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 29900). 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) 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 23900 (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.

Concentration 6 major field courses

4 supporting field courses

3 minor field courses

2 critical/intellectual methods courses

1 GSHU 29900 (B.A. paper or project)

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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 gender studies.

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; languages and original compositions (or translations); and dance (including history, theory, and cultural contexts of dance).

9. Study of theater and drama. 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 Tiffany Trent (702-9021).

10. 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).

11. Study in human rights in relation to one or two humanistic disciplines such as philosophy, literature, or history.

12. Study in Catholic thought and culture. General Studies in the Humanities is developing a cluster of courses and related activities in Catholic thought and culture.

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.

Grading. Students who wish to take more than three courses P/N or P/F must obtain the approval of the chairman of the Committee.

Special Honors. To be eligible for special honors a student must have achieved an overall 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 reader (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.

10100. Drama: Embodiment and Transformation. This course meets the general education requirement in the dramatic, musical, and visual 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. P. Pascoe, D. Stearns, T. Trent, Staff. Autumn, Winter, Spring.

10300-10400. Text and Performance. PQ: Experience in dramatic analysis or performance not required. These courses meet the general education requirement in the dramatic, musical, and visual arts. These courses are designed to explore the intersection between texts and dramatic performance. Students approach textual analysis and performance through parallel methodologies: as scholars, they read, reflect upon, and write critically about texts and performances; as performers, they are introduced to a variety of dramatic techniques to create "applied interpretations" (critical performative interpretations of texts). Course topics change each quarter. Workshops in dramatic technique and attendance at performances at Chicago theaters, in addition to class time, is required.

10300. Reading a Staging/Staging a Reading. This course considers three canonical dramatic works and their subsequent radical re-interpretation in a host of media. Students are asked to prepare their own stagings of (or similar creative encounters with) the works under discussion. Throughout, we are searching for that elusive combination of theoretical rigor and creative inspiration: probing the theoretical stakes of creativity and testing the creative implications of conceptual insights. D. Levin. Winter.

10400. Staging the Self. Beginning with an examination of Plato's Phaedrus as a dramatic text, this course addresses issues of identity and embodiment in dramatic texts, while investigating their historical and philosophical implications. Basic skills include introductory performance vocabulary and critical, as well as creative, encounters with dramatic and literary texts written by authors such as Camus, Chekhov, Dostoevsky, and Shakespeare. Staff. Spring.

20000. Introduction to Film I (=ARTH 19000, CMST 10100, COVA 25400, ENGL 10800, GSHU 20000). This course 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. J. Stewart. Autumn.

20300. Introduction to Video and Film (=CMST 28900, COVA 10500, GSHU 20300). PQ: COVA 10100 or 10200, or CMST 10100. Video camera required. This course is a hands-on production course dealing with basic techniques and concepts of composition, editing, lighting, and storytelling through images. Through exercises, screenings, discussions, and critiques, students explore experimental, narrative, and documentary video and filmmaking. Staff. Autumn.

20400/30400. Greek Tragedy and Its Influences (=ANST 21100, CLAS 31100, CLCV 21100, GSHU 20400/30400). This course is an introduction to Greek tragedy that examines the evolution of tragic drama from the fifth century B.C. in Athens to the first century A.D. in Rome. Attention is given to the production of plays and to theories of tragedy, including that of Aristotle, as well as to the influence of Attic tragedy on the development of comic drama. Selected works of the modern theater (e.g., plays by Racine, Sartre, Fugard, and Soyinka) are studied as interpretations of the forms and themes of ancient tragedy. L. Slatkin. Winter.

20700. Film Aesthetics, Spectatorship, and Cinema Experience (=CMST 27100, ENGL 28000, GSHU 20700). This course focuses on the relation between the film medium, its aesthetic possibilities and practices, and the forms of reception mandated by and available within the institution of cinema. Beginning with a few classical film theorists (i..e., Balazs, Kracauer, Eisenstein, and Benjamin), we explore questions of film aesthetics and spectatorship through more contemporary theorists in the psychoanalytic-semiotic vein (i.e., Metz, Baudry, and Mulvey). We also consider the perspective of recent film history (i.e., Gunning, Musser, Tsivian, Carbine, and Hansen) that emphasizes the significance of the entire cinema experience (i.e., the social space of the theater, music, programming, and the public horizon of the audience) for the process by which films convey meaning, pleasure, and subjectivity. M. Hansen. Winter.

