The Bachelor of Arts degree program in the Committee on General Studies in the Humanities offers qualified undergraduates the opportunity to shape an interdisciplinary plan of course work centered in, but not necessarily restricted to, study in the Humanities. The initial formulation of such a plan of study is contained in the written proposal for admission to the B.A. program that every applicant must submit.

Potential applicants to General Studies should reflect on the set of guidelines that govern the overall form of individual B.A. programs and also consult with the director of undergraduate studies and the General Studies Collegiate adviser about their plans and the curricular resources involved. Because the Humanities encompass widely varying endeavors and approaches, the B.A. program guidelines in General Studies aim at helping students define a balanced and coherent interdisciplinary plan of course work. Accordingly, the guidelines specify

1. six courses in a major field (concentration) or in closely integrated subject areas in more than one field;

2. four courses in a supporting field or in closely integrated subject areas in more than one field;

3. three courses in a minor field or combination of fields;

4. a sequence or group of two courses that emphasizes intellectual approaches, or scholarly and critical methods, germane to a student's particular interdisciplinary course program; and

5. one course devoted to the preparation of the B.A. paper or project (General Studies in the Humanities 299). NOTE: The development of the B.A. paper or project is closely supervised by a faculty member of the student's choice (he or she need not be a member of the General Studies faculty; he or she serves as the second reader for the completed work) and by a first reader assigned by the committee whose responsibility is to provide guidance in matters pertaining to organization and exposition of the work.

It should also be noted that any one of the fields listed under numbers 1, 2, and 3 in the preceding paragraphs may be drawn from outside the Humanities in formulating a proposed General Studies program. However, the sequence or group of courses described in number 4 must, in keeping with the humanistic basis and orientation of General Studies, be offerings from the Humanities Collegiate Division. Commonly, this sequence consists of General Studies in the Humanities 239 (Criticism: Art, Artist, and Audience) and one course in criticism and philosophy.

The rationale for the proportional distribution of courses specified in the guidelines is twofold: (1) to ensure that students are given substantial exposure to more than one aspect of humanistically centered inquiry, and (2) to cultivate a level of sufficient competence in at least one field so that this field, alone or in combination with material learned in other fields, can serve as the basis for the B.A. paper or project.

Because the B.A. program in General Studies is not a specialized concentration in a single department, students need to use some courses normally reserved as free electives to complete the specified extension of study in at least three fields. However, as the above guidelines show, the B.A. in General Studies is an intensely "elective" program overall, affording broad scope to informed and intelligent individual choice. In itself the program involves proportional distribution of course work over at least three fields.

Concentration

Fields of Concentration. While the potential for developing individual B.A. programs in General Studies is as great as the combined ingenuity, imagination, and interest of each student in consultation with both advisers, there are identifiable patterns in the choices of fields and lines of inquiry currently being implemented in the committee. The most prominent of these include the following:

1. Study in philosophy and literature (as six- and four-course fields with either literature or philosophy emphasized) to investigate differences in handling concepts and language in philosophy and literature and/or mutual influence between the two fields.

2. Study in verbal and nonverbal art forms and expressions (art and literature; and music and literature) leading to consideration of the implications of the verbal and nonverbal distinction for interpretation and criticism.

3. Study in the history, philosophy, language, religious expression, and literary and artistic productions of a given culture or of a given historical period within one or more cultures. Examples include American studies, the renaissance, or Greece (and the Mediterranean) in the preclassical and classical ages.

4. Study in humanistic fields (e.g., literature and philosophy) and in a social science field (e.g., sociology, psychology, anthropology, and political science). This option is particularly adapted to a focus on women's studies, insofar as Collegiate course offerings make this possible to implement.

5. Study in languages working toward and combined with study in comparative literature, usually literature in English and in one other language.

