ENGLISH!AND!MEDIA!STUDIES!2016!COURSE!GUIDE! · •...

MAY INTENSIVES / SUMMER / FALL 2016

BENTLEY UNIVERSITY

AAC 084 175 Forest Street

Waltham, MA 02452

http://academics.bentley.edu/departments/english Student Films: http://vimeo.com/bentleyems

Twitter: @MediaandCulture Facebook: Media and Culture at Bentley University

Last revised: 3/31/2016

ENGLISH AND MEDIA STUDIES 2016 COURSE GUIDE

ENGLISH MAJOR

CREATIVE INDUSTRIES MAJOR

MEDIA AND CULTURE MAJOR

Details inside.

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STUDYING ENGLISH AND MEDIA STUDIES AT BENTLEY UNIVERSITY Language is at the heart of our mission as a department. We aim to foster creation and critical analysis of cultural texts, including visual media and literary works, and to guide students toward a complex understanding of the personal, social, cultural, historical, political, economic, and institutional contexts in which these texts are produced and interpreted. Offerings include closely-‐linked courses in Literature and Film, Media and Culture, and Writing and Communication. Students may pursue the following programs of study:

• Media and Culture Major (MC) • English Major (EN) • Creative Industries Major (CR) • Liberal Studies Major (LSM) in Media, Arts and Society (MS) • Minor in English and Media Studies • Minor in Gender Studies

English and Media Studies programs prepare students to enter fields that require both creative and business skills, including: Media Production, Film Distribution, Sound Design, Media Advertising, Film Editing, Media Finance, Digital Archiving, Game Design, Entertainment Law, Motion Graphics Design, Media Management, Screenwriting, Media Policy Analysis, Journalism, Lighting Design, Media Marketing, Publishing, and Writing. Students have the option of enrolling in the Business Studies Major or Business Studies Minor when declaring a B.A. degree.

CONTACT INFORMATION FOR EMS MAJORS, MINORS, AND CENTERS Prof. Wiley Davi, Chair, English and Media Studies AAC 091, 781.891.2651, [email protected] Kathleen Sheehan, Academic Administrative Assistant AAC 083, 781.891.2629, Fax: 781.891.2896, [email protected] MEDIA AND CULTURE MAJOR / INTERNSHIPS

Prof. Elizabeth LeDoux, LIN 34, 781.891.2961, [email protected] CREATIVE INDUSTRIES MAJOR

Prof. Jennifer Gillan, AAC 093, 781.891.2816, [email protected] ENGLISH MAJOR

Prof. Tzarina Prater, AAC 085, 781.891.3103, [email protected] LIBERAL STUDIES MAJOR: MEDIA, ARTS AND SOCIETY

Prof. Samir Dayal, AAC 067, 781.891.2957, [email protected]

ENGLISH AND MEDIA STUDIES MINOR Prof. Ken Stuckey, AAC 099, 781.891.3495, [email protected]

GENDER STUDIES MINOR

Prof. Traci Abbott, AAC 088, 781.891.2643, [email protected] THE ESOL CENTER

Prof. Pamela Carpenter, Director MOR 306, 781.891.3135, [email protected]

MEDIA AND CULTURE LABS AND STUDIO

Prof. Elizabeth LeDoux, Director LIN 34, 781.891.2961, [email protected]

Prof. Jeffrey Stern, Production Manager LIN 10A, 781.891.2967, [email protected]

THE WRITING CENTER

Prof. Gregory Farber-‐Mazor, Director LIB 023A, 781.891.2978, [email protected]

B.A. IN ENGLISH

(4) Core Courses:

EMS 200: Introduction to Literature, Film, and MediaEMS 201: Introduction to Cultural Studies(1) LIT or CIN course on race and ethnicity, or globalization and colonialism, or transnationality and postcoloniality from the following:

LIT 260: Introduction to African American LiteratureLIT 262: Native American Literature and CultureLIT 330: Literature of the HolocaustLIT 333: Literature and Film of the Vietnam WarLIT 337: Carribbean LiteratureLIT 365: Immigrant and Ethnic LiteratureLIT 367: African American Women WritersLIT 370: Passing in American LiteratureLIT 380: Money, Love, and Death: Colonialism in Literature and CultureLIT 394: Selected Topics in African American Lit and Cultural StudiesCIN 376: International CinemaCIN 377: African Americans in Hollywood FilmWith departmental approval:

LIT 391: Selected Topics in Literary FormLIT 392: Selected Topics in Literary ThemesLIT 393: Selected Topics in World LiteratureLIT 395: Selected Topics in American LiteratureLIT 397: Selected Topics in Cultural StudiesLIT 402: Seminar in LiteratureLIT 491: Literary TheoryLIT 492: Directed Study in EnglishCIN 371: Great DirectorsCIN 370: Selected Topics in Cinema Studies

(1) Creative writing course from the following:LIT 310: PoetryLIT 311: FictionLIT 312: Drama/ScreenwritingLIT 313: Nonfiction/EssayLIT 314: Mixed GenresCOM 328: Writing and Design for the Web and Multimedia

(4) Course Electives (CIN, COM, EMS, LIT, MC); it is encouraged that one course focus on constructions of gender and sexuality, such as:

LIT 369: Sexual Identity and CultureCIN 371: Contemporary Queer DirectorsCIN 375: Women in FilmLIT 334: Women in LiteratureLIT 367: African American Women Writers

Additional Degree Requirements

General Education Requirements required of all majorsBusiness Studies Minor or Major(4) Modern Language Courses (intermediate proficiency)(3) Arts & Sciences Course Electives(5) Unrestricted Course Electives

B.A. IN MEDIA AND CULTURE

Centered on the nature of storytelling in all its forms and designed to pre-pare students for careers in the media industries, the Media and Culture major is focused on production with an integrative curriculum on media literacy, theory, and business. Show business is just that—a business. Students not only gain technical expertise in specialties such as video and audio production, graphic and motion design, and writing about media forms, they also learn solid business skills that teaches what it really takes for today’s leading and innovative media companies to succeed. With a keen focus on media literacy that everyone student should have, the wide array of available English and Media Studies courses teach how media texts operate at the creative, cultural, and industrial levels. You can join other media and culture majors who have screened their original films at the Cannes Film Festival, interned at companies like MTV, and landed full-time jobs with prominent media firms in Boston, New York, and Los Angeles.

You will be encouraged to complete either a media internship or capstone project, and will have the flexibility to study abroad or enroll in Bentley’s domestic away program for one semester at New York University. The Media and Culture Labs and Studio are home to professional software for screenwriting, film editing, sound mixing, animation, and graphic design and it is where you will gain hands-on experience in all forms of media production.

(4) Core Courses:

EMS 200: Introduction to Literature, Film, and MediaMC 220: Introduction to Media Production(1) Theory elective from the following:

EMS 201: Introduction to Cultural StudiesCIN 375: Women in FilmCIN 379: Film TheoryMC 200: Introduction to Media Theory

(1) Media production elective from the following:MC 222: Digital PhotographyMC 224: Video ProductionMC 321: Audio Production and Sound DesignMC 322: Documentary ProductionMC 323: Animation Production and Motion Design

(4) Course Electives (CIN, COM, EMS, LIT, MC)


General Education Requirements required of all majorsBusiness Studies Minor or Major(4) Modern Language Courses (intermediate proficiency)(3) Arts & Sciences Course Electives(5) Unrestricted Course Electives

B.S. IN CREATIVE INDUSTRIES

The Creative Industries program is the perfect major where business meets the arts & sciences. A partnership of the Departments of English and Media Studies with Information Design and Corporate Communica-tion, Creative Industries majors learn how historical and technological changes drive demand for new culture, and dissect how innovators build content, platforms, or services for market success.

Creative industries are a major driver of global growth. To succeed in this rewarding arena there is a need for mastery of vital advocacy and visibility tools so creative works can “break through the clutter” to reach intended audiences. Our courses introduce students to the special-ized techniques creative industries need in film, music, mobile gaming, television, advertising, user interface design, packaging, promotion, information architecture, and sports or entertainment public relations.

