analyze and represent the memories, the guilt, and the false histories that the war left behind in every involved nation.
The course will examine the ethics of historical memory, the sincerity of representation, the clever use of history for political purposes. It will also probe and analyze persistent myths of the war as well as discover stories and facts that have been ignored or forgotten. Finally, the course will look at alternative scenarios, that is, "what if" narratives.
Readings might include works by Camus, The Plague, Fallada, Every Man is Alone, Modiano, Dora Bruder, Jünger, On the Marble Cliffs, Semprún, The Long Journey, De Gaulle's and Churchill's memoirs, Némirovsky, La Suite française, and Levi, The Periodic Table. Films might include Rossellini's Rome: Open City and Germany: Year Zero, Bresson's Pickpocket, Holland's Europa, Europa, Clouzot's Le Corbeau, Reed's The Third Man, Wyler, Mrs. Miniver, and Peterson, Das Boot.
The class will study how nations too have attempted to make sense of this hecatomb, seeking explanation, expiation, and often excuses. We will also study how the Second World War's legacy still affects contemporary European culture and politics.
Omitted 2012-13. Professor Rosbottom2015-16: Not offered
216 Digital Constructions: Intermediate Architectural Design Studio
(Offered as EUST 216, ARCH 216, and ARHA 216.) In this intermediate architectural design studio we will explore the intellectual and creative process of making and representing architectural space. The focus will be to explore the boundaries of architecture--physically and theoretically, historically and presently--through digital media. Our process will prompt us to dissect 20th-century European architectures and urban spaces and to explore their relationships to contemporary, global issues. The capstone of the course will be a significant design project (TBD) requiring rigorous studio practices, resulting in plans, sections, elevations and digital models. This course will introduce students to various digital diagramming, drawing, and modeling software, while challenging students to question the theoretical and practical implications of these interdisciplinary media processes. This course will combine lectures, reading, discussion, and extensive studio design.
Requisite: ARHA 111. Admission with consent of the instructor. Limited to 10 students. Spring semester. Professor Long.2015-16: Offered in Fall 2015 and Spring 2016
Other years: Offered in Spring 2008, Spring 2009, Spring 2010, Spring 2011, Spring 2012, Spring 2013, Spring 2014, Fall 2014, Spring 2015
221 Music and Culture I
(Offered as MUSI 221 and EUST 221.) One of three courses in which music is studied in relation to issues of history, theory, culture, and performance, with the focus of the course changing from year to year. This course is an introduction to European music in the Medieval, Renaissance, and Baroque eras. We will begin by singing Gregorian chant and will go on to cover such topics as the music of the Troubadours, the polyphonic style associated with Notre Dame, the development of musical notation, Renaissance sacred polyphony, madrigals, court dances, and the birth of opera. Throughout the course we will seek to bring the music we study alive by singing and/or playing. We will also host several professional performers of "early music" who will help us understand how this music is likely to have sounded at the time of its creation.
Requisite: MUSI 112 or consent of the instructor. Spring semester. Valentine Professor Móricz.2015-16: Not offered
Other years: Offered in Spring 2009, Fall 2010, Spring 2013, Fall 2014
222 Music and Culture II
(Offered as MUSI 222 and EUST 222.) One of three courses in which the development of Western music is studied in its cultural-historical context. As practical, in-class performance and attendance at public concerts in Amherst and elsewhere will be crucial to our work. Composers to be studied include Beethoven, Rossini, Schubert, Mendelssohn, Schumann, Chopin, Liszt, Berlioz, Wagner, Verdi, Musorgsky, and Brahms. Regular listening assignments will broaden the repertoire we encounter and include a wide sampling of Classical and Romantic music. Periodic writing assignments will provide opportunities to connect detailed musical analysis with historical-cultural interpretation. A variety of readings will include music-historical-aesthetic documents as well as selected critical and analytical studies. Class presentations will contribute to a seminar-style class environment. This course may be elected individually or in conjunction with other Music and Culture courses (MUSI 221 and 223). Two class meetings per week.
Requisite: MUSI 111, 112, or consent of the instructor. Fall semester. Professor Schneider.2015-16: Offered in Spring 2016
Other years: Offered in Fall 2007, Fall 2008, Spring 2010, Spring 2011, Spring 2012, Fall 2012, Spring 2014, Spring 2015
223 Music and Culture III
(Offered as MUSI 223 and EUST 223.) The third of three courses in the Music and Culture series, this course focuses on the experimental and revolutionary musical repertoire of the late nineteenth and twentieth century. Some of the featured repertoire in 2011-12 includes 1) string quartets by Béla Bartók (1881-1945) and Dmitri Shostakovich (1906-1975); 2) songs by Gustav Mahler (1860-1911), Charles Ives (1874-1954), and Bob Dylan (1941-); 3) ballet, film, and music theatre music by Igor Stravinsky (1882-1971), Aaron Copland (1900-1990), Bernard Hermann (1911-1975), Leonard Bernstein (1920-1989), John Adams (1947-), Stephen Sondheim (1930-), Michael Giacchino (1967-). Assignments will include close listening, background readings, short essays, midterms, and a culminating presentation. This course may be elected individually or in conjunction with other Music and Culture courses (MUSI 221 and 222). Two class meetings per week.
Requisite: Reading knowledge of music and background in music fundamentals or consent of the instructor. Omitted 2012-13. Professor Kallick.2015-16: Not offered
228 Seventeenth-Century European Theater
(Offered as SPAN 228 and EUST 228.) Readings of plays by Spanish, English and French playwrights of what has been, in the modern world, the great century of the stage. Works of Lope de Vega, Calderón de la Barca, Shakespeare, Molière, Racine, Webster and Wycherly. Conducted in English. Students will read plays in the original languages whenever possible.
Limited to 40 students. Omitted 2012-13. Professor Maraniss.2015-16: Not offered
229 The European Enlightenment
(Offered as HIST 229 [EUP] and EUST 229.) This course begins with the political, social, cultural and economic upheavals of late seventeenth-century England, France, and the Netherlands. The second part of the course will look at the Enlightenment as a distinctive philosophical movement, evaluating its relationship to science, to classical antiquity, to organized religion, to new conceptions of justice, and to the changing character of European politics. The final part will look at the Enlightenment as a broad-based cultural movement. Among the topics discussed here will be the role played by Enlightened ideas in the French Revolution, women and non-elites in the Enlightenment, scientific racism, pornography and libertinism, orientalism, and the impact of press censorship. Readings for the course will include works by Descartes, Locke, Montesquieu, Voltaire, Rousseau, Diderot, Hume, Adam Smith, Choderlos de Laclos, Kant and others. Two class meetings per week.
Omitted 2012-13. Professor Hunt.2015-16: Not offered
230 The French Revolution
(Offered as HIST 230 [EU] and EUST 230.) Often viewed as one of the defining events in modern history, the French Revolution has been debated and discussed, derided and celebrated by generations of politicians, cultural commentators, and historians. This course enters into this on-going conversation by examining the nature of the revolutionary process as it unfolded in late eighteenth-century France and its empire. Beginning in the "old regime" of kings and commoners, it untangles the social, political, and intellectual roots of the Revolution and investigates the extent to which these factors contributed to the radical overthrow of the French establishment in 1789. It then follows the extension of the Revolution throughout French society and across the seas to the Caribbean, analyzing how popular and colonial upheavals influenced the revolutionary new order of "liberty, equality, and brotherhood" that was taking shape in France. Finally, the course explores the aftermath of the Revolution by tracing the various ways that its history has been interpreted and reinterpreted from the nineteenth century to the present day. Two class meetings per week.