6. Study of modern culture in its various aspects of popular and elite forms of cultural expression.

7. Study of traditional and newer art forms. Examples include literature and film, and fine arts and photography.

8. Study combining critical and creative endeavor as aspects of the same humanistic field. Examples include literature and creative (or expository) writing, drama and work in theater, art history and studio art, and languages and original compositions (or translations). General Studies in the Humanities recently developed a formal theater/drama option involving course work in the history of drama, practical aspects of theater, and dramatic criticism. Courses offered on a regular basis include Playwriting, Lighting Design for Stage and Film, Introductory and Advanced Directing, Acting Fundamentals, and Shakespeare in Performance. (For more information, consult the Drama section of this catalog or call Curt Columbus at 702-2982.)

9. Study in humanistic approaches to biological or physical science. This option is particularly adapted to interest in problems or aspects of intellectual and cultural history (e.g., the impact of Newtonian physics on eighteenth-century European thought) or to study of modern society and science's role within it (medical ethics being one possible focus among many).

Application to the Program. Students who are interested in a General Studies course program should make application to the Committee as soon as possible upon completion of general education requirements (normally by the end of the second College year). Transfer students in particular are urged to apply at the earliest point that they can, given the large number of courses in the General Studies B.A. program. An application is initiated by securing an interview with the chairman or an appropriate Committee adviser, including the General Studies Collegiate adviser, to consult about the feasibility of shaping and implementing a given set of interdisciplinary concerns into a course of study for the B.A. After consultation, students who wish to pursue an application to the Committee must submit a two-part written proposal. The first part consists of a personal reflective statement of about 1,000 words in length, explaining the character of their interdisciplinary interests and stating as thoughtfully as possible how they propose to channel and expand them within course offerings currently available. Some consideration of prospects and possibilities for a B.A. paper or project is a desirable part of these statements, if it can be provided. The second part of the application consists of a proposed list of courses to fill the headings given in the above set of guidelines. A General Studies faculty committee then considers applications. In addition to considering the substance and workability of a proposed program, the Committee generally requires a B average in preceding course work.

Special Honors. To be eligible for special honors a student must have achieved a cumulative grade point average of 3.25 or higher. These honors are reserved for the student whose B.A. paper or project shows exceptional intellectual and/or creative merit in the judgment of the first and second readers (see number 5 under the preceding Program Requirements section), the chairman of the Committee, and the Master of the Humanities Collegiate Division.

Advising. Clarity, as well as flexibility, in shaping an interdisciplinary plan of course work is emphasized from start to finish in General Studies. Accordingly, discussion is encouraged in the early stages of a student's thinking. Continuing discussion is provided after admission to General Studies by assignment to a faculty adviser who helps the student bring his or her individual program to a rewarding completion.

101. Drama: Embodiment and Transformation. PQ: This course meets the general education requirement in the musical, visual, and dramatic arts. Designed for students with no previous experience or training, this course serves as a first encounter with the dramatic art form in all of its component parts. Participants study and perform various methods of acting, directing, and design. J. Thebus, P. Pascoe. Autumn, Winter, Spring.

200. Introduction to Film I (=ArtH 190, CMS 101, Eng 108, GS Hum 200). PQ: This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. T. Gunning. Autumn.

201. Introduction to Film II (=ArtH 191, CMS 102, Eng 109, GS Hum 201). PQ: This is the second part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. Not offered 1999-2000; will be offered 2000-2001.

205. Sound in the Cinema (=CMS 280, Eng 281, GS Hum 205). This course develops our abilities to discuss, analyze, and research sound recording, audio media, and aspects of auditorship in theoretical and historical terms. Beginning with basic terminology and concepts specific to sound forms, we investigate specific historical and theoretical topics, including the emergence of recorded sound from the 1870s to the 1890s, the coming of sound to the American and international cinemas from the 1920s to the 1930s, and theoretical investigations of acoustic technologies and of listening. Readings include essays by Edison, Benjamin, Adorno, Eisenstein, Prokofiev, Frith, and Altman. Films and videos include works by Vertov, Eisenstein, Disney, Kubelka, Lang, Coppola, and Cage/Cunningham. J. Lastra. Winter.