MC 341: Creative Industries(1) Media industry elective from the following:

MC 260: The Television IndustryMC 342: Media Industry ConvergenceMC 345: The Music IndustryMC 350: The Video Game Industry

(2) EMS media-related electives or internship:COM 324: Design as CommunicationCOM 328: Writing and Design for the Web and MultimediaLIT 312: Creative Writing: Drama/ScreenwritingLIT 313: Creative Writing: Nonfiction EssayLIT 314: Creative Writing: Mixed GenresMC 200: Introduction to Media TheoryMC 220: Introduction to Media ProductionMC 300: Selected Topics in Media StudiesMC 321: Audio Production and Sound DesignMC 323: Animation Production and Motion DesignMC 421: Internship in MediaMC 260, MC 342, MC 345, MC 350

IDCC 370: Web Design IIDCC 240: Fundamentals of Visual Communication(1) IDCC elective from the following:

IDCC 250: Public Relations Theory and PracticeIDCC 255: Public Relations WritingIDCC 340: Advanced Visual CommunicationIDCC 350: Journalism for the WebIDCC 360: Public Relations and Information TechnologyIDCC 375: User Interface DesignIDCC 380: Web Design IIIDCC 385: Elements of Usability and User ExperienceIDCC 390 (approved topic only; see DRS for details)IDCC 421: Internship in IDCC

(1) IDCC elective or internship


General Education Requirements required of all majorsBusiness Core Requirements(5) Arts & Sciences Course Electives(2) Unrestricted Course Electives(1) Business related elective

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LIBERAL STUDIES MAJOR IN MEDIA, ARTS AND SOCIETY Students embarking in the Liberal Studies Major with a concentration in Media Arts and Society will be grounded in the discipline of English and Media Studies with a cultural studies approach. This LSM aims to engage students in critical discourse about the uses and effects of modern media, increase knowledge about media technology, and encourage creative thinking through the use of such media. This concentration has a “hands on” component in which students work directly with video, graphic design, digital photography, and sound design in creative ways. LSM in Media Arts in Society course requirements include:

• Media and Culture production elective • 1 or 2 media-‐focused courses from a business discipline • 5 or 6 courses in media-‐focused electives in media and culture, cinema

studies, communication, expository writing, literature, mathematics, modern languages, natural and applied sciences, sociology, history, interdisciplinary studies, global studies, psychology, information design and corporate communication, law, taxation, and financial planning, marketing, and computer information systems

Note: you may not major in IDCC and the LSM in Media, Arts and Society. ENGLISH AND MEDIA STUDIES MINOR A minor in English and Media Studies is a perfect complement to a business education. The English and Media Studies minor increases your sensitivity to language and culture, enhances your ability to communicate effectively, and develops your analytical abilities. The following detail the basic guidelines to complete a minor, as well as information on the four concentrations available:

§ All minors consist of 4 courses (12 credits) in a specific discipline, with the exception of the business studies minor (15 credits)

§ Completion of a minor may require coursework beyond degree requirements

§ Courses applied to the minor may not count toward the major § Courses in the minor may be applied to the Humanities/Social Science

elective in the General Education core, Business, Arts and Sciences, or Unrestricted elective slots only

§ Students may apply no more than 3 credits in AP or transfer credit to the minor

§ Students must attain a minimum cumulative GPA of 2.0 in the minor

Communication

§ COM 210: Effective Speaking § COM Communication elective § COM Communication elective § COM or IDCC Communication elective

Note that IDCC courses count as business courses. Creative Writing This minor encourages students to explore their own insights and develop their own styles and voices.

§ LIT Literature elective in literary forms (LIT 210 -‐ 224) § LIT Creative writing elective (LIT 310 -‐ 314) § LIT Creative writing elective (LIT 310 -‐ 314) § LIT Literature elective

Literature and Cinema With the help of an advisor from the English and Media Studies Department, minors select four courses in literature—and/or cinema studies that form a coherent group. (The four courses for the minor do not include the general education literature requirement.) Media and Culture With the help of an advisor from the English and Media Studies Department, minors select four courses in media and culture that form a coherent group. The Gender Studies program provides an interdisciplinary approach to understanding the political, social, economic, and personal implications of gender issues. Courses combine the analytical tools of different disciplines, incorporating practical and theoretical strategies to explore gender in a broad range of cultural and historical contexts. This minor allows students to more fully understand the way gender informs the personal and professional aspects of their lives and to communicate to prospective employees that the student has taken initiative to expand upon his or her academic and professional knowledge of social and political issues.

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The Gender Studies program provides an interdisciplinary approach to understanding the political, social, economic, and personal implications of gender issues. Courses combine the analytical tools of different disciplines, incorporating practical and theoretical strategies to explore gender in a broad range of cultural and historical contexts.

The Gender Studies minor allows students to more fully understand the way gender informs the personal and professional aspects of their lives and to communicate to prospective employees that the student has taken initiative to expand upon his or her academic and professional knowledge of social and political issues. Courses offered for Fall 2016 (unless otherwise specified):

GENDER STUDIES/INTERDISCIPLINARY ID 211: INTRODUCTION TO GENDER STUDIES 001: Traci Abbott, W, 11:00AM-‐1:50PM, LAC 325A – D, SL4, LSM-‐DS/MS ENGLISH & MEDIA STUDIES LIT 381: SITCOM NATION: AMERICAN FAMILY IN FICTION & FILM (3 credits) S11: Jennifer Gillan, MTWRF, 9:00AM-‐5:00PM, SMI 201 – C, D, LSM-‐AM, MS (Summer Session I) CIN 370: WOMEN IN FILM AND TELEVISION 001: Elizabeth LeDoux, W, 11:00AM-‐1:50PM, LIN 10 – D, LSM-‐AM/MS CIN 380: WONDER WOMEN 001: Ken Stuckey, T, 6:30-‐9:10PM, LAC 325A – D, LSM-‐MS LIT 340: GRAPHIC NOVEL (3 credits) H01: Tzarina Prater, M/W, 8:00-‐9:20AM – D, LSM-‐EG/MS (Honors program only) GLOBAL STUDIES GLS 236: CAMPAIGNS AND ELECTIONS E01: Jeff Gulati, W, 6:30-‐9:10PM, SMI 320 – C, LSM-‐AM

HISTORY HI 315: FILM, FASHION AND FOOD IN SOUTH ASIA 001: Angma Jhala, M/W, 5:00-‐6:20PM, SMI 100 – I, LSM-‐GP HI 358: U.S. WOMEN’S HISTORY 001: Jennifer Alpert, W, 11:00AM-‐1:50PM, SMI 100 – D, LSM-‐DS LAW, TAX AND FINANCIAL PLANNING LA 105: RACE AND THE LAW 001: Kiana Pierre-‐Louis, T/F, 11:00AM-‐12:20PM, SMI 305 – D, LSM-‐DS MANAGEMENT MG 228: MANAGING DIVERSITY IN WORKPLACE 001: Marcy Crary, Donna Blancero, F, 2:00-‐4:50 PM, SMI 214 – D, LSM-‐DS NATURAL & APPLIED SCIENCES PS 333: GENDER PSYCHOLOGY E01: Clarissa Sawyer, W, 6:30-‐9:10PM, MOR 300 – D, LSM-‐DS/HN PS 388: ABNORMAL PSYCHOLOGY 001: Barbara Nash, T/F, 9:30-‐10:50AM, MOR 300 – D, SL4, LSM-‐DS/ES/HN 002: Barbara Nash, T/F 11:00AM-‐12:20PM, MOR 300 – D, SL4, LSM-‐DS/ES/HN