Omitted 2012-13. Professor Boucher.2015-16: Not offered
231 Race and Empire: The British Experience from 1760
(Offered as HIST 231 [EU] and EUST 231.) From the mid-eighteenth century through the 1960s, Britain presided over the most powerful empire in the world. At its height, this small island nation ruled one-quarter of the earth's surface and more than 450 million of its inhabitants. Not only did British imperialism play a decisive role in shaping world politics, economics, and cultures in its day, it also left a number of profound legacies that continue to affect our lives in the present. This course traces the rise, fall, and lasting influence of the British empire, and pays particular attention to questions of race and ethnicity. Through a series of colonial encounters --such as the first contacts made between explorers and Pacific Islanders in the 18th century, the interactions between missionaries and Africans in the 19th century, or the migration of South Asians to Britain in the 20th century--it examines what "race" meant in different historical contexts. The course thus explores the institutionalization of racism in government, law, and society, and analyzes moments in which racism has been combated and overturned. Readings and course materials will be drawn from secondary and primary sources, including newspapers, novels, photographs, artwork, oral histories, and films. Two class meetings per week.
Limited to 30 students. Omitted 2012-13. Professor Boucher.2015-16: Not offered
232 Representation and Reality in Spanish Cinema
(Offered as SPAN 236, EUST 232 and FAMS 328.) Once severely constrained by dictator Francisco Franco's censorship laws and rarely exported beyond the country's borders, Spanish film has been transformed into an internationally-known cinema in the last decades. This course offers a critical overview of Spanish film from 1950 to the present, examining how Spain's culture and society are imagined onscreen by directors such as Berlanga, Erice, Bollaín, and Almodóvar. Students will analyze works of Spanish cinema alongside theoretical and critical texts, exploring such topics as gendered roles in contemporary society, immigration, globalization, censorship, and experiences of war and violence. We will also track the sociological, cultural, and political forces inside Spain that have inspired such cinematic representations. This course provides an introduction to visual analysis and critical writing about film and will be conducted in English. Students are expected to attend weekly screenings where films will be shown in Spanish with English subtitles. Spanish majors who wish to count this course toward fulfillment of requirements will be asked to write papers in Spanish.
Limited to 20 students. Spring semester. Professor Brenneis.2015-16: Not offered
Other years: Offered in Spring 2008, Fall 2009, Spring 2013
234 Nazi Germany
(Offered as HIST 234 [EU] and EUST 234.) This course will explore the history of Nazi Germany from 1933 to 1945. It will examine the emergence of Hitler and Nazism in Germany, Nazi ideology and aesthetics, Nazi racial policies, daily life in the Third Reich, women under Nazism, resistance to the Nazis, Nazi foreign policy and World War II, the Holocaust, and the Nuremberg War Crimes Trial. Class participants will also discuss themes that range beyond the Nazi case: How do dictatorships function? What constitutes resistance? How and why do regimes engage in mass murder? Texts will include films, diaries, memoirs, government and other official documents, and classic and recent scholarly accounts of the era. Three class meetings per week.
Limited to 60 students. Fall semester. Professor Epstein.2015-16: Offered in Fall 2015
Other years: Offered in Spring 2009, Fall 2010, Fall 2012, Fall 2013
235 Impostors
An interdisciplinary exploration of the causes behind the social, racial, artistic, and political act—and art—of posing, passing, or pretending to be someone else. Blacks passing for whites, Jews passing for gentiles, and women passing for men, and vice versa, are a central motif. Attention is given to biological and scientific patterns such as memory loss, mental illness, and plastic surgery, and to literary strategies like irony. As a supernatural occurrence, the discussion includes mystical experiences, ghost stories, and séance sessions. The course also covers instances pertaining to institutional religion, from prophesy from the Hebrew and Christian Bibles to the Koran and Mormonism. In technology and communications, analysis concentrates on the invention of the telegraph, the telephone, and the Internet. Entertainment, ventriloquism, puppet shows, voice-overs, children's cartoon shows, subtitles, and dubbing in movies and TV are topics of analysis. Posers in Greek mythology, the Arabian Nights, Cervantes, Shakespeare, Lewis Carroll, Mark Twain, Sigmund Freud, Jorge Luis Borges, Philip Roth, Oliver Sacks, and Nella Larsen are examined. Conducted in English.
Limited to 20 students. Omitted 2012-13. Professor Stavans.2015-16: Not offered
236 The Bible as Literature
A close reading of significant portions of the Five Books of Moses, done from the perspective of literature: how are the human and divine characters built, what interior life do they display and what philosophical view do they convey? Attention will be given to the 19th-century theories that approach the Bible as a composite book delivering a nationalistic story. Students will also reflect on the impact of the Bible in Western literature, from Dante's Divine Comedy to R. Crumb's cartoon retelling of Genesis. Taught in English.
Omitted 2012-13. Professor Stavans.2015-16: Not offered
237 God
This course rotates around the shifting notion of the divine in Western Civilization, focusing on theology, philosophy, literature, and music. Students explore the development of the three major prophetic religions as well as some of the mystical movements they fostered. Discussions rotate around the King James Bible, Augustine's Confessions, the Koran, Maimonides' The Guide for the Perplexed, the Zohar, and Spinoza's work as a cornerstone to the Enlightenment. Secularism in modern culture is contemplated and the contemporary atheist movement of Dawkins and Hitchens is analyzed. Music explorations range from Johann Sebastian Bach to John Cage; in science, from Isaac Newton to Albert Einstein and Stephen Hawking; and in film, from Ingmar Bergman to Woody Allen. Readings include parts of Dostoevsky's The Brothers Karamazov, Freud's Moses and Monotheism, Kafka's The Castle, Pirandello's Six Characters in Search of an Author, Borges' "The Secret Miracle" and Beckett's Waiting for Godot.
Limited to 20 students. Spring semester. Professor Stavans.2015-16: Not offered
Other years: Offered in Fall 2008, Spring 2013
238 Soviet Union During the Cold War
(Offered as HIST 236 [EU] and EUST 238.) The Cold War indelibly shaped the second half of the twentieth century. Spies seemed ubiquitous; nuclear annihilation imminent. Films such as Red October and the James Bond series forged a Western image of the Soviet Union. But how were these decades experienced behind the Iron Curtain? This class explores Soviet history between the end of World War II and the collapse of the USSR. We will study the roots of the Cold War; the politics of de-Stalinization in the USSR; the unfolding of Soviet influence in Eastern Europe; and Soviet relations with the West, China, and the developing world. We will also explore the internal dynamics of Soviet society: the rise of the Soviet middle class, consumerism, tourism, the entertainment industry, demographic trends, education, and public health. Two class meetings per week.
Fall semester. Five College Professor Glebov.2015-16: Offered in Fall 2015
Other years: Offered in Fall 2012
239 Popular Culture and Resistance in Western Europe, c. 1950-2000
(Offered as HIST 237 [EU] and EUST 239.) From the Beatles to the World Cup, from punk to protest, popular culture flourished in Europe in the fifty years between 1950 and 2000. With the increase of leisure time, expendable income and a "baby boom" that resulted in a youth-heavy population, art, film, fashion, music and sport had an increasingly wide appeal. At the same time, anti-war activism, right-wing nationalism, feminism, gay liberation and anti-racism all used music, art, sport, literature and film to rally support and carve out distinctive cultural idioms. This course looks at the ways in which popular culture and popular movements reflected and responded to broader changes in post-war Europe. Although focused on Western Europe, the course places the history of popular culture in the context of the Cold War world and post-colonial cultural transfer. Topics include: fashion and fascism in the context of post-war immigration; football, class and racism; anti-capitalism and art; punk and popular politics; the Beatles, religion and sexual liberation; feminism and gay rights in art and film; and responses to racism through literature, television and in film. Two class meetings per week.
Spring semester. Visiting Professor Gust.