209. The Films of Billy Wilder (=CMS 263, Eng 289, GS Hum 209). Known primarily for films that establish him as a Hollywood insider (Double Indemnity, Sunset Boulevard, and Some Like It Hot), Billy Wilder began his five-decade-long career in Germany and France. He returned to Germany in 1945, where he worked on a documentary on Nazi death camps (Todesmühlen / Mills of Death) and A Foreign Affair. Through close readings of exemplary films, we explore Wilder's range from gentle ethnographer of modern life to caustic satirist of American society and the culture industry, focusing on issues of authorship and reception (in particular his exclusion from the auteurist canon). M. Hansen. Spring.

213. Modern Fiction: Religion and Irreligion (=DivRL 237, Eng 237, GS Hum 213). PQ: Third-year standing or higher. This course takes up fiction written from within orthodox belief, indeed sometimes written in order to affirm particular religious doctrines (e.g., Evelyn Waugh, Muriel Spark, and Flannery O'Connor). We also study a contrasting body of work that calls all belief into question and relates to religious themes by way of satire, parody, and inversion (e.g., Franz Kafka, L.-F. Celine, and Nathanael West). M. Krupnick. Winter.

216. The Modernist Child (=ComLit 249, Eng 249, GS Hum 216, German 285). PQ: Knowledge of German helpful but not required. Drawing both on modernist classics and on children's literature, this course explores the experience and meaning of childhood in early twentieth-century Europe. Our course focuses on texts from Britain and from Central Europe, comparing the ways they describe children's relationship to the city and to family life, the acquisition of language, and the experience of socialization. Texts by Robert Louis Stevenson, Virginia Woolf, May Sinclair, Dorothy Richardson, E. Nesbit, A. A. Milne, P. L. Travers, Frank Wedekind, Sigmund Freud, Walter Benjamin, Thomas Mann, Erich Kästner, Bertolt Brecht, and Ödön von Horváth. Texts in English and the original. K. Trumpener. Spring.

218. Italian-American Visions (=GS HUM 218, It 289). In this course, with readings and discussion in English, we shall consider diverse aspects of Italian-American culture, including fiction, films, and enduring Italian customs. When and how did Italian immigrants come to the United States? What does it mean to be Italian-American today? Who are the important writers and filmmakers? What does a hyphenated identity mean in today's global reality? Readings will include fiction and film by men and women both, including "hidden" or "assumed" Italian-Americans like Ed McBain, Harvey Keitel, and Anne Bancroft. The course is designed to serve primarily as an elective. R. West. Winter.

219/319. Literary Expressionism (=GS Hum 219/319, German 288/388). PQ: Reading knowledge of German and consent of instructor. Representative examples of the literary component of the movement that flourished between 1910 and 1925 are read, analyzed, and discussed, both with regard to their intrinsic merit and peculiarity, and in light of the cultural, social, and political context from which they arose. An attempt is also made to examine literary expressionism as part of a historical continuum. Readings include drama, lyric poetry, narrative prose, and expository writings. Some readings in German; classes conducted in English. P. Jansen. Autumn.

222. Henry James: The Wings of the Dove (=DivRL 222, Eng 206, Fndmtl 287, GS Hum 222). Class limited to twelve students. A close reading of the novel together with other materials by James (e.g., stories, essays, notebook entries, letters, and prefaces). The course involves inquiry into questions of selfishness and self-abnegation, and love and death. We also discuss the ethics of writing, interpretation, and intimate relations. M. Krupnick. Spring.

230/330. Etruscan Art (=ArtH 203/303, GS Hum 230/330). PQ: Any 100-level ArtH or COVA course, or consent of instructor. An introduction to Etruscan archaeology, history, art, and culture from the Iron Age to the Age of Augustus. I. Rowland. Autumn.

231. The Sublime, the Fantastic, and the Uncanny (=GS Hum 231, German 294). An exploration of three major topics of extraordinary experience in literature and theory. Fascination with these topics has led to imaginative speculation and rational experimentation about notions of the capacities and limitations of the human mind. The course retraces one trajectory of speculative reflection from the eighteenth to the twentieth century as it passes through critical philosophy, fantastical tales, psychoanalytic theory, expressionist novels, and beyond. Authors include Kant, Freud, Hoffmann, Gotthelf, Kafka, and Meyrink. Works of film, music, and art are also considered. Texts in English and German; classes conducted in English. E. Schwab. Autumn.