GENDER STUDIES MINOR

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FACULTY ADVISERS for all EMS Majors and Minors Please speak to your adviser or a faculty member in the English and Media Studies Department should you have questions. Traci Abbott, Lecturer AAC 088, 781.891.2643, [email protected] Ben Aslinger, Associate Professor AAC 075, 781.891.2944, [email protected] Andy Aylesworth, Associate Professor (MK) MOR 279, 781.891.3149, [email protected] Wiley Davi, Associate Professor and Chair AAC 091, 781.891.2651, [email protected] Samir Dayal, Associate Professor AAC 067, 781.891.2957, [email protected] Jennifer Gillan, Professor AAC 093, 781.891.2816, [email protected] Casey Hayward, Associate Professor AAC 087, 781.891.2862, [email protected]

Bruce Herzberg, Professor AAC 079, 781.891.2950, [email protected] Judith Klein, Senior Lecturer AAC 074, 781.891.2768, [email protected] Elizabeth LeDoux, Senior Lecturer LIN 34, 781.891.2961, [email protected] Randall Nichols, Associate Professor AAC 078, 781.891.2504, [email protected] Tzarina Prater, Assistant Professor AAC 085, 781.891.3103, [email protected] Anna Siomopoulos, Associate Professor AAC 073, 781.891.2858, [email protected] Jeffrey Stern, Lecturer LIN 10A, 781.891.2967, [email protected]

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ESOL CENTER Students whose home language is not English are invited to take advantage of the free tutorial services offered by our ESOL Center. English and Media Studies faculty who specialize in teaching English to speakers of other languages (ESOL) provide support to help students achieve success in their courses across the curriculum. To schedule an appointment or for more information: http://www.bentley.edu/academics/departments/english-‐and-‐media-‐studies/esol-‐center or call 781.891.2021. MEDIA AND CULTURE LABS AND STUDIO The Media and Culture Labs and Studio supports the English and Media Studies Department’s media and culture major, the joint Creative Industries major, as well as the university’s double major in Liberal Studies with a concentration in Media, Arts and Society. This state-‐of-‐the-‐art facility provides resources for all forms of media production: video, sound, digital photography and design. The labs house industry-‐standard software for video editing, screenwriting, sound mixing, animation, graphic and motion design, and DVD authoring. The professional production tools available include digital and HD cameras, lighting and grip equipment, microphones and audio accessories. A soundproofed studio with green screen and lighting grid complete the professional production environment. For more information or to reserve equipment: http://www.bentley.edu/academics/departments/english-‐and-‐media-‐studies/media-‐and-‐culture-‐labs-‐and-‐studio THE WRITING CENTER

The Writing Center is open days and evenings for one-‐to-‐one assistance with writing skills. It is staffed by a writing instructor and by peer tutors chosen for both the quality of their own writing and for their friendliness. Hundreds of students at Bentley — students of all years and abilities — use The Writing Center each semester. What is more, they come to the center at all stages of the writing process. To schedule an appointment or for more information: http://www.bentley.edu/academics/departments/english-‐and-‐media-‐studies/writing-‐center or call 781.891.3173.

CAREERS AND INTERNSHIPS Students in our programs have interned or currently work for such companies as Dreamworks Studios, Amblin Entertainment, MTV Networks, Allen & Gerritsen, Spike TV Digital, Arnold Worldwide, Dick Clark Productions, Martha Stewart Omnimedia, Marvel Comics, Charlesbridge Publishing, WGBH, Picture Park, Mark Jacobs, Chanel, Christian Louboutin, Fox News, CBS News, NBC Universal, Sony Music Entertainment, General Electric, and the Cannes International Film Festival an L.A. Intensive Internship Programs offered by the American Pavilion, among others. REGISTRATION FOR DIRECTED STUDIES, INTERNSHIPS, AND CAPSTONES If you plan to register for the following media-‐related courses, please speak to your adviser directly, as they each entail additional registration requirements:

LSM 450: CULMINATING PROJECT – MEDIA ARTS AND SOCIETY MC 401: DIRECTED STUDY IN MEDIA MC 420: MEDIA AND CULTURE CAPSTONE PROJECT MC 421: MEDIA AND CULTURE INTERNSHIP

LIBERAL STUDIES MAJOR – ALL CONCENTRATIONS There are numerous English and Media Studies courses that are approved for the following LSM concentrations:

• American Studies • Diversity and Society • Earth, Environment, and Global Sustainability • Ethics and Social Responsibility • Global Perspectives • Health and Industry • Media, Arts and Society • Quantitative Perspectives

Please be sure to consult the Registrar’s site for approved and offered courses for each term.

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2016 REGISTRATION The following are course offerings from the English and Media Studies Department. Please consult the Registrar’s course information on the Bentley website for any newly LSM-‐approved courses and courses in other disciplines: http://www.bentley.edu/offices/registrar/undergraduate-‐day-‐registration-‐information Registration for May intensives and summer sessions begins on April 4. Fall registration begins April 5. Please note the following where designated for course descriptions: C = Communication Intensive Course D = Diversity Intensive Course I = International Intensive course SL4 = Service Learning 4th Credit Option EMB = Embedded Service Learning LSM-‐AM = Liberal Studies Major (American Studies) LSM-‐DS = Liberal Studies Major (Diversity and Society) LSM-‐EG = Liberal Studies Major (Earth, Environment, and Global Sustainability) LSM-‐ES = Liberal Studies Major (Ethics and Social Responsibility) LSM-‐GP = Liberal Studies Major (Global Perspectives) LSM-‐HN = Liberal Studies Major (Health and Industry) LSM-‐MS = Liberal Studies Major (Media Arts and Society) LSM-‐QP = Liberal Studies Major (Quantitative Perspectives) Synchronous Remote Course: students will work on-‐line from a remote location during the regularly assigned class times. Hybrid Course: students will have the option of attending in the classroom OR working from a remote location during the regularly scheduled class times. **: Designates cluster courses. Requires registration for both courses listed.

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MAY INTENSIVES -‐ 2016 COURSE DESCRIPTIONS LIT 381: SITCOM NATION: AMERICAN FAMILY IN FICTION & FILM (3 credits) S11: Jennifer Gillan, MTWRF, 9:00AM-‐5:00PM, SMI 201 – C, D, LSM-‐AM, MS Mandatory Pre-‐session April 15, 6-‐8PM. Class meets May 16-‐20. The nurturing, nuclear families of television sitcoms such as Leave it to Beaver and Father Knows Best are often idealized by contemporary Americans anxious about contemporary family conflicts and complexities. The media convert these anxieties into consumable types (e.g., the deadbeat dad) and positions them against the sitcom ideal of the self-‐sacrificing mother and tough, but loving father. By analyzing literature, film, and contemporary television responses to “classic” TV sitcom representations of American familial and cultural norms, this course explores the entrenchment of and challenges to gendered (and race-‐ and class-‐based) family ideals. It addresses the impact of consumerism and the media on people’s perceptions of the ideal American family and their own distance from its norms. In addition to considering social and historical issues related to representation, the course compares how literary and cinematic metaphors function and examines issues related to form (short story, poem, memoir, sitcom, or long-‐arc serial drama). While it focuses primarily on textual and cultural analysis, the class raises some media industry issues (e.g., trends in advertising) and trends in form (e.g., the displacement of the sitcom by the serial drama). SUMMER I -‐ 2016 COURSE DESCRIPTIONS MC 224: VIDEO PRODUCTION (3 credits) E11: Jeff Stern, M/W, 6:00-‐9:10PM, LIN 10 – LSM-‐MS Class meets May 23-‐June 30. Make up for Memorial Day, June 3. This course is designed to give students a complete overview of the video production process in a hands-‐on, collaborative environment. From generating a good idea, to scriptwriting, to storyboarding, to location scouting, to casting, to cinematography, to audio recording, to editing and finally to output and distribution, students will learn about every stage of movie production by making movies. In addition to the practical and technical aspects of moviemaking, we will discuss issues of aesthetics and meaning as they pertain to the moving image. The goal is for students to come away from this class with an understanding of how movies are made and the ability to think critically about what they mean.