21300/31300. Slavic Critical Theory from Jakobson to Zizek (=CMST 27200/37200, GSHU 21300/31300, SLAV 28500/38500). This seminar-style course surveys the cultural and literary theory of critics including Roman Jakobson, the Russian Formalists, Jan Mukarovsky, the Prague School, Mikhail Bakhtin, Tzvetan Todorov, Julie Kristeva, Mikhail Epstein, Slavoj Zizek, and the Solovenian Lacanians. M. Sternstein. Winter.

21900. Russian Culture (=GSHU 21900, RUSS 24400). This course takes a detailed look at aspects of Russian culture not usually examined in Russian literature courses. Specific topics vary from year to year and are chosen from areas such as the visual arts and architecture, iconography, film, religion, music, dance, opera, the folk arts, and memoiristic writing, in addition to literature. For more information, consult the Departmental office in winter quarter. Texts in English. Staff. Spring.

22200. Reconnecting Two German Literatures: Norwegian and German (=GRMN 23500, GSHU 22200, HUMA 20400, NORW 23500). With the exception of an occasional Ibsen drama, Norwegian literature is seriously neglected by contemporary readers and critics outside of Scandinavia. The goal of this course is to reconnect Norwegian literature to its more mainstream Germanic kin, namely, German literature. We examine examples of ground-breaking Norwegian literature from the period 1860-1910, known as the "Modern Breakthrough"; and German literature from the same period. Working comparatively, we assess the nature of the relationship between these texts, as well as the relationship between the two national literatures. Readings come from Ibsen, Hauptmann, Thomas Mann, Kielland, Hamsun, and Kafka. K. Kenny. Winter.

22300/32300. Rhetorical Theories of Legal and Political Reasoning (=GSHU 22300/32300, HUMA 21400, IMET 32400, LLSO 22400, SOSC 22400). This course uses Plato's Gorgias to raise the question of whether practical thinking is possible and considers responses to this question by such writers as Aristotle, Cicero, and Machiavelli. We study the methods and concepts that each writer uses to defend the cogency of legal, deliberative, or more generally political prudence against explicit or implicit charges that practical thinking is merely a knack or form of cleverness. W. Olmsted. Autumn.

22400/32400. Introduction to Russian Literature II: 1850 to 1900 (=GSHU 22400/32400, HUMA 24000, RUSS 25600/35600). This is a survey covering the second half of the nineteenth century. Major figures studied are Dostoevsky, Tolstoy, Leskov, Saltykov-Shchedrin, and Chekhov. Representative works are read for their literary value and against their historical, cultural, and intellectual background. Texts in English. Class discussion is encouraged. N. Ingham. Winter.

23500-23600. Multimedia Programming as an Interdisciplinary Art I, II (=CMSC 11000-11100, GSHU 23500-23600). PQ: MATH 10600, or placement into MATH 13100, or equivalent; or consent of instructor. GSHU 23500 or 23600 meets 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 (e.g., Lingo, JavaScript, HyperTalk, and AppleScript). The course presents techniques of problem solving, program coding, algorithm construction, and debugging using the Web as its programming environment. W. Sterner, Staff. Winter, Spring.

23700. Introduction to Interactive Logic (=CMSC 11200, GSHU 23700). PQ: MATH 10600, or placement into 13100, or equivalent. Some experience with computers helpful. This hands-on course 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 at 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 CMSC 11000-11100, but they are not prerequisites. W. Sterner. Spring. Not offered 2001-02; will be offered 2002-03.

23800/33800. The Thought of Hannah Arendt. In this course, we consider all of 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 of the 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.

23900/33900. Criticism: Art/Artist/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.

24200/34200. History and Theory of Drama I (=ANST 21200, CLAS 31200, CMLT 20500/30500, ENGL 13800/31000, GSHU 24200/34200). May be taken in sequence with GSHU 24300/34300 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 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 other members of the class. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended. D. Bevington, D. N. Rudall. Autumn.

24300/34300. History and Theory of Drama II (=CMLT 20600/30600, ENGL 13900/31100, GSHU 24300/34300). May be taken in sequence with GSHU 24200/34200 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. 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. End-of-week workshops, in which individual scenes are read aloud dramatically and discussed, are optional but highly recommended. D. Bevington, D. N. Rudall. Winter.

24400. John Stuart Mill: Essays on Bentham and Coleridge, Autobiography, and Related Brief Texts (=FNDL 26300, GSHU 24400, HUMA 22000). Mill's claim that Bentham and Coleridge were "the two great seminal minds of England in their age" may be taken as the keynote for close reading of these texts. The course extends the question, however, to whether the tendencies in social and political thought Mill attributes to the two figures continue to define our debates and doubts. C. Gray. Winter.