233/333. Theories of the Photographic Image and Film (=ArtH 272/372, CMS 275/375, COVA 255). PQ: COVA 101, 102, or 100-level ArtH course, or consent of instructor. This course is an introduction and survey of theories concerning photography and cinema. A variety of works by the following authors, among others, is discussed: Stanley Cavell, Erwin Panofsky, André Bazin, Christian Metz, Susan Sontag, Edward Weston, Ernst Gombrich, Nelson Goodman, and John Szarkowski. J. Snyder. Spring.

235. Multimedia Web Programming as an Interdisciplinary Art I (HyperCard and QuickTime) (=ComSci 110, GS Hum 235). PQ: Math 102 or 106, or placement into 131 or equivalent; or consent of instructor. ComSci 110 can be used to fulfill the mathematical sciences requirement in general education. This sequence provides students with both practical programming skills and core ideas in computer science in relation to interdisciplinary applications. Across all disciplines, our ideas of the arts, the character of "images" and "texts," and the ways we form communities are being transformed by the World Wide Web (e.g., by scripting languages and the QuickTime Media Layer). Students learn to program on an Apple Macintosh using HyperCard, QuickTime, and a variety of user scripting languages including Lingo, JavaScript, HyperTalk, AppleScript, and related scripting languages. As an introduction to programming in a multimedia context, the course presents techniques of problem solving, program coding, algorithm construction, and debugging using the Web as its programming environment. W. Sterner, D. Crabb. Winter.

236. Multimedia Web Programming as an Interdisciplinary Art II (HyperCard and QuickTime) (=ComSci 111, GS Hum 236). PQ: ComSci 110 or consent of instructor. ComSci 111 meets the mathematical sciences requirement in general education. This course continues ComSci 110, enlarging upon Web programming arts by identifying characteristic forms of applications that may be deployed on the Web as applets, including machines, models, simulations, and games as genres of argumentation. Students encounter such forms as recurrent scientific strategies that are making important contributions to new patterns of thinking in the humanities and in the social, biological, and physical sciences. They acquire more complete programming experience in multimedia user scripting languages. Topics include Turing Machines, multimedia objects, computer games, and the complexity of Web information delivery and access. W. Sterner, D. Crabb. Spring.

237. Introduction to Interactive Logic (=ComSci 112, GS Hum 237). PQ: Math 102 or 106, or placement into 131 or equivalent. Some experience with computers is helpful. This introductory course in first-order logic covers much of the same theoretical territory as a standard course in logic, but is much more "hands on." It presents logic as a concrete discipline that is used for understanding and creating human-computer technology in the context of science, technology, and society. We look at computer science, logic, philosophy, aesthetics, design, and the study of technology, as well as the software packages of Tarski's World and possibly HyperProof. No programming skills are assumed, but those with some programming background do projects with HyperCard, a Computer Assisted Design package, Prolog, or other software. The course continues in the same spirit as ComSci 110-111, but they are not prerequisites. W. Sterner. Winter.

238/338. The Thought of Hannah Arendt. In this course we consider Arendt's major works: The Origins of Totalitarianism, The Human Condition, On Revolution, Eichmann in Jerusalem, and The Life of the Mind, as well as several shorter essays. The focus of the course is on the central concepts of her thought: action, revolution, thought, power and violence, freedom, and totalitarianism. One major concern is to assess the significance and success of her attempt to interpret twentieth-century experience in the traditional terms of classical thought. H. Sinaiko. Winter.

239/339. Criticism: Art, Artist, and Audience. The diversity of critical theory and practice derives from a more fundamental diversity of views about the nature of a work of art and its relations to the artist, the audience, and the world. This course focuses on four contrasting but seminal statements on the nature of art and the kind of criticism appropriate to it: Aristotle's Poetics, Plato's Phaedrus, Nietzsche's Birth of Tragedy, and Croce's Aesthetics. H. Sinaiko. Autumn.