SUMMER I -‐ 2016 COURSE DESCRIPTIONS (STEP / TRAVEL COURSES) EXP 101L: EXPOSITORY WRITING I WITH LAB (3 credits) ST1: Wiley Davi, M/W, 9:30AM-‐12:15PM; 1:00-‐3:55PM – STEP STUDENTS ONLY Students learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? Instructors of Expository Writing I assign readings that advance students’ learning, challenge them intellectually, engage them in the process of thinking critically about the issues raised, and motivate them to construct meaning of their own. Students are expected to complete Expository Writing I by the end of their first year. Designed for native speakers of English who can benefit from an intensive writing lab. LIT 232: MYTH AND FOLKLORE (3 credits) TR2: Barbara Paul-‐Emile – D, I – TRAVEL COURSE; BY APPLICATION ONLY This sixteen-‐day short-‐term course offered May 13–29, 2016 focuses on the study of selected Greek myths and involves class travel to several sites on the Greek mainland, the Aegean islands and Turkey. Students will be introduced to the achievements of fifth century Athens, to the heroic tradition in Greek myth with an overview of the Minoan and Archaic periods. Class readings will include tales of the Olympian family of Zeus, The Iliad, The Odyssey tales of Heracles, Theseus and other selected myths. Traveling by air, land and sea this study tour will include visits to such historical and cultural sites as the Parthenon on the Acropolis and the New Acropolis museum in Athens, the almost intact classical theatre in Epidarus; the Citadel in Mycenae; Olympia, site of the first Olympic Games; Delphi, seat of Apollo’s Oracle on the mainland and to the Aegean islands of Mykonos, Rhodes, Crete, Patmos, Santorini and the ancient city of Ephesus in Turkey. Students will have the opportunity to spend three days in Paris on our return journey to visit the newly renovated and impressive Greek Galleries of the Louvre Museum. There they will visit historical sites and will receive curators’ lectures on the museum’s Greek holdings such as the Aphrodite of Melos commonly known as the Venus de Milo and the Winged Victory of Samothrace also known as the Nike of Samothrace. Please note that this class is closed and the course description provided is informational.

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FALL -‐ 2016 COURSE DESCRIPTIONS

Cinema Studies CIN 270: INTRODUCTION TO CINEMA STUDIES (3 credits) 001: Anna Siomopoulos, M/R, 2:00-‐3:20PM, LIN 30 – LSM-‐MS Fulfills LIT requirement or A&S elective. This course is designed to introduce you to the history and analysis of film. While learning the technical and critical vocabularies of film studies, you will examine films representing a variety of styles and genres, including experimental, documentary, and narrative modes. Course readings and class discussions will also familiarize you with extra-‐textual discourses about film industries as social and economic institutions. Because the course has both a global and an historical scope, you will study films from the silent period to the present, and from many different nations, including Italy, France, Germany, and Czechoslovakia.

CIN 370: WOMEN IN FILM & TELEVISION (3 credits) 001: Elizabeth LeDoux, W, 11:00AM-‐1:50PM, LIN 10 – D, LSM-‐AM/MS Fulfills LIT requirement or A&S elective. The contentious debate remains for women in front and behind the camera, in Hollywood and on the small screen, as to why there are still so few opportunities for them as actors, writers, producers, directors, executives, and showrunners. Of late, American television has seen a slight shift from its male-‐centric focus where there is an increase of diverse representations of women, as well as more women directing, writing, and producing. But, it is still a rather small gain. According to the Directors Guild of America, only 6.4% of Hollywood feature films released in 2013-‐14 and 16% of episodic television programs for the 2014-‐15 season were directed by women. In the recently released USC Annenberg study, only one-‐third of all speaking roles in film and less than 40% for television went to women. This course will analyze the underlying issues of stagnation, development, and success for women in the entertainment world. Although this course will survey some of the most influential women in film and television, contemporary films and television programs to be explored may include screenings and discussion of Mad Max: Fury Road, The Heat, Girls, Clouds of Sils Maria, Inside Amy Schumer, 30 Rock, Game of Thrones, Carol, Housebound, Mad Men, Veep, The Hurt Locker, Marvel’s Jessica Jones, The Fall (U.K.), Orange is the New Black, iZombie, How to Get Away with Murder, Tangerine, Diary of a Teenage Girl, Scream Queens, Orphan Black, Unbreakable Kimmy Schmidt, The Mindy Project, and American Horror Story.

CIN 381: WONDER WOMEN (3 credits) E01: Ken Stuckey, T, 6:30-‐9:00PM, LAC 325A – D, LSM-‐MS Fulfills LIT requirement or A&S elective. From the preternatural strength of Buffy Summers to the sultry confidence of Jackie Brown, heroic women characters often have a profound and lasting impact on the cultural imagination. But when is 'Girl Power' really challenging staid notions about gender roles, and when does it simply serve as a fantasy reinscription of old premises about women as servants, caregivers, or sex objects? This course applies these critical concerns to a number of heroic, superheroic, and antiheroic women characters in television and cinema.

Language Studies and Communication Theory

COM 210: EFFECTIVE SPEAKING (3 credits) 001: Joan Atlas, M/R 11:00AM-‐12:20PM, SMI 112 – C, SL4 002: Zachary Hanzel-‐Snider, M/R, 11:00AM-‐12:20PM, LAC 340 – C, SL4 003: Martha Singer, R, 8:00-‐10:50AM, LAC 325C – C, SL4 004: Bruce Herzberg, M/R, 12:30-‐1:50PM, LAC 325A – C E01: Christine Sarkisian, M, 6:30-‐9:10PM, LAC 335 – C E02: Erin Kappeler, W, 6:30-‐9:10PM, LAC 340 – C Prerequisite: EXP 101. Fulfills A&S or Hum/SS elective, not LIT elective. Success in every aspect of business life, from interviewing to meetings to giving reports and presentations, from sales to management to client relationships in accounting and finance—all depend on the ability to speak confidently, and to project oneself and one’s message effectively. Developing these skills strengthens presentations in other classes as well. This course gives techniques and tools for developing, organizing, and delivering a variety of strong presentations. It also covers effective use of Powerpoint and other visual aids, and methods for overcoming stage fright and anxiety about public speaking.

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Language Studies and Communication Theory (con’t)

COM 311: MONEY, POWER, COMMUNICATION (3 credits) 001: Randy Nichols, T/R, 5:00-‐6:20PM, LIN 10 – C, D, LSM-‐MS Prerequisite: EXP 101 Musicians have sung about it; filmmakers have documented it; even video games like The Sims have said something about the struggle over money and power – who has it, who needs it, and what it can be used for. This course uses a mixture of films, games, lectures, class discussions and exercises to examine this struggle—particularly through mass communication. By drawing on examples from a variety of media, the course will illustrate not just how we commonly view money and power but also how we relate our perceptions of those things to other categories such as gender, race, and sexuality. COM 320: INTERCULTURAL COMMUNICATION (3 credits) 001: Kevin Browne, T/R, 5:00-‐6:20PM, LAC 340 – I Prerequisite: EXP 101 This course explores theories of intercultural communication and the ways specific cultural knowledge informs communication. We will consider the ways race, class, ethnicity, religion, sex, gender, sexual orientation and age affect communication within (domestic) and across (international) cultures. The course readings are drawn from a wide variety of sources. Some take a broad view and are theoretical. Others relate a piece of cultural knowledge or practice that has the potential to impact intercultural communication in a variety of ways. We will view videos and occasionally listen to music as additional means of understanding some of the multiple ways different cultures go about communication similar issues and tasks. The class involves a great deal of participation and regular reflection on readings and experiences.