2015-16: Not offered
Other years: Offered in Spring 2013
246 Bauhaus
(Offered as GERM 366, ARCH 356, and EUST 246). This course will explore in detail the art, architecture, history and theory of the influential German art school, the Bauhaus. The subject of recent blockbuster exhibitions in New York and Berlin, this course will make use of many new publications and critical viewpoints. We will begin with the school's origins during WWI and the German Revolution, its spectacular contributions and controversial development during the Weimar Republic, and conclude with the demise of the Bauhaus by the National Socialists. We will trace the forced exile of many Bauhaus artists and architects, as well as analyze Bauhaus legacies (at Black Mountain College, the Ulm School of Design, the New Bauhaus Chicago, Yale, and Harvard, and in the Situationists' New Babylon project). The course will include the work of the architects Walter Gropius, Hannes Meyer, Mies van der Rohe and Lilli Reich; the art and design (textiles, metal work, prints, photographs, typography, paintings, sculpture, etc.) of Paul Klee, Wassily Kandinsky, Lyonel Feininger, Gunta Stözl, Moholy-Nagy, Herbert Bayer, Joseph Albers, and Oskar Schlemmer; and the writings of important Weimar writers and theorists, such as Erich Maria Remarque, Walter Benjamin, Georg Lukács, and Siegfried Kracauer. Students will be responsible for in-class presentations, a book review, and a final paper. Conducted in English, with German majors required to do a substantial portion of their reading in German.
Omitted 2012-13.2015-16: Not offered
250 The Monastic Challenge
(Offered as ARHA 250 and EUST 250.) This course aims to be a visually and spatially attentive search for the 'art' of the monastic and cathedral masterpieces of medieval France. First, by learning how to recognize, define, and respond to the artistic values embodied in several "romanesque" and "gothic" monuments including the Abbeys of Fontenay, Vézelay and Mont St. Michel and the Cathedrals of Laôn, Paris, Chartres, Amiens and Reims, we will try to engage directly (e.g., architecturally and spatially) the human aspiration these structures embody. Secondly, with the help of two literary masterpieces from the period, The Song of Roland and Tristan and Isolde, we will discover that the heart of the "monastic" challenge to our own era is not the common opposition of the medieval and modern worlds, but rather the recognition of the potential diminishment of 'art' by an exclusively ratiocinated view of all reality. The tragic love affair of Eloise and Peter Abelard will dramatize a vital existential dilemma too easily forgotten that always (but especially in our time) threatens 'art,' human compassion and spirituality. Our goal is to reclaim the poetic potential of the word "cathedral." Two class meetings per week.
Requisite: One course in Art and the History of Art or consent of the instructor. Omitted 2012-13. Professor Upton.2015-16: Not offered
Other years: Offered in Fall 2009, Fall 2010, Fall 2011
253 Dutch and Flemish Painting (The Art of Beholding)
(Offered as ARHA 253 and EUST 253). This course means to ask the question: What would it be like to engage with the paintings of Jan van Eyck, Roger van der Weyden, Hieronymous Bosch, Pieter Bruegel, Jan Vermeer and Rembrandt van Rijn as a consciously embodied person and to reclaim in such a direct encounter the rejuvenating powers of erôs, insight and wisdom residing within ourselves and in the art of works of art with which we would behold. In addition to reaffirming the practice of artistic contemplation for its own sake, "Dutch and Flemish Painting" will offer explicit guidance in both the means and the attitude of being that underlie and enable such beholding. Our goal will be to allow a series of exemplary masterpieces including Van Eyck's Arnolfini Double Portrait, Roger's Prado Deposition, Bosch's Garden of Earthly Delights, Vermeer's Portrait of a Girl with a Pearl Earring, Rembrandt's Nightwatch and several intimate Self Portraits to open outward and implicate us in their human aspiration to wholeness. Two class meetings per week.
Limited to 25 students. Fall semester. Professor Upton.2015-16: Not offered
Other years: Offered in Spring 2009, Spring 2010, Fall 2012, Fall 2013, Fall 2014
254 The History of European Printmaking from 1400-1920
This course will cover the history of printmaking in Europe from its origins in the early fifteenth century in Germany to a time just before WW II. Three major concerns will be treated throughout the semester: (1) technique. The various graphic techniques of woodcut, engraving, etching, aquatint, mezzotint and lithography will be analyzed in detail in the studio and through various historical examples. (2) history and popular culture. The history of printmaking often grows from and reflects important historical, social and political developments (early publishing, Reformation and Counter-Reformation, political upheavals throughout the seventeenth, eighteenth, and nineteenth centuries). We will repeatedly examine the relation between printmaking as a fine art and the wider social and political purposes it can serve. (3) aesthetics. Although the issue of color in printmaking will be considered from the sixteenth century onward, we will focus on the development of a graphic aesthetic, the beauty and power of "black lines alone," something noted already in the sixteenth century. Among the major artists covered will be Martin Schongauer, Albrecht Dürer, Lucas van Leyden, Rembrandt van Rijn, Jacques Callot, Francisco Goya, Honore Daumier, Pablo Picasso and Kathe Kollwitz.
This will be a writing-attentive course with assignments including a critical book review, an exhibition catalog introduction and entry, an evocative essay, a biographical study, and a research paper on an individual original print. Field trips to study original prints in the Mead Art Museum will be an integral part of the course. There will also be optional field trips to the Smith College Art Museum printroom and, at the end of the semester, a trip to the Zea Mays Printmaking Studio in Florence, a rare example of a "green" printmaking studio, which avoids the traditional use of toxic chemicals in the production of prints.
Requisite: One course in art history. Limited to 15 students. Omitted 2012-13. Visiting Professor Harbison.2015-16: Not offered
255 The Art and Life of Michelangelo
(Offered as ARHA 255 and EUST 255.) A monographic course designed to allow the study in some depth of Michelangelo's accomplishments as a painter, sculptor and architect, as well as a preliminary exploration of his poetry.Serious attention will be paid to establishing a credible and coherent biography of the artist, who carefully shaped – in fact invented – many details of his life story, promoting the image of himself that he wanted posterity to have. His fictional autobiography is one of Michelangelo's most successful and durable creations and the course offers, as well as the chance to study the breadth of his achievement, the opportunity to develop skill at determining what is real in a welter of conflicting and self-serving claims.The course will be organized as a colloquium, with introductory lectures and assigned readings on specific topics, followed by class discussion of the stylistic and historical issues. There will be three short papers summarizing the state of our knowledge about particular subjects, and one more substantial research paper.
Limited to 25 students. Spring semester. Visiting Professor Lieberman.2015-16: Not offered
Other years: Offered in Spring 2013
271 Modern Architecture, Design, and the Built Environment
(Offered as ARHA 271, ARCH 271 and EUST 271.) This course considers architecture and design of the 19th and 20th centuries in light of contemporary disciplinary themes like space, globalization, and sustainability. In doing so, it strives to highlight the social, political, intellectual, and technological forces that have influenced (and continue to motivate) modern design. Key figures to be addressed include: Gottfried Semper, William Morris, Peter Behrens, Adolf Loos, Le Corbusier, Mies van der Rohe, Robert Venturi and Denise Scott Brown, Daniel Libeskind, Herzog and de Meuron, and Zaha Hadid. Two class meetings per week.
Requisite: EUST 216, EUST 364, a course in art history, studio art, or consent of the instructor. Limited to 20 students. Spring semester. Visiting Professor Saletnik.2015-16: Not offered
Other years: Offered in Spring 2012, Spring 2013
273 Modernization, Modernity, and Modernism in Europe, 1848-1918
(Offered as ARHA 273 and EUST 273.) This course considers the dynamics of European Modernism between 1848 and 1918 in relation to processes of modernization, such as technological innovation, the advent of mass culture and spectacle, and socio-political change. In tracing the history of visual culture from the introduction of photography through the rise of cinema, we will address the work of Gustave Courbet, William Henry Fox Talbot, Edouard Manet, Camille Pissarro, Georges Méliès, Ernst Ludwig Kirchner, Vladimir Tatlin, and others.
