CRN	10471	Distribution	F
Course No.	IA 2123
Title	Exploding Text II: A Poets Theater Festival
Professor	Bob Holman
Schedule	Th 1:30 pm - 3:30 pm LC 120

Expanding on our work in the sister course, "Exploding Text: Poetry Performance," we now move towards full-tilt theatricalization of poetry texts, our own and others, not to be confined nor defined by any particular theater. Students develop the use of media other than the standard printed page for the transmission of poetry, including music, film and video, painting and sculpture, and the Net. We will spend time with Dada, Futurism, and Surrealism, and continue our hands-on study of Hiphop and Slam. You will find Mayakovsky, Artaud, O'Hara, and Sapphire on the reading list. In addition, we will delve into the Beats, reading Kerouac, Ginsberg, Burroughs, Kaufman and crew, with special attention to Michael McClure's play, The Beard. Visiting poets and performers will drop by class. There will be a group performance at the end of the semester.

CRN	10459	Distribution	A
Course No.	IA / FILM 219
Title	Film & Modernism
Professor	John Pruitt
Schedule	Tu 1:30 pm - 4:30 pm Mon Screening: 7:00 pm - 10:00 pm

The course explores the relationship between a certain strain of cinematic achievement, for the most part labeled avant-garde, and the major tenets of modernist art, both visual and literary. Many of the films studied are by artists who worked in other media (such as Léger, Strand, Cornell, and Duchamp) or whose work manifests a direct relationship to various artistic movements such as surrealism, futurism, and constructivism. An attempt is made to relate certain films to parallel achievements in photography, poetry, and music, with some attention paid to relatively little-seen filmmakers such as Lye, Kinugasa, and Jennings. Much of the assigned reading is not film criticism as such, but crucial critical works that help to define modernism in general, including works by Baudelaire, Pound, Ortega y Gasset, Moholy-Nagy, and Brecht. Other films studied are by Vertov, Eisenstein, Buñuel, Dulac, Ruttmann, and Man Ray.

CRN	10049	Distribution	A/C
Course No.	IA / CLAS 101
Title	The Rise and Fall of Athens
Professor	William Mullen / Christopher Callanan / Eric Orlin / Zara Martirosova / Beth Cohen
Schedule	Mon Wed 3:00 pm - 4:20 pm OLIN 102

This course will utilize a cross-disciplinary perspective in order to examine one of the most dramatic moments in the development of the Western tradition, Athens in the fifth century BCE. During this period, Athens developed from a small and relatively unimportant city-state into a power that dominated the Aegean basin. She created political, artistic, literary and intellectual traditions which continue to reverberate throughout the world today; democracy, tragedy and comedy, the classical style of sculpture and architecture, rhetoric and philosophy all find their origins in this city at this time. Yet while she was nurturing high-minded ideals, Athens embarked on a ruthless campaign of imperialist conquest and excluded a majority of her residents from a share in these glories. The Athenian awareness of the tension between the ideal and reality is indicated in her art and literature, and examining both this tension and the Athenian self-awareness will serve as a focal point for the course. In addition to examining the sculpture and monuments erected by the Athenians on the Acropolis, we will read many of the great works of Greek literature, including Sophocles, Euripides, Aristophanes, Thucydides, and Plato. Two hours of class will be lecture-oriented, with the class splitting into smaller groups for a third hour each week in order to provide opportunity for deeper discussion. Several art lectures will be given in the new Greek Galleries of the Metropolitan Museum; free transportation will be provided.

CRN	10023	Distribution	A/B
Course No.	IA / LIT 2130
Title	Writing about Art
Professor	Elizabeth Frank
Schedule	Wed 7:00 pm - 8:20 pm OLIN 205 Th 1:30 pm - 2:50 pm OLIN 205

We will examine the emergence of art criticism in its pre-theoretical and pre-professional forms, dividing the course into segments dealing with some of the strongest critical voices of the eighteenth, nineteenth and twentieth centuries. Authors will almost certainly include most of the following: Winckelmann and Goethe; Diderot, Delacroix, Baudelaire, Fromentin, and Apollinaire; Ruskin, Pater, Wilde, Fry, Stokes and Berger; Greenberg, Rosenberg and other American and European critics. Lecture and discussion will focus on the ekphrastic tradition, formalist modes of analysis, and cultural criticism, and there will be occasional "workshop" sessions for criticizing student work. Students will write about art as well as art critics, and will gather their papers into three editions of an arts journal they will edit and publish themselves. There will be trips to New York City to visit museums and galleries. Enrollment: 13-15

CRN	10458	Distribution	F
Course No.	IA 301
Title	Integrated Arts Major Conference
Professor	Leah Gilliam / Hap Tivey
Schedule	Tu 6:30 pm - 9:30 pm

This course intends to bring together integrated arts students around public presentation of their work. Over the first few weeks, a group of ten faculty members will make presentations of their own work (and/or work that interests them) as a way to introduce students to a broad range of ideas and artistic media. Students will make two presentations, the first, which will include ongoing work in progress, will focus on "context". This will include important "influences" and the theoretical and historical framework in which their work is situated. The second presentation will be of completed work. This is for Upper College Integrated Arts majors and others by permission of the instructors. All students wishing to take IA 301 should fill out and submit to Profs. Gilliam and Tivey a proposed project description form. The forms can be found on Prof. Tivey's door in Fisher.

CRN	10374	Distribution	F
Course No.	IA / MUS 336
Title	Interpreting, Observing, Experiencing
Professor	Benjamin Boretz
Schedule	Th 10:30 am - 12:50 pm Blum

A non-historical, non-theoretical, non-ideological encounter with a series of interesting expressive phenomena and artifacts (including music and other expressive forms), as well as with texts which address them. The project engages its objects first and foremost in order to know them, but also to consider how the three interfaces of engagement I am calling 'interpreting', 'observing', and 'experiencing', involve radically distinct issues, constitute radically different activities in receiving, discriminating, and processing sensory input - make, in fact, different 'facts' of the same source materials, and hence offer a rich diversity of alternative ways to take in expressive phenoma. The music of Dmitri Shostakovich has been interpreted as a body of subversive attacks on and exposes of Stalinist society. It also has been observed in its stylistic and formal individuality. And experienced in its frequently extreme expressive intensities. Some of this music and a book about it are a possible starting point for this workshop - which may thus be considered a 'theory course' in 'analog form'. The actual choice of phenoma and texts beyond the starting point will be dictated by the evolution of the discussion, and of course by the interests and inputs of the students. Enrollment limited to 8 students.