English and Media Studies

EMS 200: INTRODUCTION TO FILM, LITERATURE, AND MEDIA (3 credits) 001: Tzarina Prater, M/W, 9:30-‐10:50AM, LAC 325A – C, D, LSM-‐MS This course helps students become more adept readers of cultural texts. When we read a text, we engage in a practice; this practice is shaped by the text and by the conditions of its production and reception. This course provides a basic foundation for understanding how a variety of textual forms and genres work in terms of style and form. Students will read, view, and listen for plot and pleasure as well as for the intricate processes of narrative, visual, and sonic construction that create meanings and affect audiences. This course asks students to think about texts are made and to think about what practices we use to critically read cultural texts.

EMS 201: INTRODUCTION TO CULTURAL STUDIES (3 credits) 001: Ben Aslinger, M/W, 9:30-‐10:50AM, LIN 10 – D, LSM-‐MS What is “culture”? What is “popular culture” and why and how do we think and write about it? To begin to answer these questions, this course considers popular culture as an arena of social and political struggle. This course looks at how cultural texts change meaning and significance as they become increasingly “popular.” For example, Hip Hop, initially a subcultural form of expression, is now produced on every continent. It began as a supposedly subversive, distinctly “urban” and countercultural “voice,” yet these texts are also read as masculinist violence against women and products for/of mass consumption purveyed through conduits of global capital. Is what we consider “popular” completely evacuated of substantive meaning? Is it a matter of generational and disciplinary differences? If we are considering sub-‐cultural formations, do you have to be “in” the culture to be able to “read” the texts produced by that culture? What does it mean to read from outside? This class gives students a vocabulary to enter debates about the meanings of cultural texts. In particular, we will examine work which argues that the space of the popular is meaningful, that it can be a site of pleasure and resistance and consider the role of popular culture with respect to identity formation, social location, pleasure and power in their quotidian expressions. The success of this course will depend on taking what we “learn” in the classroom and applying it to the outside world in which we live. Assessment will be based on small paper assignments, class participation, a mid-‐term, and final paper.

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Expository Writing I: Critical Thinking and Writing

EXP 101: EXPOSITORY WRITING I (3 credits) 001: Traci Abbott, T/F, 8:00-‐9:20AM, LAC 325C – SL4

TOPIC: "Gender and Sexual Identity" 002: Traci Abbott, T/F, 9:30-‐10:50AM, LAC 325C – SL4

TOPIC: "Gender and Sexual Identity" 003: Zachary Hanzel-‐Snider, T/F, 9:30-‐10:50AM, LAC 340 – SL4 004: Erica Arkin, M/R, 11:00AM-‐12:20PM, LAC 335 – SL4 005: Claudia Stumpf, M/W, 3:30-‐4:50PM, LAC 340 – SL4 006: Jacob Crane, T/F, 12:30-‐1:50PM, LAC 335 007: Debra Goldberg, M/W, 3:30-‐4:50PM, SMI 112 – SL4 008: Thomas Finn, M/W, 3:30-‐4:50PM, LAC 335 009: Thomas Finn, M/W, 5:00-‐6:20PM, LAC 335 010: Jacob Burke, T/F, 11:00AM-‐12:20PM, LIN 10 011: Jacob Burke, T/F, 12:30-‐1:50PM, LIN 10 012: Mareike Stanitzke, T/F, 8:00-‐9:20AM, LAC 325A 013: Mareike Stanitzke, T/F, 9:30-‐10:50AM, LAC 325A 014: Val Wang, T/F, 9:30-‐10:50AM, SMI 112 015: Ken Stuckey, M/W, 3:30-‐4:50PM, LAC 325A H01: Kevin Browne, T/R, 3:30-‐4:50PM, LAC 340 – Honors program only Students learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? Instructors of Expository Writing I assign readings that advance students’ learning, challenge them intellectually, engage them in the process of thinking critically about the issues raised, and motivate them to construct meaning of their own. Students are expected to complete Expository Writing I by the end of their first year. Designed for students who are native speakers of English. EXP 101L: EXPOSITORY WRITING I WITH LAB (3 credits) 001: Patricia Peknik, T/R, 3:30-‐6:20PM, LAC 335 002: Debra Goldberg, T/R, 3:30-‐6:20PM, SMI 112 – SL4 003: Zachary Hanzel-‐Snider, T/F, 11:00AM-‐1:50PM, LAC 340 – SL4 004: Erica Arkin, M/R, 12:30-‐3:20PM, LAC 335 – SL4 005: Jacob Crane, T/F, 8:00-‐10:50AM, LAC 335 006: Claudia Stumpf, M/R, 11:00AM-‐1:50PM, LAC 325C – SL4 Students learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? Instructors of Expository Writing I

assign readings that advance students’ learning, challenge them intellectually, engage them in the process of thinking critically about the issues raised, and motivate them to construct meaning of their own. Students are expected to complete Expository Writing I by the end of their first year. Designed for native speakers of English who can benefit from an intensive writing lab. EXP 102: EXPOSITORY WRITING I FOR ESOL (3 credits) 001: Pamela Carpenter, M/W, 9:30-‐10:50AM, LAC 335 002: Kirkley Silverman, T/R, 5:00-‐6:20PM, LAC 325A 003: Michael Murphy, T/R, 3:30-‐4:50PM, LAC 325A 004: Marilyn Matis, M/W, 8:00-‐9:20AM, LAC 335 Students learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? Instructors of Expository Writing I assign readings that advance students’ learning, challenge them intellectually, engage them in the process of thinking critically about the issues raised, and motivate them to construct meaning of their own. Students are expected to complete Expository Writing I by the end of their first year. Designed for international and bilingual students. EXP 102L: EXPOSITORY WRITING I FOR ESOL WITH LAB (3 credits) 001: TBD, T/F, 8:00-‐10:50AM, LIN 10 002: Carl Mason, T/R, 3:30-‐6:20PM, LAC 325C Students learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? Instructors of Expository Writing I assign readings that advance students’ learning, challenge them intellectually, engage them in the process of thinking critically about the issues raised, and motivate them to construct meaning of their own. Students are expected to complete Expository Writing I by the end of their first year. Designed for international and bilingual students who can benefit from an intensive writing lab.

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Expository Writing II: Advanced Inquiry in Writing

EXP 201: EXPOSITORY WRITING II (3 credits) 001: Pierce Butler, M/R, 12:30-‐1:50PM, SMI 112 – SL4 002: Pierce Butler, M/R, 2:00-‐3:20PM, SMI 112 – SL4 003: Emily Avery-‐Miller, M/W, 8:00-‐9:20AM, LAC 340 – SL4, LSM-‐MS

TOPIC: "Work in the Digital Information Age" 004: Emily Avery-‐Miller, M/W, 9:30-‐10:50AM, LAC 340 – SL4, LSM-‐MS

TOPIC: "Work in the Digital Information Age" 005: Kate Nash, T/F, 11:00AM-‐12:20PM, LAC 325A – SL4 006: Kate Nash, T/F, 12:30-‐1:50PM, LAC 325A – SL4 007: Ralph Pennel, T/F, 11:00AM-‐12:20PM, SMI 112 – SL4 008: Ralph Pennel, T/F, 12:30-‐1:50PM, SMI 112 – SL4 009: David Copeland, R, 8:00-‐10:50AM, LAC 340 010: Erin Kappeler, M/W, 5:00-‐6:20PM, LAC 340 011: Martha Singer, M/W, 9:30-‐10:50AM, SMI 112 – SL4, LSM-‐HN 012: Summar Sparks, M/W, 8:00-‐9:20AM, LAC 325C – SL4

TOPIC: "The Cultures of Food" 013: Summar Sparks, R, 8:00-‐10:50AM, LAC 325A – SL4

TOPIC: "The Cultures of Food" 014: Kevin Clavin, R, 8:00-‐10:50AM, SMI 112 – SL4, LSM-‐EG 015: Kevin Clavin, W, 11:00AM-‐1:50PM, SMI 112 – SL4, LSM-‐EG E01: Patricia Peknik, T, 6:30-‐9:10PM, LAC 335 H01: Joan Atlas, M/R, 2:00-‐3:20PM, LAC 340 – EMB, Honors program only TOPIC: "Grant Writing" Prerequisite: EXP 101 or EXP 101L with approval Expository Writing II reinforces and advances the lessons of Expository Writing I, leading students toward mastery of the processes involved in sustained inquiry: questioning, hypothesizing, testing, re-‐hypothesizing, and re-‐testing. Students undertake an ambitious intellectual project that culminates in a final paper in which they report on the progress they have made through extensive, in-‐depth inquiry. Projects must draw on library and Internet sources and may entail original research that takes such forms as interviews, observations, surveys, and service-‐learning experiences. During the course, students will have opportunities to engage in guided self-‐assessment for the purpose of generating personalized agendas for improvement that will serve them both during the course itself and in the years to come. Students are expected to complete Expository Writing II by the end of their junior year. Designed for students who are native speakers of English.