Requisite: a course in art history, or consent of the instructor. Limited to 25 students. Omitted 2012-13. Visiting Professor Saletnik.2015-16: Not offered
284 Women and Art in Early Modern Europe
(Offered as ARHA 284, EUST 284, and WAGS 206.) This course will examine the ways in which prevailing ideas about women and gender-shaped visual imagery, and how these images influenced ideas concerning women from the Renaissance to the Enlightenment. It will adopt a comparative perspective, both by identifying regional differences among European nations and tracing changes over time. In addition to considering patronage of art by women and works by women artists, we will look at the depiction of women heroes such as Judith; the portrayal of women rulers, including Elizabeth I and Marie de' Medici; and the imagery of rape. Topics emerging from these categories of art include biological theories about women; humanist defenses of women; the relationship between the exercise of political power and sexuality; differing attitudes toward women in Catholic and Protestant art; and feminine ideals of beauty.
Limited to 15 students. Omitted 2012-13. Professor Courtright.2015-16: Not offered
Other years: Offered in Spring 2008, Spring 2012, Fall 2014
302 Dangerous Reading: The Eighteenth-Century Novel in England and France
(Offered as EUST 302, ENGL 302 [Meets the pre-1800 requirement for English majors.], and FREN 362.) Why was reading novels considered dangerous in the eighteenth century, especially for young girls?
This course will examine the development, during this period, of the genre of the novel in England and France, in relation to the social and moral dangers it posed and portrayed. Along with the troublesome question of reading fiction itself, we will explore such issues as social class and bastardy, sexuality and self-awareness, the competing values of genealogy and character, and the important role of women--as novelists, readers, and characters--in negotiating these questions. We will examine why the novel was itself considered a bastard genre, and engage formal questions by studying various kinds of novels: picaresque, epistolary, gothic, as well as the novel of ideas. Our approach will combine close textual analysis with historical readings about these two intertwined, yet rival, cultures, and we will pair novels in order to foreground how these cultures may have taken on similar social or representational problems in different ways. Possible pairings might include Prévost and Defoe, Laclos and Richardson, Voltaire and Fielding, Sade and Jane Austen. French novels will be read in translation. Two class meetings per week.
Omitted 2012-13. Professors Frank and Rosbottom.2015-16: Not offered
303 Poetic Translation
This is a workshop in translating poetry into English, preferably from a Germanic, Slavic, or Romance language (including Latin, of course), whose aim is to produce good poems in English. Students will present first and subsequent drafts to the entire class for regular analysis, which will be fed by reference to readings in translation theory and contemporary translations from European languages. Advanced knowledge of the source language is required and experience with creative writing is welcome.
Limited to 12 students. Fall semester: Professor Maraniss. Spring semester: Professor Ciepiela.2015-16: Offered in Spring 2016
Other years: Offered in Fall 2008, Spring 2009, Fall 2009, Spring 2010, Spring 2011, Fall 2011, Fall 2012, Spring 2013, Fall 2013, Spring 2015
305 Isaac Bashevis Singer
Yiddish writer Isaac Bashevis Singer (1904-1993), winner of the Nobel Prize in Literature, who moved to the United States in 1935, created a complex fictional world of longing and despair. The course studies his oeuvre in chronological order, from his early experiments in mysticism while in his native Poland, such as the novel Satan in Goray, to his numerous stories like "Gimpel the Fool" and "A Wedding in Brownsville," rendered in English by a cadre of mostly female translators and published in Forverts, The New Yorker, and other periodicals. The focus is on Singer's immigrant identity and his embrace by American readers as a symbolic bridge between the Old World and the New. Singer's sexual persona, his philosophical and political investigations on Spinoza, Communism, and God, his reaction to the Holocaust and the creation of the state of Israel, his interest in Golems and Dybbuks, and his thoughts on translation, are part of the discussion. Some of his children stories are also contemplated. Conducted in English.
Limited to 20 students. Omitted 2012-13. Professor Stavans.2015-16: Not offered
309 Proust
(Offered as ENGL 309 and EUST 309.) A critical reading in English translation of substantial portions of Marcel Proust's great work of fiction and philosophy, A la Recherche du temps perdu (In Search of Lost Time). An extended synopsis of the entire work will be provided. Class discussion and exercises will concentrate on major passages of the work (amounting to roughly half of the whole). Attention will be given to the tradition of critical commentary in English on Proust's work and its place as a document of European modernism. Two class meetings per week.
Requisite: Recommend prior study in nineteenth- or early twentieth-century English or French novel. Not recommended for first-year students. Spring semester. Professor Cameron.2015-16: Not offered
Other years: Offered in Spring 2010, Spring 2013
310 Fascism
(Offered as HIST 310 [c] and EUST 310.) This course addresses the vexing questions of what fascism is, whether it was a global phenomenon, and whether it has been historically banished. The first part of the semester will consider the conceptual issues related to nationalism, modernity, and fascism. Next we will address case studies, noting comparative continuities and regional peculiarities. The countries that will receive the most attention areItaly,France,Argentina,Britain,Brazil,Germany,Spain, andMexico, with additional attention toPortugal,Japan,China,New Guinea,Chile,Turkey,Palestine andAustralia. This will be followed by an examination of gender and fascism, including the role of women as agents of this radical ideology. The course will close with two recent works of scholarship, one on transnational fascism in early twentieth-century Argentina and the other on the applicability of the term "fascism" to contemporary movements in the Middle East. Two meetings per week.
Omitted 2012-13. Professor López.2015-16: Not offered
312 Spanish Detectives and the género negro
(Offered as SPAN 392 and EUST 312) The Spanish detective narrative has developed as a manifestation of twentieth- and twenty-first-century Spain's confrontations with social and political chaos. Offering a critical examination of a genre that has both resided on and represented the margins of Spanish society, this course traces the rise of the Spanish género negro during and after the Franco dictatorship, through its arrival in recent years as a mainstream, exportable cultural phenomenon. Readings will consist of contemporary Spanish novels by authors such as Javier Marías and Antonio Muñoz Molina, critical approaches to the genre, and short narrative works from Latin America and the United States for a comparative perspective. Additional films and other media consisting of detective parodies, popular suspense tales, and new trends in historical investigation from Spain will also come under examination. Conducted in Spanish.
Requisite: SPAN 199, 211, 212 or consent of the instructor. Limited to 15 students. Fall semester. Professor Brenneis.2015-16: Not offered
Other years: Offered in Fall 2008, Fall 2012
313 Serving the Tsars and the Party
(Offered as MUSI 442 and EUST 313.) Russian music has long been a staple of the repertory of "classical music" in the concert halls of the world, but the relationship of the seductive sounds of this music to the complex culture that produced it is rarely understood outside of Russia. This course examines connections between Russian culture and Russian music through in-depth analysis of individual works of music and reading of related canonic texts. Starting with the emergence of Russian nationalism and the nationally motivated myths of Pushkin and Glinka in the 1830s, we will critically assess the achievements of the Russian national school in music in the nineteenth century; explore the Western face of Russian art through the showcases of Diaghilev's Russian Ballet in Paris in the first decades of the twentieth century; follow the cataclysmic changes in cultural politics after the October Revolution and their effect on music; and take a close look at musical politics during the years of Stalinist terror. Composers to be discussed include Glinka, Mussorgsky, Borodin, Balakirev, Rimsky-Korsakov, Tchaikovsky, Stravinsky, Prokofiev, and Shostakovich. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Requisite: MUSI 242 or consent of the instructor. Fall semester. Valentine Professor Móricz.2015-16: Not offered
Other years: Offered in Fall 2012
314 Twentieth-Century Analysis
(Offered as MUSI 444 and EUST 314.) In this seminar we explore stylistic characteristics of compositions that demonstrate the most important tendencies in twentieth-century music. Instead of applying one analytical method, we try out various approaches to twentieth-century music, taking into consideration the composers' different educational and cultural backgrounds. The repertory of focus will consist of compositions written in the first half of the twentieth century in Europe, Russia and America (including works by Debussy, Scriabin, Stravinsky, Shostakovich, Schoenberg, Berg, Webern, Bartok, Copland), but will also sample music by late twentieth-century composers. Two class meetings and two ear-training sections per week. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Requisite: MUSI 241 and 242, or consent of the instructor. Fall semester. Visiting Professor Meltzer.2015-16: Not offered
Other years: Offered in Fall 2012
333 Poland: Heart of Europe's Twentieth Century
(Offered as HIST 333 [EU] and EUST 333) Few places experienced the drama of Europe's twentieth century as did Poland—a country imagined before World War I, created anew in 1918, and shifted west after World War II. This course will cover the legacy of Poland's eighteenth-century partitions; World War I; the Polish-Soviet war of 1919-1921; the interwar Polish state; World War II (including the Katyn massacre, the Holocaust, and the Warsaw Uprising); the imposition of communism after World War II; the growth of Solidarity; and revolution and the transition to post-communist society after 1989. Themes will include nationalism and state-building; the role of Catholicism in Polish society; Poland's attempts to assert itself against both Germany and Russia; and ethnic relations between Poles and Germans, Jews, Ukrainians, and Lithuanians. Throughout, we will explore historical controversies surrounding these events and themes. Sources will include films, novels, memoirs, eyewitness accounts, government and other documents, and secondary sources. Two class meetings per week.