242/342. History and Theory of Drama I (=AncSt 212, ClCiv 212/312, ComLit 205/305, Eng 138/310, GS Hum 242/342). PQ: May be taken in sequence with GS Hum 243/343 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the ancient Greeks through the Renaissance: Aeschylus, Sophocles, Euripides, Aristophanes, medieval religious drama, Marlowe, Shakespeare, and Jonson, along with some consideration of dramatic theory by Aristotle, Horace, Sir Philip Sidney, and Dryden. The course features optional but highly recommended end-of-week workshops in which individual scenes are read aloud dramatically and discussed. The goal is not to develop acting skill but, rather, to discover what is at work in the scene, and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with some other members of the class. D. Bevington, N. Rudall. Autumn.

243/343. History and Theory of Drama II (=ComLit 206/306, Eng 139/311, GS Hum 243/343). PQ: May be taken in sequence with GS Hum 242/342 or individually. This course is a survey of major trends and theatrical accomplishments in Western drama from the late seventeenth century into the twentieth: Molière, Goldsmith, Ibsen, Chekhov, Strindberg, Wilde, Shaw, Brecht, Beckett, and Stoppard. Attention is also paid to theorists of the drama, including Stanislavsky, Artaud, and Grotowski. Like the autumn quarter course, the winter quarter course features optional but highly recommended end-of-week workshops in which individual scenes are read aloud dramatically and discussed. The goal is not to develop acting skill but, rather, to discover what is at work in the scene, and to write up that process in a somewhat informal report. Students have the option of writing essays or putting on short scenes in cooperation with some other members of the class. D. Bevington, N. Rudall. Winter.

247/347. Henrik Ibsen: Father of Modern Drama (=GS Hum 241/347, German 281/362, Norweg 281, Scand 281). In this course we consider examples from every phase of Ibsen's career: the early nationalist verse plays, the well-known "problem" dramas, and the later psychological plays. Texts include Peer Gynt, A Doll's House, Ghosts, Hedda Gabler, and John Gabriel Borkman. K. Kenny. Spring.

250. Improvisation for Actors. PQ: Consent of instructor. Prior theater experience or acting training not required. Structured around the idea that acting is doing, this class explores the foundations of the actor's problem-solving process. Emphasis is placed on developing the participants' ability for strong communication on stage, through exercises, games, and performance experiences designed to address sensory awareness, physicalization, focus, and concentration. A. Fenton. Autumn.

251. Acting Fundamentals. PQ: Consent of instructor. Prior theater or acting training not required. This course introduces students to fundamental concepts of acting in the theatrical art form. The class emphasizes the development of creative faculties and techniques of observation, as well as vocal and physical interpretation. Participants study various techniques of psychological and gestural interpretation. Concepts are introduced through directed reading, improvisation, and scene study. Staff. Spring.

252. Shakespeare in Performance. PQ: Consent of instructor. Prior theater experience helpful but not required. This course explores the dramatic texts of Shakespeare through the mechanics of performance. Students begin by working to develop awareness of and freedom with the verse in the sonnets. Moving toward more extensive dialogue and scene-work from the plays, they explore the building blocks of performing Shakespeare, from the text itself to the actor's voice and body. The class teaches specific approaches to both verse and prose, developing a methodology of analysis, preparation, and performance. Each participant directs and performs scenes for class. G. Witt. Winter.

254. Chekhov in Contemporary Context. PQ: Consent of instructor. Prior theater experience or acting training helpful. This course is intended to uncover the universal themes and settings in Anton Chekhov's work, bringing to light the humor and contemporary impact of this classic author. At the same time, focus is placed on expanding the participants' individual creative expression and understanding. The course explores Chekhov's four major plays as a means to enhancing individual performance skills and to understanding the process by which actors and directors bring these dramatic works to life. C. Columbus. Not offered 1999-2000; will be offered 2000-2001.