EXP 201L: EXPOSITORY WRITING II WITH LAB (3 credits) 001: Wiley Davi, M/R, 11:00AM-‐1:50PM, SMI 203 – STEP STUDENTS ONLY Prerequisite: EXP 101L or EXP 101 with approval Expository Writing II reinforces and advances the lessons of Expository Writing I, leading students toward understanding and mastery of the processes involved in sustained inquiry: questioning, hypothesizing, testing, re-‐hypothesizing, and re-‐testing. Students undertake an ambitious intellectual project that culminates in a final paper in which they report on the progress they have made through extensive, in-‐depth inquiry. Projects may draw on library and Internet sources and/or may entail original research such as interviews, observations, surveys, and service-‐learning experiences. Students are expected to complete Expository Writing II by the end of their junior year. Designed for students who can benefit from an intensive writing lab. EXP 202: EXPOSITORY WRITING II FOR ESOL (3 credits) 001: Mary Wright, M/W, 5:00-‐6:20PM, LAC 325C – SL4 Prerequisite: EXP 101 Expository Writing II reinforces and advances the lessons of Expository Writing I, leading students toward understanding and mastery of the processes involved in sustained inquiry: questioning, hypothesizing, testing, re-‐hypothesizing, and re-‐testing. Students undertake an ambitious intellectual project that culminates in a final paper in which they report on the progress they have made through extensive, in-‐depth inquiry. Projects may draw on library and Internet sources and/or may entail original research such as interviews, observations, surveys, and service-‐learning experiences. Students are expected to complete Expository Writing II by the end of their junior year. Designed for international and bilingual students.

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Expository Writing – Additional Course Descriptions for Topics

EXP 101: EXPOSITORY WRITING I: “Gender and Sexual Identity” 001: Traci Abbott, T/F, 8:00-‐9:20AM, LAC 325C – SL4 002: Traci Abbott, T/F, 9:30-‐10:50PM, LAC 325C – SL4 In Expository Writing I you will learn to summarize, analyze, evaluate, and synthesize the published views of others. The course addresses questions such as: What does it take to “crack” a difficult text? To assess the soundness of a text? To position other sources and oneself in relation to a text? We will study readings that advance your learning, challenge you intellectually, engage you in the process of thinking critically about the issues raised, and motivate you to construct meaning of your own. This course will explore gender and sexual identity in popular culture as we develop critical reading and writing skills of summary, analysis, and synthesis through course readings and independent research. We’ll explore how our culture teaches us how to be a man or a woman, masculine or feminine, heterosexual or homosexual – what is acceptable and what is not. EXP 201: EXPOSITORY WRITING II: “Work in the Digital Information Age” 003: Emily Avery-‐Miller, M/W, 8:00-‐9:20AM, LAC 340 – SL4, LSM-‐MS 004: Emily Avery-‐Miller, M/W, 9:30-‐10:50AM, LAC 340 – SL4, LSM-‐MS The readings, research and writing in this course examine what it means to live and work in the digital information age. Do we have too much information? What does social media mean for our personal relationships? How can we define and protect our privacy? Students will design and pursue a research question, drawing on their expertise or experiences, and/or venturing into a topic that the popular conversation or their education to-‐date has overlooked. Students will also have the option of integrating service learning into their exploration and drawing on volunteer work in a computer assistance program to inform their study.

EXP 201: EXPOSITORY WRITING II: “The Cultures of Food” 012: Summar Sparks, M/W, 8:00-‐9:20AM, LAC 325C – SL4 013: Summar Sparks, R, 8:00-‐10:50AM, LAC 325A – SL4 In “The Pleasures of Eating,” Wendell Berry asserts, “Eating with the fullest pleasure—pleasure, that is, that does not depend on ignorance—is perhaps the profoundest enactment of our connection with the world.” In this section of 201, we will endeavor to increase our understanding of how food does in fact connect us to the world. We will be asking such questions as: How do our choices regarding food impact our identity construction? How is our food produced and how do different agricultural practices impact the environment? What choices might we make as consumers to promote more ethical food production? And, perhaps most importantly, why does it matter what we eat? Each of us will raise a question that relates to food and culture. Together, we will work through a sequence of assignments—a research proposal, annotated bibliography, argumentative research paper, and a popular piece-‐-‐that will help us each examine our chosen topic.

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Interdisciplinary Studies ID 211: INTRODUCTION TO GENDER STUDIES (3 credits) 001: Traci Abbott, W, 11:00AM-‐1:50PM – D, SL4, LSM-‐AS, LSM-‐DS/MS This course uses a cultural studies approach to study the social, political, and theoretical paradigms that structure our understanding of masculine and feminine identity. We examine the origins of a variety of perspectives of gender identity, how these ideas have changed in America’s history, and how notions of gender identity complicate and inform our concurrent beliefs about sexuality, class, race, and ethnicity. In addition to exploring texts from a range of academic backgrounds as well as texts of popular culture, literature, and art, students will be asked to make relevant connections between these materials and their impact in the realm outside the classroom.

Creative Writing LIT 311: CREATIVE WRITING: FICTION (3 credits) 001: Erica Arkin, R, 8:00-‐10:50AM, LAC 335 – C This course is an intensive workshop in writing short stories—and an exploration of the creative process. The material of the course is drawn primarily from your own experience. How can you understand this experience by writing about it? How can you gain a greater understanding of yourself as a writer? How can you get in touch with your own creativity? The emphasis is divided between the technique of short-‐story writing and an analysis of the psychological difficulties faced by individual writers. You will study the elements of fiction, analyze the stories of contemporary writers, and apply what you learn in your own writing. You will also read work-‐in-‐progress and receive constructive suggestions from the group. Each student will conceive, write, and revise four complete short stories. Visiting writers are frequently invited to sit in on a class.

LIT 312: CREATIVE WRITING: DRAMA/SCREENWRITING (3 credits) 001: Gregory Farber-‐Mazor, T/F, 11:00AM-‐12:20PM, LAC 335 – C, LSM-‐MS This course develops students' ability to write, analyze, and critique essential elements of writing for the screen, including structure, character, dialogue, and story. Classroom methods include workshops to develop student work, in-‐class exercises, frequent writing assignments, and analysis of short and feature-‐length films, and screenplays. The class is limited in size. LIT 313: CREATIVE WRITING: NONFICTION/ESSAY (3 credits) 001: Debra Goldberg, M/W, 5:00-‐6:20PM, SMI 112 – C, LSM-‐ES Personal essay and memoir are among the most popular forms of literature today, a fact one can confirm by looking any Sunday at the best sellers list in the New York Times. Emphasizes creativity of expression and provides an opportunity to practice these genres. Encourages experimentation with a variety of first-‐person forms and shows how to treat subjects that they know about and that are important to them. Conducted as a workshop in which students share their work with and learn from one another. Frequent individual conferences with the instructor. The class is limited in size. LIT 314: CREATIVE WRITING: MIXED GENRES (3 credits) 001: Val Wang, T/F, 12:30-‐1:50PM, LAC 325C – C Each student chooses his or her own work (family history or memoir, love poetry or satire, nature or adventure writing, whatever you want). Using class and individual exercises, videotaped inspiration, and guests discussing their own work in progress, students will learn the major skills of each written genre to apply to their own special piece. Include word choice, imagery, language rhythm, conflict, characterization, narrative intervention, and tone. Other overarching concerns that professional writers struggle with include subtext, production, and intention. The class is limited in size.