Omitted 2012-13. Professor Epstein.2015-16: Not offered
335 European Migrations
(Offered as HIST 335 [EU] and EUST 335). By tracing the journeys of people into, across, and out of Europe during the nineteenth and twentieth centuries, this course explores the role of migration in forging modern national, regional, and global identities. On one level, it analyzes the factors that have impelled groups of people to cross borders. On another, it examines how these migrations have changed the social landscape of Europe, serving both to forge and to challenge the divides of culture, religion, and nationhood. Topics will include: mass emigration and the rise of European imperialism; debates over "belonging" in the era of nation-building; the development of passports, visa restrictions, and quotas; the emergence of the categories of "refugee" and "asylum seeker"; forced migration and human trafficking; colonial and postcolonial immigration into Europe; and contestations over multiculturalism. Readings will relate to a variety of geographical locations, but with special emphasis on migration into and out of Britain, France, Germany, and their empires. Two class meetings per week.
Limited to 35 students. Fall semester. Professor Boucher.2015-16: Not offered
Other years: Offered in Fall 2012
339 Defining the Modern: Russia Between Tsars and Communists
(Offered as HIST 439 [EU] and EUST 339) The course will explore a most intense and fascinating period in Russian history: the years 1890-1910. This period witnessed rapid urbanization and industrialization; the rise of professional and mass politics; first instances of modern terrorism and an intensification of nationalist struggles; imperialist ventures in Central Asia, Manchuria, and Korea; several revolutions and wars; and, above all, an unprecedented efflorescence of modernist culture in the late Russian Empire which was readily exported to and consumed in Europe. We will analyze these developments through a range of sources, including resources found at the Mead Art Museum. In addition to acquainting students with major developments in turn-of-the-century Russian Empire, the class will address contemporary scholarly debates that focus on concepts such as "modernity," "self," "discipline," "knowledge," "civil society," and "nationalism." Students will be required to complete an independent research paper. Two class meetings per week.
Spring semester. Five College Professor Glebov.2015-16: Offered in Spring 2016
Other years: Offered in Spring 2013
345 Contemporary Europe
Offered as POSC 345 [CP, IR] and EUST 345.) [IL - starting with the Class of 2015] Decline and renewal of Europe. An analysis of Europe's role in the world order and the European Union (EU). What are Europe's strengths and weaknesses as an international power? Does Europe meet its responsibilities or is it content to be a free rider on the ambitions and policies of other countries? What is the European Union and what are its successes and failures? What is the relationship between various European countries and the EU, between national sovereignty and European integration? Is more European integration still the future of Europe or is there now "enough Europe"?
Limited to 25 students. Not open to first-year students. Omitted 2012-13. Professor Tiersky.2015-16: Not offered
351 Renaissance Art in Italy
(Offered as ARHA 351 and EUST 351.) This course treats painting, sculpture, and architecture of the art historical periods known as the Early and High Renaissance, Mannerism, and the Counter Reformation. It will dwell upon works by artists such as Giotto, Donatello, Botticelli, Leonardo, Raphael, Bramante, Michelangelo, and Titian in the urban centers of Florence, Rome, and Venice, art produced for patrons ranging from Florentine merchants and monks to Roman princes and pontiffs. The art itself--portraits, tombs, altarpieces, cycles of imagined scenes from history, palaces, churches, civic monuments--ranges from gravely restrained and intentionally simple to monumental, fantastically complex or blindingly splendid, and the artists themselves range from skilled artisans to ever more sought-after geniuses. Emphasis will be upon the way the form and content of each type of art conveyed ideas concerning creativity, originality, and individuality, but also expressed ideals of devotion and civic virtue; how artists dealt with the revived legacy of antiquity to develop an original visual language; how art imparted the values of its patrons and society, but also sometimes conflicted with them; and how art and attitudes towards it changed over time. Rather than taking the form of a survey, this course, based on lectures but regularly incorporating discussion, will examine in depth selected works and will analyze contemporary attitudes toward art of this period through study of the art and the primary sources concerning it. Upper level.
Requisite: One other art history course or consent of the instructor. Omitted 2012-2013. Professor Courtright.2015-16: Not offered
352 Proseminar: Images of Sickness and Healing
(Offered as ARHA 352, EUST 352 and WAGS 352.) In this research seminar, we will explore how sickness and healing were understood, taking examples over centuries. We will analyze attitudes toward bodies, sexuality, and deviance--toward physical and spiritual suffering--as we analyze dreams of cures and transcendence. We will interrogate works by artists such as Grünewald, Goya, Géricault, Munch, Ensor, Van Gogh, Schiele, Cornell and Picasso, as well as images by artists in our own time: Kiki Smith, the AIDS quilt, Nicolas Nixon, Hannah Wilke, and others. Texts by Edgar Allen Poe, Sander Gilman, Roy Porter, Susan Sontag, Thomas Laquer and Caroline Walker Bynum will inspire us as well. Significant research projects with presentations in class. Two class meetings per week.
Limited to 15 students. Fall semester. Professor Staller.2015-16: Not offered
Other years: Offered in Fall 2012
360 Performance
(Offered as GERM 360, ARCH 360, EUST 360 and FAMS 316.) What is performance? What constitutes an event? How can we address a phenomenon that has disappeared the moment we apprehend it? How does memory operate in our critical perception of an event? How does a body make meaning? These are a few of the questions we will explore in this course, as we discuss critical, theoretical, and compositional approaches in a broad range of multidisciplinary performance phenomena emerging from European--primarily German--culture in the twentieth century. We will focus on issues of performativity, composition, conceptualization, dramaturgy, identity construction, representation, space, gender, and dynamism. Readings of performance theory, performance studies, gender studies, and critical/cultural studies, as well as literary, philosophical, and architectural texts will accompany close examination of performance material. Students will develop performative projects in various media (video, performance, text, online) and deliver a number of critical oral and written presentations on various aspects of the course material and their own projects. Performance material will be experienced live when possible, and in text, video, audio, digital media and online form, drawn from selected works of Dada and Surrealism, Bauhaus, German Expressionism, the Theater of the Absurd, Tanztheater, and Contemporary Theater, Performance, Dance, Opera, New Media, and Performance Art. A number of films, including Das Cabinet des Dr. Caligari, Oskar Schlemmer's Das Triadische Ballett, Fernand Léger's Ballet Mécanique, and Kurt Jooss' Der Grüne Tisch, will be also screened. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Omitted 2012-13. Professor Gilpin.2015-16: Not offered
363 Traumatic Events
(Offered as GERM 363, EUST 363, and FAMS 370.) How is memory constructed and represented? How is it possible to bear witness, and what exactly is involved? Who is authorized to testify, to whom, when? Whose story is it? Is it possible to tell "the story" of a traumatic event? What are the disorders of testimony, and how and where do they emerge? This course will observe the workings of trauma (the enactment and working-through of collective and individual symptoms of trauma), memory, and witnessing in various modes of everyday life. We will examine notions of catastrophe, disaster, accident, and violence, and explore the possibilities and impossibilities of bearing witness in many forms of cultural production: in fiction, poetry, architecture, critical theory, oral and written testimonies, visual art, monuments, memorials, philosophy, science, cartoons, film, video, theater, television reportage, newspaper documentation, performance, online, and in our public and domestic spaces. We will study various representations of trauma, paying particular attention to events in Germany and Europe from the twentieth century, as well as to 9/11 and other recent international events. Material to be examined will be drawn from the work of Pina Bausch, Joseph Beuys, Christian Boltanski, Cathy Caruth, Paul Celan, Marguerite Duras, Peter Eisenman, Shoshana Felman, Florian Freund, Jochen Gerz, Geoffrey Hartman, Rebecca Horn, Marion Kant, Anselm Kiefer, Ruth Klüger, Dominick LaCapra, Claude Lanzmann, Dori Laub, Daniel Libeskind, W.G. Sebald, Art Spiegelman, Paul Virilio, Peter Weiss, Wim Wenders, Elie Wiesel, Christa Wolf, and others. Conducted in English with German majors required to do a substantial portion of the reading in German.