24700/34700. New Approaches to l'Encyclopédie (=FREN 25400/35400, GSHU 24700/34700). PQ: FREN 20300 or consent of instructor. Diderot's Encyclopédie, which attempted to organize and transmit the totality of human knowledge, was also a fundamental vehicle for the spread of Enlightenment ideology and a place where French national identity and European self-awareness intersected with universalist principles. Profoundly dialogical, the Encyclopédie solicits active readings that encourage exchange and debate. We look at the complex relations at work between reader and text, and text and image in different Encyclopédie articles. Among other resources, the course uses a new electronic edition of the Encyclopédie. Classes conducted in French and English. R. Morrissey. Autumn.

25100. Acting Fundamentals. PQ: Consent of instructor. 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. T. Trent. Spring.

25200. Shakespeare in Performance (=ENGL 16700, GSHU 25200). PQ: Consent of instructor. Theater experience helpful but not required. This course meets the general education requirement in the dramatic, musical, and visual arts. This course explores the dramatic texts of Shakespeare through scene-study and 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, students 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.

25300. Improvisation for Actors. PQ: Consent of instructor. 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. Staff. Autumn.

25400. Chekhov in Contemporary Context. PQ: Consent of instructor. 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. Not offered 2001-02; will be offered 2002-03.

25500. Tennessee Williams: Performing an American Classic (=ENGL 22900, GSHU 25500). PQ: Consent of instructor. 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. P. Pascoe. Not offered 2001-02; will be offered 2002-03.

25600. Acting the Greeks. PQ: Consent of instructor. 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. Staff. Spring.

25700. Advanced Shakespeare Scene Study (=ENGL 16800, GSHU 25700). PQ: GSHU 25200 or equivalent Shakespeare training, and consent of instructor. Previous experience with Shakespeare helpful, but not required. This course meets the general education requirement in the dramatic, musical, and visual arts. How do you translate the politics, poetics, and cultural issues of Shakespeare's texts into actual staging? Moving beyond the simple 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.

25800. Ritual Drama. PQ: Consent of instructor. Theater experience or actor training helpful but not required. Through the structures of Indian classical dance (Bharatanatyam), theater (Kathakali), and traditional West African performance, this course explores the religious and cultural origins of theatrical expression. Students then identify contemporary scenes and contexts in which as performers or directors, they might engage observed concepts of sacred movement, space, sound, costume, and actor-audience relationship to create communal structure and meaning for presentation. T. Trent. Autumn.

25900. Theory and Control Systems of Technical Theater. This course is an introduction to scenery, lighting, costuming, and sound for the theater, with major emphasis on lighting and scenery. After the basic introductory sessions, students have the opportunity to pursue their own interests in the form of a major project. The course develops an understanding of technical theater vis-à-vis the tools and material available to the modern technician. Students develop a vocabulary specific to these four disciplines, as well as an understanding of the historical perspective and aesthetic visual and aural elements of the theater. M. Lohman. Autumn.

26000. The Art of Directing. PQ: Consent of instructor. GSHU 25100 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. Staff. Winter.

26200. Scene Painting. PQ: Consent of instructor. This course is an exploration of the basic tools and techniques of classical theatrical scene painting. Scene painting is a unique art that uses techniques and tools not associated with other types of painting. Some projects include faux finishes, foliage, scrim, and backdrops. M. Lohman. Spring.

26300. Costume Design for the Stage (=COVA 26200, GSHU 26300). PQ: Consent of instructor. This course is a collaborative interpretation of character and theme through rendering and fabrication of costumes for the stage. Students develop a visual vocabulary through use of texture, color, and period. Staff. Spring.

26400. Lighting Design for Stage and Film. PQ: GSHU 25900 or consent of instructor. This course 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.

26500. Scenic Design (=COVA 26100, GSHU 26500). PQ: GSHU 25900 or consent of instructor. 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 2001-02; will be offered 2002-03.

26600. Playwriting (=ENGL 13600, GSHU 26600). PQ: Consent of instructor. Theater experience or acting training not required. This course meets the general education requirement in the dramatic, musical, and visual arts. 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.

26700. Advanced Playwriting (=ENGL 13700, GSHU 26700). PQ: GSHU 26600 and consent of instructor. This course presumes the basic principles and techniques of playwriting and explores the steps toward developing a production-worthy script for contemporary theater. In addition to the instructor, students have the benefit of Michelle Volansky, dramaturg and literary manager at Steppenwolf Theater, who discusses dramatic structure and what she looks for in a play; and Sandy Shinner, artistic associate at Victory Gardens Theater, who shares a director's viewpoint for bringing the text to production. C. Allen. Winter.