255. Tennessee Williams: Performing an American Classic. PQ: Consent of instructor. Prior theater experience or acting training helpful. This course addresses the performance aesthetics of Williams's Southern Gothic drama, including the music, poetry, and visual aspects of the playwright's most well-known plays: The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, and others. Through discussion, reading, and performative tasks, we explore the stylistic challenges of performing Williams's work as an actor, the similarities to American improvised musical forms (such as blues and jazz), and the painterly nature of the Southern Gothic atmosphere of the plays. C. Columbus. Not offered 1999-2000; will be offered 2000-2001.

256. Acting the Greeks. PQ: Consent of instructor. Prior theater experience or acting training helpful. This course creates an acting vocabulary for classical Greek plays, using texts such as Euripides' Medea, Sophocles' Electra and Antigone, and Aeschylus' Oresteia. Through vocal and physical exercises, we actively work to train the actor's primal impulse to fill the stature and emotional fullness that the plays demand. Students are expected to perform choral and scene work in class. C. Columbus. Spring.

257. Advanced Shakespeare Scene Study. PQ: GS Hum 252 or equivalent Shakespeare training, and consent of instructor. How do you translate the politics, poetics, and cultural issues of Shakespeare's texts into actual staging? Moving beyond understanding and delivery of verse drama, this class explores in-depth the visual, physical, and thematic resonances of Shakespeare's plays. Students focus at length on individual scenes, discovering them from a range of approaches to unlock their inherently theatrical elements. G. Witt. Spring.

258. Ritual Drama. PQ: Consent of instructor. Prior theater experience or acting training helpful. This course explores the correlation between spiritual systems and the dictates of the performance of culture. Special focus is placed on the study of Indian classical theater (Kathakali) and dance (Bharata Natyam), as well as traditional West African forms. By studying how traditional religious texts create the stories for performance, participants discover the universality and communicative potential of movement and gesture. T. Trent. Winter.

260. The Art of Directing. PQ: Consent of instructor. GS Hum 251 or equivalent acting experience helpful. This course introduces students to the basic skills of directing plays, from first contact with the script, through work with actors and designers, to final performance. After a preliminary examination of directing theory, the class explores the director's role as communicator and image-maker, and offers practical experience in script analysis, blocking, and the rehearsal process. C. Columbus. Winter.

264. Lighting Design for Stage and Film. PQ: Consent of instructor. Prior theater or film experience not required. This is a basic exploration of the theory and practice of lighting design for both theater and motion pictures. Students develop theatrical lighting vocabulary, knowledge of basic electrical theory, color theory, theory of light, design tools, and the actual instruments used to light the stage through lectures and projects. M. Lohman. Winter.

265. Scenic Design (=COVA 261, GS Hum 265). PQ: Consent of instructor. Prior theater experience not required. This course considers the process of stage design from both aesthetic and practical points of view. It surveys the historical development of scenography in relation to technology and theatrical style. The influence of tradition on modern stage design is investigated through a comparison of period designs and contemporary solutions established by scenographers. M. Lohman. Not offered 1999-2000; will be offered 2000-2001.

266. Playwriting (=Eng 136, GS Hum 266). PQ: Consent of instructor. Prior theater experience not required. This course introduces the basic principles and techniques of playwriting through creative exercises, discussion, and the viewing of contemporary theater. Structural components of plot, character, and setting are covered as students develop their dramatic voices through exercises in observation, memory, emotion, imagination, and improvisation. C. Allen. Autumn.

267. Advanced Playwriting (=Eng 137, GS Hum 267). PQ: Consent of instructor. For information call 702-3414; Prior Theater experience not required. (Description forthcoming) C. Allen. Winter. (F)

268. Performance Art (=COVA 256, GS Hum 268). PQ: Consent of instructor. Prior theater experience or acting training not required. This course offers students a chance to explore some of the aesthetic strategies used by artists/performers working in the genre of performance art. As scholars, we work toward an understanding of how changing notions of what constitutes the "avant-garde" influences the conceptualization, creation, and dissemination of art and performance. As performance artists, we employ various "avant-garde" techniques as we create original performances based on a theme, such as "memory." Staff. Not offered 1999-2000; will be offered 2000-2001.