Omitted 2012-13. Professor Gilpin.2015-16: Not offered
364 Architectures of Disappearance
(Offered as GERM 364, ARCH 364, and EUST 364.) This course will address a number of developments and transformations in contemporary urban architecture and performance from an international perspective. We will explore issues including, but not limited to, trauma, memory, absence, perception, corporeality, representation, and the senses in our examination of recent work in Germany and elsewhere, and read a number of texts from the fields of philosophy, critical theory, performance studies, and visual and architectural studies, in an attempt to understand how architecture is beginning to develop compositional systems in which to envision dynamic and responsive spaces in specific cultural contexts. We will focus our research on the work of a number of German and international architects, performance, and new media artists, including Jochen Gerz, Renata Stih and Frieder Schnock, Horst Hoheisel, Micha Ullman, Shimon Attie, Daniel Libeskind, Peter Eisenman, Rem Koolhaas, Greg Lynn, Mark Goulthorpe, R & Sie(n), Axel Kilian, Paul Privitera, Hani Rashid and Lise-Ann Couture, Herzog and de Meuron, Archigram, William Forsythe, Jan Fabre, Rachel Whiteread, Rebecca Horn, Sasha Waltz, Richard Siegal, Michael Schumacher, Robert Wilson, the Blix Brothers of Berlin, Pina Bausch, Granular Synthesis, Sponge, Rafael Lozano-Hemmer, Toni Dove, and many others. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Omitted 2012-13. Professor Gilpin.2015-16: Not offered
365 Making Memorials
(Offered as GERM 365 ARCH 365, and EUST 365.) This is a course about what happens to difficult memories: memories that are intensely personal, but made public, memories that belong to communities, but which become ideologically possessed by history, politics, or the media. How are memories processed into memorials? What constitutes a memorial? What gets included or excluded? How is memory performed in cultural objects, spaces, and institutions? What is the relationship between the politics of representation and memory? Who owns memory? Who is authorized to convey it? How does memory function? This course will explore the spaces in which memories are "preserved" and experienced. Our attention will focus on the transformation of private and public memories in works of architecture, performance, literature, and the visual arts primarily in Germany, Europe, and the United States. Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, the visual arts, interactive installation and/or the environment. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Limited to 20 students. Fall semester. Professor Gilpin.2015-16: Offered in Fall 2015
Other years: Offered in Spring 2009, Fall 2012
(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 373.) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; from architectural, art, and film theory and history; from performance studies and performance theory; and from theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.
Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German.
Limited to 15 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.2015-16: Not offered
Other years: Offered in Spring 2012, Spring 2013, Spring 2015
370 Mozart and the Classical Style
(Offered as MUSI 420 and EUST 420.) As one of the most popular composers of all time, Wolfgang Mozart (1756-1791) has come to be taken as the paradigm for the creative genius who produces beautiful art with seemingly no effort--a child of nature, to use a popular eighteenth-century trope, unencumbered by the struggles of adulthood. In this seminar we will examine the cultural-historical context that produced Mozart, his music, and, even before his untimely death, the "Mozart myth." The main texts for the class will be scores of Mozart's mature compositions--symphonies, chamber music, concertos, and most important, operas--as well as selected works by his contemporaries and predecessors. We will interpret these works with the help of primary documents relating to Mozart's life, and with the help of analytic methods developed by scholars such as Wye J. Allanbrook, William Caplan, Daniel Heartz, Robert Levin, and Leonard Ratner. Our studies will be integrated into attending performances of Mozart's work in New York or Boston. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Requisite: MUSI 241 or consent of the instructor. Omitted 2012-13. Professor Schneider.2015-16: Not offered
371 Music and Revolution: The Symphonies of Mahler and Shostakovich
(Offered as MUSI 422 and EUST 422.) Gustav Mahler (1860-1911) and Dmitri Shostakovich (1906-1975) are arguably the two greatest symphonic composers after Beethoven. In this course we will compare and contrast their highly charged music and explore the eras in which they worked--for Mahler, imperial Vienna on the eve of World War I, and for Shostakovich, revolutionary Russia under the tyrannical reign of Joseph Stalin. The class will attend Mahler and Shostakovich performances in New York and Boston, particularly as the musical world marks Mahler's 150th birthday in 2010 and the 100th anniversary of his death in 2011. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.
Requisite: MUSI 241 or consent of the instructor. Omitted 2012-13. Professor Kallick.2015-16: Not offered
372 Culture and Politics in 20th-Century Europe
(Offered as POSC 372 [CP, IR] and EUST 372.) [SC - starting with the Class of 2015] This seminar discusses political ideas, ideologies and political culture in 20th-century Europe. Some themes are Nationalism; Marxism, Socialism and Communism; Fascism; anti-Semitism; Existentialism; the "Century of Total War"; the year 1968; Pope John Paul II; Soccer Hooliganism; "The Idea of Europe," and the question of whether there is a "European identity." Throughout the course, ideas are connected to historical context. The syllabus is a mix of books and films.
Limited to 25 students. Fall semester. Professor Tiersky.2015-16: Not offered
Other years: Offered in Spring 2008, Spring 2010, Spring 2011, Fall 2012, Fall 2013, Fall 2014
373 Topics in European History: The Politics of Memory in Twentieth-Century Europe
(Offered as HIST 438 [EU] and EUST 438.) This course will explore the role of historical memory in the politics of twentieth-century Europe. It will examine how evolving memories of major historical events have been articulated and exploited in the political cultures of England, France, Germany, Eastern Europe, and the Soviet Union/Russia. Topics will include the politics of memory surrounding World Wars I and II, Vichy France, the Holocaust, Soviet Stalinism, and Eastern European communism. Seminar participants will also discuss general issues concerning collective memory: why societies remember and forget historical events, how collective memories resurface, the relationship between memory and authenticity, and the pitfalls of politicizing historical memory. Finally, seminar participants will analyze different sites of memory including film, ritual, monuments, legal proceedings, and state-sponsored cults. One class meeting per week.
Not open to first-year students. Limited to 15 students. Omitted 2012-13. Professor Epstein.2015-16: Not offered
374 Lyrics Before the Lyric
[before 1800] (Offered as ENGL 441 and EUST 441.) No word for lyric poetry is in use in Europe until the sixteenth century. This course examines the poems written before and at the dawn of the definition of lyric poetry, in order to form our own working definition of a short, musical poem. We will read poetry by Sappho, Horace, Pindar, anonymous medieval writers, Richard Rolle, William Dunbar, and others, along with classical and medieval tracts on poetry and poetics. The course will conclude with readings from sixteenth- and seventeenth-century lyric poets (Wyatt, Surrey, Shakespeare, Donne) alongside the treatises that defined lyric for the first time (such as Sidney's Defense of Poesy). Does the "lyric" poem change once it is defined? How do later works speak to the earlier tradition?