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Literature

LIT 230: LIT & CULTURE: LITERATURE OF THE SPIRITUAL JOURNEY (3 credits) SX2: Pierce Butler, S, 1:00-‐4:30PM, SMI 304 – SL4 Class meets September 10-‐December 3. No class October 8 and November 26. The journey of the seeker appears in the literature of all religious traditions. The study of this journey in different cultural contexts can lead to an understanding of what the different traditions have in common. All religions postulate the existence of a path or way, a pilgrim’s progress of well-‐defined stages. We’ll study these stages as they are represented in the original sacred texts and as they appear in the personal accounts of seekers and in the works of writers who represent religious experience in fictional or poetic form. You will be encouraged to compare the religious tradition with which you are most familiar with the other traditions that we study, to examine religious stereotypes, and to come to a more complex understanding of religious identity. We will try to cultivate a greater receptivity to traditions that might otherwise seem strange and incomprehensible and to understand the role that culture and custom play in determining the form of a religion. Some texts that we will study: Lying Awake, a novel about a Carmelite nun in an urban monastery in LA; Herman Hesse’s Siddhartha, a novel based on the life of the Buddha; Jack Kerouac’s The Dharma Bums, a free-‐wheeling account of the pursuit of Buddhist values in the milieu of the beat poets and writers of the 1950s; Laughing Boy, a story of the efforts of the Navajo to preserve the spiritual basis of their way of life. LIT 233: THE BIBLE AS LITERATURE (3 credits) 001: Bruce Herzberg, M/R, 2:00-‐3:20PM, LAC 325A – C We will study a number of the books of the Hebrew Bible, treating them as literature (myths, legends, and stories that have plots, themes, characters, narrative strategies, rhetorical purposes, and so on), as cultural documents (created in particular historical circumstances with deliberate social aims), and as history (as records of or narratives about history, and as documents in religious and cultural history). The objective is to become more familiar with central texts in the Bible, to begin to see some of their remarkable richness and depth, to learn about the historical context of biblical texts and events, and to learn ways of reading that can be extended to other parts of the Bible. The course is communication intensive (CI) and therefore requires a number of different kinds of writing, one oral presentation, and regular class participation.

LIT 260: INTRO TO AFRICAN-‐AMERICAN LITERATURE & CULTURE (3 credits) 001: Ken Stuckey, M/W, 5:00-‐6:20PM, LAC 325A – D, LSM-‐DS This course will offer a survey of the major moments in African American literary history. We will take primarily a chronological approach, addressing the major forms and periods such as the abolitionist movement, the Harlem Renaissance, the naturalistic era, and the thriving presence of black women writers in the modern era. Authors to be considered include Wheatley, Douglass, Wright, Baldwin, Angelou, Wilson, and Morrison. The course will cover novels and autobiography primarily, but will also include a unit on rap and hip-‐hop. The course grade will be drawn from quizzes, a midterm, a final, and a 6-‐page essay. LIT 262: NATIVE AMERICAN LITERATURE & CULTURE (3 credits) 001: Jacob Crane, T/F, 11:00AM-‐12:30PM, LAC 325C – C, D, LSM-‐AM/DS This course will examine the long history of Native American textual production, from early Native writers such as Samson Occum and William Apess, to contemporary authors including Louise Erdrich and Sherman Alexie. Within these readings we will focus on narrative strategies for physical and cultural survival and remembrance in the face of colonialism and erasure. At the same time, we will investigate how Native American writers deploy a diverse array of tactics and theories to consciously oppose stereotypes of Native identity in mainstream literature and film.

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Literature (con’t)

LIT 340: GRAPHIC NOVEL (3 credits) H01: Tzarina Prater, M/W, 8:00-‐9:20AM – D, LSM-‐EG/MS, Honors program only The graphic novel, a medium that joins text and image, has been historically dismissed as marginal to “serious literature,” and as such, less deserving of critical attention. The course will explore sequential art and its place in contemporary culture. Thematically, this course focuses on the engagement with “history” and “historical trauma” in the medium of the graphic novel, ranging from Art Spiegelman’s polemic Holocaust narrative Maus I & II, Marjane Satrapi’s coming of age story, Persepolis, which has the Iranian Islamic Revolution as a backdrop, G. Neri’s Yummy: The Last Days of a Southside Shorty, a graphic narrative in the voice of an eleven year old Chicago Southside native who is desperately trying to understand the death of his friend to gang violence, to Kelly Roman’s The Art of War, a graphic novel set in the not so distant future whose diegesis constructs a militarized Wall Street with China as the dominant force in the global economy. In our contemporary moment, we understand violence to be inescapable, historically contingent; and ultimately, we understand it as intrinsic to defining the human experience. How we aesthetically document and record our response to institutional violence, whether it be familial, political, or religious, is both an aesthetic project as well as a project and product of “history.” The graphic novel then, is a medium through which we try to give voice to pain, make audible the ineffable, through visual signs and signifiers. This course asks the question of efficacy of resistance when representational practices and discourses themselves are inherently violent. In conversation with graphic novels that explicitly take up instances of institutional violence, you will familiarize yourself with the critical vocabulary necessary to critique the medium. You will produce analyses of narrative techniques particular to the genre: panel layout, interplay between text and image, analysis of iconography, and intertextuality. You will also read selections from political and philosophical theorists to help us contextualize these aesthetic forays into the graphic novel medium to represent violence, trauma, and the possibility of resistance: Hannah Arendt, G.W.F. Hegel, Sigmund Freud, Thomas Hobbes, Frantz Fanon, René Girard, and Elaine Scarry to name a few.

LIT 355: ENGLISH ROMANTICISM: 1790-‐1850 (3 credits) 001: Barbara Paul-‐Emile, W, 11:00AM-‐1:50PM, LAC 325C – SL4, LSM-‐GP 002: Barbara Paul-‐Emile, M/W, 3:30-‐4:50PM, LAC 325C – SL4, LSM-‐GP Romantics revered the truth of the imagination, the power of nature, the general expression of beauty in its essential form, the simplicity of peasant or folk life, the uniqueness of the individual and the magnificence of the rebel as hero. In the nineteenth century, this love for freedom and interest in the enrichment of life was translated into support for the betterment of the peasant class, opposition to slavery and the slave trade and support for women’s rights. This course will examine the values and characteristics of the English Romantic Movement as reflected in the works of selected 19th century poets: William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, Lord Byron, John Keats and in the writing of Mary Wollstonecraft Shelley. Attention will be paid to the distinctive features and ideals of the new movement and to the revolt against Neo-‐classical principles and precepts. Emphasis will be placed on the socio-‐political concerns of such thinkers as Edmund Burke and Thomas Paine. Attention will be paid to the expression of Romantic themes in European art and music, 1790s – 1860s.

LIT 365: IMMIGRANT AND ETHNIC LITERATURE (3 credits) 001: Samir Dayal, M/R, 11:00AM-‐12:20PM, LAC 325A – D, I, LSM-‐AM/DS/ES 002: Samir Dayal, M/R, 2:00-‐3:20PM, LAC 325C – D, I, LSM-‐AM/DS/ES The United States has been called "a nation of immigrants." Certainly most of us, if not immigrants ourselves, are the descendants of people who were born overseas and came to these shores seeking political asylum, religious freedom, or—most often—economic opportunity. Stories will reflect the pains and satisfactions of adjustment to American culture as well as the sometimes troubled relations between immigrant parents and their American-‐born children. The ethnic groups represented in the course may change from semester to semester.