270. Reading Course: Theater Practicum. PQ: Consent of instructor. H. Sinaiko. Autumn, Winter, Spring.

272-372/273-373. Proseminar in Psychoanalysis I, II (=GS Hum 272-372/273-373, HumDev 339-340, MAPH 304-305). PQ: Must be taken in sequence. This seminar focuses on issues central to the human condition by considering Freud's writings on psychoanalysis and contemporary psychoanalytic understandings of wish and sentiment within lives over time. We explore the concept of wish and awareness; the expression of wish within the life-history; humanistic productions such as literature and art; psychoanalytic understandings of personal development, sexuality, and the foundation of personal distress and intervention; and the contribution of psychoanalysis in understanding culture and history. These issues are approached from possibly contrasting perspectives. They include Freud's psychology of conflict and such recent perspectives as ego-psychology, object relations theory, and self-psychology. B. Cohler. Autumn, Winter.

276/376. Freud as Humanist (=GS Hum 276/376, German 292/392, JewStd 292/392). PQ: Reading knowledge of modern German helpful. The aim of this course is to situate Freud within the tradition of humanism and, in so doing, to complicate the historical profile of "humanism" as well as "Freud." The latter is read as an interpreter and critic in the sense of the nineteenth-century humaniora; as a reconstructionist in the sense of nineteenth-century historiography; and as an ambivalently humanistic moralizer, politicizer, and liberalizer of the nineteenth- and twentieth-century psyche. One hour of discussion in German optional. S. Jaffe. Spring.

279/379. Kafka in Prague (=Czech 277/377, GS Hum 279/379). The goal of this course is a thorough treatment of Kafka's literary work in its Central European, more specifically Czech, context. The course revisits the Prague of Kafka's time, with particular reference to Josefov (the Jewish ghetto), Das Prager Deutsch, and Czech/German/Jewish relations of the prewar and interwar years. We discuss most of Kafka's major prose works within this context and beyond, as well as selected critical approaches to his work. M. Sternstein. Winter.

281/381. Modern Central European Novel (=GnSlav 272/372, GS Hum 281/381). A close study of the major novels of Central European origin from the twentieth century, including Witold Gombrowicz's Trans-Atlantyk, Milan Kundera's Book of Laughter and Forgetting, Hermann Broch's Sleepwalkers, Franz Kafka's Amerika, Robert Musil's Young Törless, and recent works by Peter Esterhazy and Dubravka Ugresic, with emphasis on the aesthetic construction, ethical attitude, and cultural context. One of the course's main concerns is what constitutes the "national" and "regional" character of these novels and novelists and to what extent grouping under the rubric of "Central European" is feasible. M. Sternstein. Autumn.

282/382. Kitsch (=GnSlav 286/386, GS Hum 282/382). This course explores the concept of kitsch (and its attendants: camp, trash, and the Russian poshlost') as it has been formulated in literature and literary essays and theorized in modern critical thinking. Readings include Theodor Adorno, Clement Greenberg, Robert Musil, Hermann Broch, Walter Benjamin, Vladimir Nabokov, Milan Kundera, Matei Calinescu, and Tomas Kulka. No prior experience of kitsch is necessary. M. Sternstein. Spring.

286. Music, Liturgy, and Art in Sacred Spaces in the Middle Ages (=ArtH 196, GS Hum 286, Music 161). PQ: Any 100-level music course or consent of instructor. This class explores the dynamic relationship among music, liturgy, and art in the great churches of the Middle Ages. We investigate topics such as how changes in style of cathedral building brought about modifications in musical style, how the liturgy takes on specific characteristics to mirror the physical details of these structures, and how all the arts act in concert to express the philosophies of theologians and other persons active in these churches. A. Robertson. Autumn.

292. Introduction to Ethics (=GS Hum 292, HiPSS 210, Philos 210). The major portion of this course consists of an examination of the most influential types of ethical theory. After studying these theories, we turn to their practical applications. Special attention is given to the implications of different theories for ethical problems in medicine. A. Davidson. Winter.

