RESULTS:College of Arts & Sciences, Advent Semester 2026

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History

Selected topics in the history of western Europe during the Middle Ages. Emphasis on reading, papers, discussion.
This course examines the military, economic, political, and social upheaval of mid-nineteenth century America. We will consider the failure of antebellum political mechanisms, the growth of sectionalism, justifications for and against secession, the methods and implications of war, competing constitutional systems during the conflict, efforts to eradicate Southern separatism, and the lingering cultural implications of the nation's fratricidal dispute. Students will employ the America's Civil War web site, as well as other media, in preparing for discussions, tests, and research papers.
History majors engage in primary and secondary research on a topic of interest, culminating in a significant analytical paper. The semester concludes with an oral presentation of each student's research.
History majors engage in primary and secondary research on a topic of interest, culminating in a significant analytical paper. The semester concludes with an oral presentation of each student's research.
History majors engage in primary and secondary research on a topic of interest, culminating in a significant analytical paper. The semester concludes with an oral presentation of each student's research.

Humanities

As an interdisciplinary study, this course investigates how the medieval world made sense of itself. It explores material from across the Middle Ages, including literature, art, architecture, and theology, and considers how different literacies (or modes of interpretation and understanding), developed during this time period. Focusing on several different areas of the medieval experience will help participants to gain insights into larger questions that stretch out from the medieval period to today.
This course explores how utopian, dystopian, and post-apocalyptic discourse imaginatively engages--and has engaged--cultural and historical challenges. Using approaches related to history, philosophy, literature, political theory, and the visual arts--especially film--this class seeks to ground utopian and dystopian speculation in the historical and cultural circumstances engendering it. Possible texts include works by Rousseau, More, Plato, Schopenhauer, Nietzsche, Marx, Leibniz, Voltaire, Huxley, Orwell, Zamyatin, McCarthy, Burgess, Atwood, Ishiguro, Lovecraft, Fritz Lang, and Ridley Scott.
This course explores how utopian, dystopian, and post-apocalyptic discourse imaginatively engages--and has engaged--cultural and historical challenges. Using approaches related to history, philosophy, literature, political theory, and the visual arts--especially film--this class seeks to ground utopian and dystopian speculation in the historical and cultural circumstances engendering it. Possible texts include works by Rousseau, More, Plato, Schopenhauer, Nietzsche, Marx, Leibniz, Voltaire, Huxley, Orwell, Zamyatin, McCarthy, Burgess, Atwood, Ishiguro, Lovecraft, Fritz Lang, and Ridley Scott.
This course explores how utopian, dystopian, and post-apocalyptic discourse imaginatively engages--and has engaged--cultural and historical challenges. Using approaches related to history, philosophy, literature, political theory, and the visual arts--especially film--this class seeks to ground utopian and dystopian speculation in the historical and cultural circumstances engendering it. Possible texts include works by Rousseau, More, Plato, Schopenhauer, Nietzsche, Marx, Leibniz, Voltaire, Huxley, Orwell, Zamyatin, McCarthy, Burgess, Atwood, Ishiguro, Lovecraft, Fritz Lang, and Ridley Scott.
This course explores how utopian, dystopian, and post-apocalyptic discourse imaginatively engages--and has engaged--cultural and historical challenges. Using approaches related to history, philosophy, literature, political theory, and the visual arts--especially film--this class seeks to ground utopian and dystopian speculation in the historical and cultural circumstances engendering it. Possible texts include works by Rousseau, More, Plato, Schopenhauer, Nietzsche, Marx, Leibniz, Voltaire, Huxley, Orwell, Zamyatin, McCarthy, Burgess, Atwood, Ishiguro, Lovecraft, Fritz Lang, and Ridley Scott.
Imitation, quotation and appropriation are fundamental creative strategies—in the visual arts, writing, music, and filmmaking. Imitation is how you learn your craft, quotation how you demonstrate expertise, and appropriation a strategy, often with political and legal implications. Forms of expression generated in one context and culture are translated and appropriated for new audiences and purposes. This course examines a diverse range of key monuments, texts, and practices, including the theorization of art in the Italian Renaissance, twentieth-century feminist retellings of "classic" tales, and the international exchange of plots and the formal language of storytelling between the Hollywood Western and Japanese samurai films. The course considers the pleasures and parameters of genre, the conception of intellectual property, and the politics of appropriation.
Imitation, quotation and appropriation are fundamental creative strategies—in the visual arts, writing, music, and filmmaking. Imitation is how you learn your craft, quotation how you demonstrate expertise, and appropriation a strategy, often with political and legal implications. Forms of expression generated in one context and culture are translated and appropriated for new audiences and purposes. This course examines a diverse range of key monuments, texts, and practices, including the theorization of art in the Italian Renaissance, twentieth-century feminist retellings of "classic" tales, and the international exchange of plots and the formal language of storytelling between the Hollywood Western and Japanese samurai films. The course considers the pleasures and parameters of genre, the conception of intellectual property, and the politics of appropriation.
Imitation, quotation and appropriation are fundamental creative strategies—in the visual arts, writing, music, and filmmaking. Imitation is how you learn your craft, quotation how you demonstrate expertise, and appropriation a strategy, often with political and legal implications. Forms of expression generated in one context and culture are translated and appropriated for new audiences and purposes. This course examines a diverse range of key monuments, texts, and practices, including the theorization of art in the Italian Renaissance, twentieth-century feminist retellings of "classic" tales, and the international exchange of plots and the formal language of storytelling between the Hollywood Western and Japanese samurai films. The course considers the pleasures and parameters of genre, the conception of intellectual property, and the politics of appropriation.