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Literature (con’t)

LIT 371: AMERICAN CITIES IN LITERATURE (3 credits) E01: Patricia Peknik, R, 6:30-‐9:10PM, LAC 325C This course uses literary texts as a lens through which to look at American cities and their significance for American culture, in general, and American Literature, in particular. It aims at understanding urban American intellectual and social cultures, and the architecture, music, politics and philosophy that embody it. We'll examine five important US cities—New York, New Orleans, Chicago, Nashville, and Los Angeles—as case studies of American life at moments of dramatic, technological, and cultural change. We will study the work of some of the premier creative writers and thinkers in American history, from the Romantic authors who generated a literary Renaissance in Boston to the musicians of Memphis and the countercultural activists of San Francisco. Readings for the course include texts by Henry James, Theodore Dreiser, Tennessee Williams, and Joan Didion. LIT 396: BRITISH LITERATURE OF THE FRENCH REVOLUTION (3 credits) 001: Claudia Stumpf, M/W, 9:30-‐10:50AM, LAC 325C Guillotines. The storming of the Bastille. "Let them eat cake." The French Revolution was a time of great upheaval, violence, excitement, and new ideas. These new ideas did not only impact the French -‐ they had echoes around the world. In particular, they had a major influence British writers of the time. This course will bring together the politics of the French Revolution and the literature of late eighteenth-‐century England. We will examine the political, social, and ideological stakes of the French Revolution, learning about not just what happened, but also how authors responded to it. We will explore these questions through an extended student-‐led role-‐playing game. Then we will turn to the exciting literature of the time -‐ reading Gothic novels, poetry, autobiography and more!

Media and Culture MC 220: INTRODUCTION TO MEDIA PRODUCTION (3 credits) E01: Elizabeth LeDoux, M, 6:30-‐9:10PM, LIN 10 – C, SL4, LSM-‐MS Serving as a foundation to media practice, this course offers a broad introduction to media production through hands on projects involving components of digital photography, animation, video and audio production, as well as elements of design. Students will have the opportunity to explore various media formats through the course’s emphasis on the fundamentals of visual language and the creative process. The overarching framework for a study of media is provided in the course: analysis (theory, interpretation) and synthesis (production, creative process) are emphasized as projects evolve throughout the stages of conceptualization, visualization, production, and reception. Issues of culture and media work, professional identity, and corporate media control/concentration are central themes to this course. It is important to become familiar with the mainstream and independent structures of media production and distribution and its role in shaping public policies, government regulation or deregulation, and its impact on citizenry and democracy, specifically in the U.S., as it directly affects one’s production process as a media practitioner and citizen. MC 222: DIGITAL PHOTOGRAPHY (3 credits) 001: Casey Hayward, R, 8:00-‐10:50AM, LIN 10 – D, LSM-‐MS Seeing the world photographically and learning to interpret and craft images is a contemporary imperative. This course is focused on communicating effectively and visually through digital imagery. Students examine four important facets of visual communication in the rapidly expanding digital world: the art of photography, image manipulation, applications for and ethical implications of digital images. Students will shoot and edit their own digital photographs, provide written responses to topic questions, and create a Web-‐based portfolio of their work.

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Media and Culture (con’t) MC 224: VIDEO PRODUCTION (3 credits) 001: Jeff Stern, M/R, 2:00-‐3:20PM, LIN 10 – LSM-‐MS This course is designed to give students a complete overview of the video production process in a hands-‐on, collaborative environment. From generating a good idea, to scriptwriting, to storyboarding, to location scouting, to casting, to cinematography, to audio recording, to editing and finally to output and distribution, students will learn about every stage of movie production by making movies. In addition to the practical and technical aspects of moviemaking, we will discuss issues of aesthetics and meaning as they pertain to the moving image. The goal is for students to come away from this class with an understanding of how movies are made and the ability to think critically about what they mean. MC 320: ADVANCED PRODUCTION: EDITING (3 credits) 001: Casey Hayward, M/R, 11:00AM-‐12:20PM, LIN 10 – LSM-‐MS This course examines the crucial role that editors play in shaping motion pictures–both individually and historically as an industry. Whether it is fiction filmmaking, documentary or music videos, the editor is the guiding hand that maintains the director’s vision while problem solving and providing creative insight. As a student in this class you will learn about this critical collaborator through lectures, screenings and hands-‐on editing experiences that allow you to fully appreciate an editor’s impact. MC 320 001 is offered in concert with MC 320 002: Directing, so that students from each class can collaborate on a project together, an experience that embodies this pairing of creative equals. No prerequisite is necessary in order to enroll.

MC 320: ADVANCED PRODUCTION: DIRECTING (3 credits) 002: Jeff Stern, M/R, 12:30-‐1:50PM, LIN 10 – LSM-‐MS Everyone has an image of a film director. Many of us picture a man or woman in a beret with a bullhorn, sitting in a “director’s chair”, barking “action!” and “cut!” But – beyond being in charge -‐ what does a director actually do in the real world of filmmaking? What are his or her responsibilities? In this course we will attempt to define the role of the director both through study and through hands on experience. The topics will include visualization & storyboarding, script breakdowns, casting & working with actors, location scouting, shot planning and film grammar, on-‐set procedures and the director’s role in post-‐production. The first half of the semester will give students a foundation in directing through readings, lectures, film analysis and exercises. In the second half, the class will be broken up into small film crews. Working from short scripts, each student will take a turn in the director’s chair. What will emerge is a set of short films in which each member of the class has directed a scene. Whenever possible, the class will engage with the greater Boston film community, including the opportunity for Bentley students to direct professional actors and speak with members of the local media industry. No prerequisite is necessary in order to enroll. MC 341: CREATIVE INDUSTRIES (3 credits) 001: Randy Nichols, T/R, 3:30-‐4:50PM, LIN 10 – C, LSM-‐MS This course considers the changes to the structure and scope of Hollywood studio and TV network operations, especially in response to the emergence of new technologies, cross-‐media conglomerates, alternate content delivery systems (e.g., DVD, iPods, Hulu), and transnational patterns of circulation. Grounding its analysis of the millennial media industries in two case studies of midcentury studio systems, the course provides historical foundations for its examination of convergence culture: the technological, industrial, cultural and social changes in the way media circulates in and between cultures and the impact of this intersection of media practices on how media industries pursue national and global audiences. Students learn both to analyze particular forms of visual communication and to understand the limitations of that communication given studio, network, and corporate practices and priorities as well as cultural, social, and technological constraints.

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Media and Culture (con’t) MC 345: THE MUSIC INDUSTRY (3 credits) 001: Ben Aslinger, M/W, 8:00-‐9:20AM, LIN 10 – LSM-‐MS This course examines changes in the structure of the music industry and the evolution of popular music forms and genres. Industrial topics include the rise and fall of various playback technologies, cultural anxieties surrounding genres such as jazz and rap, and intellectual property. This course provides an introduction to the organization and structure of the music industry through an examination of the activities and strategies of labels, publishers, performance rights organizations, startups, and subscription services. Students learn about how globalization and new technologies challenge production and distribution norms. Through course readings and listening sessions, students are introduced to debates about commerce and creativity in rock, pop, indie rock, hip hop, electronica, world, and remix music. MC 420: MEDIA CAPSTONE PROJECT (3 credits) Prerequisite(s): Senior standing and approval of department chair Undertaken in the last year of coursework in Media and Culture, the final project requires students to write a media analysis or produce an original media text (for example, a video or website). If a student chooses to produce a creative work, he or she must also write an essay explaining how the project reflects his or her understanding of and engagement with key issues and categories of the study of Media and Culture. MC 421: MEDIA INTERNSHIP (3 credits) Prerequisite(s): Junior-‐ or senior-‐level standing – LSM-‐MS Corequisite(s): Internship coordinator's permission Introduces the student to some aspect of the media industry; emphasizes the particular operations of a media company by assigning a student to a professional in the field under whose supervision the intern undertakes tasks and participates in analyzing the practical applications of media theories. The intern’s progress is monitored and evaluated jointly by the field supervisor and the faculty coordinator during the semester internship.

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