293/393. Vladimir Nabokov (=GS Hum 293/393, Russ 240/340). This course examines selected novels of Vladimir Nabokov with particular concentration on the novels of the 1950s. The novels we examine range from those written originally in Russian, such as The Gift (Dar') and Invitation to a Beheading (Priglashenie na kazn'), to the later "American" novels (Lolita, Pale Fire, Pnin, and Look at the Harlequins!). We discuss these works in the context of thematic concerns, modern narrative theory, and recent critical positions on Nabokov. Knowledge of Russian not required. Texts in English and the original. M. Sternstein. Spring.

294/394. Greek Religion (=AncSt 287, ClCiv 287, Class 387, ECL 387, GS Hum 294/394). This course surveys the history of Greek religion from Homer to the early Hellenistic period and includes inquiries into religious practices (e.g., animal sacrifice, divination, purification, and burial rites) and beliefs about fundamental issues (e.g., the proper relationship between the human and the divine, the creation of the cosmos, and the nature of human existence after death). Sources include literary texts and inscriptions (all in translation) as well as archaeological materials, especially Greek vase-painting. C. Faraone, J. Redfield, B. Lincoln. Winter.

297. Reading Course. PQ: Consent of faculty adviser and director of undergraduate studies. Students are required to submit the College Reading and Research Course Form. Staff. Autumn, Winter, Spring.

299. Preparation of the B.A. Paper. PQ: Consent of faculty adviser and director of undergraduate studies. Students are required to submit the College Reading and Research Course Form. Staff. Autumn, Winter, Spring.

303. Introduction to Theories of Sex/Gender (=GendSt 214, GS Hum 303, MAPH 365, Philos 314). Feminism and sexuality studies have contributed to work in many different regions of humanistic and social scientific inquiry. Some of the most interesting contributions have involved the development of new theoretical frames in which to formulate questions for disciplinary work. This course is intended to be both a survey of some theoretical work on sex and gender, and a sweeping introduction to some of the philosophical roots of feminist and queer theory. C. Vogler. Autumn.

305. Aesthetics and Theory of Criticism (=COVA 251, GS Hum 305, Philos 313). An introduction to problems in the philosophy of art with both traditional and contemporary texts. Topics include the definition of art, representation, expression, metaphor, and taste. T. Cohen. Spring.

351. Le Théâtre et la théâtralité au Moyen Âge (=French 321, GS Hum 351). PQ: Consent of instructor. This course aims to define medieval theatricality by examining French theater from the twelfth to the fifteenth centuries within the broad range of performance traditions associated with French literature of this period. We juxtapose theater proper with other literary performance pieces, such as liturgical processions, the cries of street vendors, and court revels. Classes conducted in French. K. Duys. Spring.

354-355. Language in Culture I, II (=Anthro 372-1,-2, GS Hum 354-355, Ling 311-312, Psych 470-471). PQ: Consent of instructor. Must be taken in sequence. This two-quarter course presents the major issues in linguistics of anthropological interest, including, in the first half, the formal structure of semiotic systems, the ethnographically crucial incorporation of linguistic forms into cultural systems, and the methods for empirical investigation of "functional" semiotic structure and history. The second half of the sequence takes up basic concepts in sociolinguistics and their critique, linguistic analysis of publics, performance and ritual, and language ideologies, among other topics. M. Silverstein, Autumn; S. Gal, Winter.

390. Dr. Faust and His Women: Three Variants (=Fndmtl 279, GendSt 274, GS Hum 390, German 374). PQ: Consent of instructor. Reading knowledge of modern German helpful but not required. Starting with a comparative analysis of "Dr. Faust's women" in the anonymous Faustbuch of 1587, Goethe's Faust I and II, and Thomas Mann's Doktor Faustus (1947), this course explores the psychoanalytical, cultural, and sociopolitical dimensions of thematic material that cuts across the boundaries between pre-modernity, modernity, and post-modernity. S. Jaffe. Winter.