International & Global Studies

Using gender as a lens for examining works of art in the Japanese tradition from the thirteenth through twentieth centuries, this course examines a wide variety of formats and mediums, including corpse paintings, cross-dressing performers, and prints of the modern girl. Participants will identify and analyze varying interpretations of gender through time and across culture and address issues associated with applying contemporary gender theory to pre-modern works. Topics to be covered include: Buddhist ideas of the feminine, voyeurism in early modern woodblock prints, and the role of gender in contemporary art.
This advanced lecture course explores how the visual language known as the “Renaissance” was expressed in art in Europe, Africa, Asia, and the Americas from approximately 1400 to 1600. The course considers how the ideals and values of Renaissance visual culture expanded and transformed as they reached different parts of the world through trade and colonization. How did the meanings and narratives associated with the Renaissance shift when they were imposed outside of Europe and navigated through the hands of both willing and unwilling contributors? While consistently exploring this question, students will also interrogate how art historians define and identify Renaissance art to ensure an inclusive and critical understanding of its visual entanglements.
How do film and literature inform our understanding of the evolving concepts of art, ideology and material conditions in modern China? How have literary and cinematic representations changed over the last century to accommodate and facilitate social transformations? What are the characteristics of the cultural productions from mainland China, Hong Kong, and Taiwan? This course helps students develop a critical sense and appreciation for Chinese cinema and literature. Taught in English.
The course examines the principles and concepts of development and focuses on major development problems and policies, both domestic and international. Topics of analysis include theories of economic growth and development, poverty and income distribution, population, human capital, agricultural and rural development, and international trade.
A study of the causes of and solutions for pollution and environmental degradation weighs the value of ecosystems and their role in sustaining economic activity. Applies cost/benefit analysis to environmental issues and provides an introduction to economics of nonrenewable and renewable resources such as mines, forests, and fish.
This courses studies financial aspects of growth, income and price level determination in open economies. Topics include the balance of payments, exchange rate determination, international payment adjustment mechanisms, capital flows, and international macroeconomic policy.
A study of twentieth-century literature written in English from Africa, South Asia, and the Caribbean, concentrating on colonial and post-colonial themes, as well as issues of gender, politics, and nationalism. Possible authors include Chinua Achebe, Wole Soyinka, Nadine Gordimer, J. M. Coetzee, Salman Rushdie, Arundhati Roy, V. S. Naipaul, and Derek Walcott.
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