26800. Performance Art (=COVA 25600, ENGL 23000/41600, GSHU 26800). PQ: Consent of instructor. 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. Not offered 2001-02; will be offered 2002-03.

26900. Performing Diaspora: American Theater of Immigration and Exile. We are living in an age of unprecedented movements and migrations of populations, some of them voluntary, many under extreme duress. This course focuses on new plays written by and about those who have lived through, in one form or another, this great displacement. The course is performance-based; we study theatre not only through texts but also through acting exercises, scene study, and character development. Students also develop, on the basis of field work, performance pieces pertaining to the topic of immigration and exile. P. Pascoe. Winter.

27000. Reading Course: Theater Practicum. PQ: Consent of instructor. H. Sinaiko. Autumn, Winter, Spring.

27100/37100. Contemporary Psychoanalytic Theories. F. Summers. Winter.

27400/37400. Body Image in Health and Disorder: Psychoanalytic Considerations. In this course we discuss the concept of the body image: its development; its utility; and, especially, its complexity of meanings. Despite its objective value as an organizer of experience on many levels, paradoxes abound (especially in term of our subjective awareness of its nature and contents). Illustrations are offered from our everyday experience as well as from the areas of severe illness and social catastrophe. The instructor's approach is informed by psychoanalysis, framed against a background of many years' experience working with patients suffering traumatic and other forms of catastrophic illness. M. Gunther. Spring.

27500/37500. Self Psychology and Film. PQ: Some exposure to psychoanalytic theory highly recommended but not required. This course provides an introduction to the theory and technique of self psychology. We read the major writing of Heinz Kohut and, if time permits, significant contributions of his successors. In addition to psychoanalytic case histories, we consider self psychological theory in relation to such works of literature and film as Shakespeare's King Lear; Kafka's The Metamorphosis; The Wizard of Oz; Desperately Seeking Susan; and The Crying Game. J. Stern. Autumn.

27800/37800. Milan Kundera (=CZEC 27600/37600, GSHU 27800/37800). This course constitutes a survey of the work of the Franco-Czech author Milan Kundera. The primary readings consist of his novels and short stories, from Laughable Loves to the recent Slowness. In studying Kundera's essays (particularly those in The Art of the Novel and Testaments Betrayed) we examine the relation between his critical thought and his novelistic practice. Such topics as sexism/misogyny, national identity, and political ideology are taken up in our discussions of this controversial novelist and critic. In addition, film adaptations of his work are shown and discussed. Texts in English. M. Sternstein. Autumn.

27900/37900. Kafka in Prague (=CZEC 27700/37700, GRMN 29600/39600, GSHU 27900/37900). The goal of this course is a thorough treatment of Kafka's literary work in its Central European, more specifically Czech, context. In critical scholarship, Kafka and his work are often alienated from his Prague milieu. 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 (including The Castle, The Trial, and the stories published during his lifetime), as well as selected critical approaches to his work. M. Sternstein. Winter.

28200/38200. Kitsch (=GRMN 26100/36100, GSHU 28200/38200, SLAV 28600/38600). 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. The course is discussion intensive with readings from 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.

28300. Pope's Essay on Man and Hume's Dialogues Concerning Natural Religion (=ENGL 2380, FNDL 27100, GSHU 28300). Pope's Essay on Man is, among other things, a memorable repository of influential ideas (none original with Pope himself) about man's place in God's universe and the implications of this view for human conduct and belief. The doctrines thus represented by Pope, together with more orthodox modes of Christian thought, are examined, with deadly amiability, in Hume's posthumously published Dialogues Concerning Natural Religion. The course proceeds in awareness of the remarkable literary qualities of both works: Pope's superb prosodic and linguistic achievement and Hume's brilliantly ironic exploitation of the dialogue form. E. Rosenheim. Autumn.

28500. Compassionate Radicals: Humanitarian Movements and Politics (=GSHU 28500, HIST 22400, HMRT 22400). This course explores the role of humanitarian movements in the nineteenth and twentieth century with an emphasis on Europe. While these movements are best known for their contemporary incarnation as non-governmental organizations (NGOs), they have a long history. It is the latter that mainly concerns us. We start with a discussion of the anti-slavery movement in Britain and France. We then deal with the history of the care for the wounded, from the Red Cross to Médecins Sans Frontières. We also cover the organizations and movements dedicated to the struggle against all forms of persecution (i.e., Amnesty International). Other possible topics are child labor, traffic in women, minority rights, and refugees. M. Geyer. Winter.