Requisite: At least one previous English course, preferably in poetry. Open to juniors and seniors. Limited to 15 students. Omitted 2012-13. Professor Nelson.2015-16: Not offered
385 Witches, Vampires and Other Monsters
(Offered as ARHA 385, EUST 385, and WAGS 310.) This course will explore the construction of the monstrous, over cultures, centuries and disciplines. With the greatest possible historical and cultural specificity, we will investigate the varied forms of monstrous creatures, their putative powers, and the explanations given for their existence-as we attempt to articulate the kindred qualities they share. Among the artists to be considered are Valdés Leal, Velázquez, Goya, Munch, Ensor, Redon, Nolde, Picasso, Dalí, Kiki Smith, and Cindy Sherman. Two class meetings per week.
Limited to 20 students. Fall semester. Professor Staller.2015-16: Not offered
Other years: Offered in Fall 2007, Fall 2008, Fall 2010, Fall 2012, Fall 2013, Fall 2014
390, 490 Special Topics
Fall and spring semesters.2015-16: Offered in Fall 2015 and Spring 2016
Other years: Offered in Fall 2007, Fall 2008, Fall 2009, Fall 2010, Fall 2011, Fall 2012, Spring 2013, Fall 2013, Spring 2014, Fall 2014, Spring 2015
498, 498D, 499, 499D Senior Departmental Honors
A full course.
Fall semester.2015-16: Offered in Fall 2015
Other years: Offered in Fall 2007, Fall 2008, Fall 2009, Fall 2010, Fall 2011, Fall 2012, Fall 2013, Fall 2014


text:
Recipe for Confetti Soup
The Charleston team's entry is eligible for the Popular Choice award. Votes can be cast at www.recipesforkids challenge.com:Makes 6 servings1 3/4 tsp of canola oil3 2/3 oz carrots, raw, diced4 tbsp and 2 1/3 tsp of kale, raw, chopped3 2/3 oz onions, frozen, chopped3 2/3 oz celery, raw, chopped1/2 tsp of black pepper3 1/2 cups of water1 tbsp, 2/3 tsp of parsley, raw1/4 tsp of fennel seed, whole1/6 tsp of crushed red pepper1 lb, 2 oz black-eyed peas6 oz turkey ham1/2 tsp of saltPreparation
Burke student Auja Ravanel serves up some Confetti Soup.
Cypress Restaurant Executive Chef Craig Deihl didn't know what to expect when a Charleston team entered a national competition to create a healthy school lunch recipe, so he crossed his fingers and hoped.
It couldn't have worked out better thus far. The team's recipe for Confetti Soup has been named one of 15 semifinalists in the contest sponsored by Let's Move!, first lady Michelle Obama's campaign to end childhood obesity, and the U.S. Department of Agriculture.
"We all worked together and got it done, and to be in the top 15 in the United States, that's a pretty big accomplishment," he said.
Members of Charleston's team are Deihl; Burke High School students; Slow Food Charleston, an eco-gastronomic nonprofit; and the Lean Team from the Medical University of South Carolina.
The team could submit three recipes, and one had to include dry beans or peas. Deihl brainstormed with students on foods that he could add to the soup that would make them eat it, and they suggested ham.
He tried to use more indigenous products, such as black-eyed peas and collard greens, although he used kale in the submitted version of the recipe.
"It was a play on what your grandmother would have -- beans and greens," he said.
The judges apparently liked what they saw, and Confetti Soup was one of five semi- finalists for its category from more than 350 total submissions.
The recipe is eligible for a Popular Choice award, and Burke also will be visited by a team to help determine the three finalists that will participate in a national cook-off event this summer. Winning teams will be invited to prepare their meals alongside White House chefs.
The recipe wasn't Burke junior and team member Tyler Manigault's most favorite or least favorite, but it was OK, he said. He's glad the recipe has done well, and even if the recipe doesn't go any further, he said he is grateful for the experience of working with Deihl.
"It just puts a lot of the stuff we learn into play," he said. "All the stuff our teachers taught us, we got to be hands-on and push forward and further our career. I'm going to remember everything because it was a fun experience."
The Charleston team's entry is eligible for the Popular Choice award. Votes can be cast at www.recipesforkidschallenge.com
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subset: commoncrawl


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The Government Accountability Office took a look at the federal government crop insurance program and the result isn't pretty. We effectively waste $1 billion a year providing corporate welfare to very large agribusiness operations. From the GAO:
If a limit of $40,000 had been applied to individual farmers' crop insurance premium subsidies, as it is for other farm programs, the federal government would have saved up to $1 billion in crop insurance program costs in 2011, according to GAO's analysis of U.S. Department of Agriculture (USDA) data. GAO selected $40,000 as an example of a potential subsidy limit because it is the limit for direct payments, which provide fixed annual payments to farmers based on a farm's crop production history. Had such a limit been applied in 2011, it would have affected up to 3.9 percent of all participating farmers, who accounted for about one-third of all premium subsidies and were primarily associated with large farms. For example, one of these farmers insured crops in eight counties and received about $1.3 million in premium subsidies. Had premium subsidies been reduced by 10 percentage points for all farmers participating in the program, as recent studies have proposed, the federal government would have saved about $1.2 billion in 2011. A decision to limit or reduce premium subsidies raises other considerations, such as the potential effect on the financial condition of large farms and on program participation.
The federal government's crop insurance costs include subsidies to pay for (1) part of a farmer's crop insurance premiums, which averaged about 62 percent of the total premiums in 2011, and (2) administrative and operating expenses (administrative expenses)—provided on behalf of farmers—to insurance companies to cover their expenses for selling and servicing crop insurance policies. The amount of subsidies—for premiums and administrative expenses—is not limited for individuals or legal entities.
As you can see, one third of this particular subsidy goes to less than 4 percent of "farmers." Having what is effectively an unlimited corporate welfare program for agribusinesses regardless of how big or profitable is unjustifiable.
If we had a sane political system an official report like this would be treated like a whole scandal and dealt with quickly. Given that almost everyone in Congress pretends to be very concerned about the deficit, giving a billion dollars a year to huge companies should cause massive outrage.
Of course we don't have a sane political system so the chances of this program being fixed are small. We have a Senate and an electoral college that radically favors small rural areas. In addition, our campaign donations system means those small state senators depend on getting large checks from the same huge agribusinesses that get this corporate welfare worth billions.
Another reminder of why we need public financing of campaigns and a real democracy that treats all votes as equal.


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TowneBank Preferred Stock Offering Tops $59 Million
August 27, 2008
SUFFOLK, Va., Aug. 27, 2008 (GLOBE NEWSWIRE) -- TowneBank (Nasdaq: TOWN) announced today that it has raised $59.8 million in additional capital through the sale of more than 598,000 shares of its 8% Non-Cumulative Convertible Preferred Stock, Series A, well above the original maximum offering amount of $30 million. The bank also announced that the Board of Directors approved a conversion price for the preferred stock of $18.56, the closing price of the common stock on Tuesday, August 26, 2008. This conversion price equals 5.388 shares of common stock for each share of preferred stock. Since the offering was over-subscribed by the bank's shareholders and members, it was not made available to the general public.
G. Robert Aston, Jr., Chairman and Chief Executive Officer of TowneBank, commented, "We deeply appreciate the tremendous support shown by our shareholders and members through their participation in this offering. Their loyalty and support continues to provide the foundation for our growth and success."
The preferred stock will pay a non-cumulative dividend of 8% per year. Dividends are payable quarterly in cash, when, as and if declared by the Board of Directors, on the first day of March, June, September and December, commencing on December 1, 2008. Dividends on the preferred stock will begin to accrue from August 15, 2008.