28600/38600. Human Rights: Philosophical Foundations of Human Rights (=GSHU 28600/38600, HMRT 20400/30400, MAPH 42000, PHIL 31500). This course deals with the philosophical foundations of human rights. The foundations bear on basic conceptual and normative issues: the various meanings and components of human rights and the subjects, objects, and respondents of human rights; who has the rights, what they are rights to, who has the correlative duties, what methods of argument and implementation are available in this area, and so forth. The practical implications of these theoretical issues are also explored. A. Gewirth. Autumn.

28700/38700. Human Rights I: Philosophical Foundations of Human Rights (=GSHU 28700/38700, HIST 29300/39300, HMRT 20100/30100, INRE 31600, LAWS 41200, MAPH 40000, PHIL 31600). This course is concerned with the philosophical foundations of human rights. We address questions such as: Why do we think there are such things as rights that all human beings share? What do human rights cover; are there rights to material welfare as well as rights to freedom, for example? What bearing do cultural differences have on the justification of human rights; can one list of human rights be justified for all societies? M. Green. Autumn.

28800/38800. Human Rights II: Historical Underpinnings of Human Rights (=GSHU 28800/38800, HIST 29400/39400, HMRT 20200/30200, INRE 36400, LAWS 41300). This course is concerned with the historical evolution of the modern human rights regime. It discusses human rights origins as a product of the formation and expansion of Western nation-states. It juxtaposes the Western origins with competing, non-Western systems of thought and practices or rights. It assesses in this context the "universality" of modern human rights norms. The course proceeds to discuss human rights in its two prevalent modalities. First, it discusses rights as individual protection of personhood and the modern, Western notion of individualism entailed therein. Second, it discusses rights as they affect groups or states and limit their actions via international agreement (e.g., the genocide convention). M. Geyer, W. Novak. Winter.

28900/38900. Human Rights III: Contemporary Issues in Human Rights (=GSHU 28900/38900, HIST 29500/39500, HMRT 20300/30300, INRE 57900, LAWS 57900, PATH 46500). This course examines the main features of the contemporary human rights system. It covers the major international treaties, and the mechanisms, international, regional, and national, established to implement them. We also discuss the uses and limitations of the international treaty system, and the relationship between international obligations and domestic implementation. Problems of rights implementation are related to issues of evidence, professional ethics, and political feasibility. Legal and medical concepts are applied to topics such as torture, political repression, war crimes and genocide, refugees, women's rights, children's rights, violations of human rights within the United States, and medical ethics. R. Kirschner. Spring.

29400. Reading the Holocaust: From Anne Frank to Schindler's List (=FNDL 23300, GSHU 29400, PSYC 22900, SOSC 22800). Using the complete, unabridged, unedited text of the Anne Frank diary and the film Schindler's List, this course explores the interplay of historical and social change in the study of both lives and texts. The course focuses primarily on a careful reading of the Anne Frank diary, concerned both with the problems of life-writing and changing construction of this icon of Shoah. The course concludes with a review of the Keneally book and the Spielberg film, Schindler's List, in exploring further the interplay of both writing and reading in the context of social-historical time. B. Cohler. Spring.

29600. Web Design: Aesthetics and Languages (=CMSC 10000, GSHU 29600, HUMA 25100). As a complement to courses in criticism, aesthetics, cultural studies, or Web programming, this course explores Web design as a liberal art of technology. Good multimedia design is based on our sensory intelligences. Yet, on the Web it requires syntheses of natural languages and artificial languages; of grammar, rhetoric, and logic; and, of course, mastery of the subject matter being presented. For the culture of "real virtuality," what design principles effectively and attractively communicate information, narratives, and explanations? We examine and create design environments in print and electronic media, with a focus on the Internet. M. Browning. Winter.

29700. 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.

29900. 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.

30100-30200. Philosophy of Language I, II (=GSHU 30100-30200, PHIL 33000-33400). PQ: Elementary formal logic or its equivalent highly desirable; this course does not presuppose any specific prior course matter but it is not suitable as a first course in philosophy. May be taken in sequence or individually. This two-quarter course is concerned with the nature of human knowledge of natural language. Topics include positive accounts of meaning and skeptical critiques, the use of formal and artificial languages in the study of natural language, the normativity of meaning, selected topics in the syntax and semantics of natural language, the foundations of theoretical linguistics, and truth-oriented versus epistemic theories of interpretation. The first quarter covers major writings by Frege, Tarski, Carnap, and Quine; the second, Chomsky, Davidson, Dummett, Kripke, and Burge. The two quarters can be taken separately although the second presupposes material covered during the first. Students who take both quarters have the option of writing one major essay to satisfy the main requirements of both quarters. J. Stern. Autumn, Winter.