On or after September 1, 2011, if the closing price of Towne common stock exceeds 120% of the conversion price for 20 trading days during any consecutive 30 day trading period, including the last day of the period, Towne may, at its option, cause some or all of the outstanding shares of the preferred stock to be automatically converted into its common stock. On September 1, 2013, all of the then outstanding shares of preferred stock will automatically convert into common shares without regard to the then market price of the common stock.
As one of Virginia's top community banks, TowneBank now operates 17 banking offices in Chesapeake, Hampton, Portsmouth, Newport News, Virginia Beach, Norfolk, Williamsburg and York County. Towne also offers a full range of financial services through its controlled divisions and subsidiaries that include Towne Investment Group, Towne Insurance Agency, TFA Benefits, TowneBank Mortgage, TowneBank Commercial Mortgage, GSH Real Estate Corporation, Corolla Classic Vacations and Corolla Real Estate. Through its strategic partnership with William E. Wood and Associates and Prudential McCardle, the bank also offers mortgage services in all of the offices of both companies in Hampton Roads and Northeastern North Carolina. Local decision-making is a hallmark of its hometown banking strategy that is delivered through the leadership of each group's President and Board of Directors. With total assets of $2.72 billion as of June 30, 2008, TowneBank is the largest bank headquartered in Hampton Roads.
Forward-Looking Statements:
This release contains forward-looking statements as defined by the Private Securities Litigation Reform Act of 1995. These statements may address issues that involve significant risks, uncertainties, estimates and assumptions made by management. Facts that may cause actual results to differ materially from those contemplated by such forward-looking statements include competitive pressures in the banking industry that may increase significantly; changes in the interest rate environment may reduce margins and/or the volumes and values of loans made or held as well as the value of other financial assets held; general economic conditions, either nationally or regionally, may be less favorable than expected, resulting in, among other things, deterioration in credit quality and/or a reduced demand for credit or other service; changes in the legislative or regulatory environment, including changes in accounting standards, may adversely affect our business; costs or difficulties related to the integration of the business and the businesses we have acquired may be greater than expected; expected cost savings associated with pending or recently completed acquisitions may not be fully realized or realized within the expected time frame; our competitors may have greater financial resources and develop products that enable them to compete more successfully; changes in business conditions, changes in the securities market and changes in our local economy with regard to our market area and its heavy concentration of U. S. military bases and related personnel. We assume no obligation to update information contained in this release.


text: The 4-star Novotel Convention & Wellness Roissy CDG hotel is just 1.2 miles from Roissy Charles de Gaulle airport, 3.1 miles from the Villepinte exhibition center and 15.5 miles from the center of Paris. The hotel has a restaurant, bar, private car park,free WIFI, and a free shuttle service to Charles de Gaulle airport. This Novotel hotel combines work and relaxation thanks to its 12,917 sq. ft. of modular space ideal for seminars and its spa. Perfect for meetings, business travel and family vacations.


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PiiTohh And The Friends
Get ready for this holiday season with the "PiiTohh and Friends" puzzle game by CloudDHA.In "PiiTohh and Friends" you have to solve the puzzles for the 'stickers' led by the blue bunny sticker 'PiiTohh'.How to play: Drag the "PiiTohh and Friends" stickers onto the provided space (seen as scotchtape/sellotape) in the sticker collection book. You will have to be careful that each sticker adjacent to the top, bottom, left, and right must be friendly to each other because some stickers just don't get along with each other. Finding out whether each sticker is friendly to another is easy, just place them adjacently and check their displayed emotions.What are you waiting for!? Try it out now!The primary objective is to solve the puzzle in the least moves possible.


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The latest version of xTuple demonstrates their commitment to taking feedback from customers and incorporating those ideas back into the product. For every reason we decided to purchase the xTuple solution, it continues to exceed our expectations.
Apple Co-Founder Steve Wozniak Announced as xTuple Conference Opener
Open source software leader partners with oldest speakers' forum in the U.S.
NORFOLK, VA - June 16, 2014 - xTuple CEO Ned Lilly announced today that pass-holders to the company's "ultimate user conference" will enjoy the legendary Steve Wozniak, co-founder of Apple, as opening VIP keynote speaker, thanks to a partnership with The Norfolk Forum. Scheduled for Monday, October 13, through Saturday, October 18, #xTupleCon14 moves this year to the premier downtown Norfolk Marriott Waterside Hotel and Conference Center.
Conference Opener: Tuesday, October 14, at Chrysler Hall, 7:30 p.m.
Steve Wozniak, Apple Inc. Founder, Silicon Valley Icon and Philanthropist
Steve Wozniak helped shape the computing industry with his design of Apple's first line of products – the Apple I and II – and influenced the popular Macintosh. In 1976, Wozniak and Steve Jobs founded Apple Computer, Inc., with Wozniak's Apple I personal computer. The following year, he introduced his Apple II personal computer, featuring a central processing unit, a keyboard, color graphics, and a floppy disk drive. The Apple II was integral in launching the personal computer industry
Wozniak currently serves as Chief Scientist for the in-memory hardware company Fusion-io and is a published author with the release of his New York Times best-selling autobiography, iWoz: From Computer Geek to Cult Icon, in September 2006 by Norton Publishing.
xTuple has a lifelong affiliation with Apple products, including desktops, MacBooks, iPhones and iPads. Users of xTuple ERP are three times more likely to be running Apple products than the average business user.
Admission to the Wozniak event is included in # xTupleCon14 registration, but only a limited number of seats are available on a first come, first served basis. The conference is expected to sell out; June 30 is the cut-off date for early-bird registration.
Pre-conference Workshops are set and feature intense half-day, hands-on training. All conference attendees receive xTuple University (xTupleU) special invitation-only beta, free access for one (1) year. Designed for the future of online learning, xTupleU is led by Pierce Tyler, xTuple vice president of knowledge management.
Development of the complete xTupleCon14 Agenda is still in progress. Session submissions are accepted through June 30 only, and speakers receive 50 per cent off their paid registration fee when staying at this year's conference hotel.
Additionally, the company has offered a special bundled training package for anyone who participates in either class held this August in Washington, D.C. Attendees qualify for one complimentary #xTupleCon14* ticket.
August 11-15: Setup, Configuration and Operation
August 18-21: Power User Training
Registration is available at https://xTuple.com/xtuplecon14.
Guess who's coming to #xTupleCon14? Woz! http://bit.ly/xTupleCon14opener
Want to hear VIP speaker, Apple co-founder Steve Wozniak? http://bit.ly/xTupleCon14opener #xTupleCon14 #ERP
About xTuple, the world's #1 open source ERP
Award-winning xTuple, makers of the world's leading suite of open source accounting, Corporate Relationship Management (CRM) and Enterprise Resource Planning (ERP), is supply chain management software for growing businesses to control their operations and profitability. xTuple integrates all critical functional areas in one modular system: sales, financials and operations — including customer and supplier management, inventory control, manufacturing and distribution — the powerful tools to Grow Your World®.
As a commercial open source company, xTuple works with a global community of tens of thousands of professional users. xTuple gives customers the ability to tailor solutions with multi-platform support for Windows, Mac, Linux and mobile as well as flexible licensing and pricing options. Connect with the company at xTuple.com, with the open source community at xTuple.org, and join the innovation conversation at NextBusinessBlog.com.
CIO Review named xTuple a top company in the forefront of tackling Manufacturing Technology challenges and impacting today's marketplace.
xTuple Supports Innovation
From blueprints to buildouts, xTuple helps foster startups in the heart of the Mid-Atlantic technology corridor between Research Triangle, North Carolina, and Washington, D.C., as a committed, passionate member of the Norfolk/Virginia Beach tech community. Learn more at xTuple.com/aboutus.
Reference the xTuple Style Guide (xSG): xTuple.com/xSG
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