Integrated Arts courses are primarily designed to combine the study of two or more arts, whether from a critical-historical point of view, or within creative workshops. Note that the courses may be cross-listed from other programs.

Unlike the American and French revolutions, the Roman revolution transformed the state from a republican government, in which both the aristocracy and the people participated, into a system of one-man rule begun by Augustus, the first emperor, but prepared by Marius, Sulla and Julius Caesar. The transformation was felt throughout society, in the realms of literature and art as well as politics. This course will use a cross-disciplinary perspective to provide an in-depth examination of this crucial period in history, from approximately 120 BCE to 70 CE. In addition to the great authors of Latin literature, such as Vergil, Catullus, Ovid and Cicero, we will be studying the art and monuments of Rome in order to acquire a deeper understanding of Roman culture during this crucial transitional period. All readings will be in English.

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.

This course will explore and support the individual work of students as they seek to combine the arts of visual, performing or musical experience. Required of Integrated Arts concentrators, the course will involve collaborative as well as individual study, the development of a conceptual as well as practical grasp of particular modes of integrating the arts, and the refinement of habits of work and of thinking which foster the creative process. The ability to work regularly and independently, as well as the commitment to articulate one's own methods of working and respond productively to the works of others, are assumed in all students. Presentations by guest faculty, readings, and active discussions about a variety of art practices are regular features of the course. Open to junior and senior Integrated Arts majors by permission of the Instructor at Registration. A one-page typed description of a proposed spring integrated arts project due at registration. Register with Prof. Leonard.

The course moves towards full-tilt theatricalization of poetry texts, our own and others, not to be confined nor defined by any particular theater, exploding. Students develop the use of media other than the standard printed page for the transmission of poetry, including music, dance, 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 Wanda Coleman on the reading list. We'll envision a production of John Ashbery's Girls on the Run. Visiting poets and performers will drop by class, and we will participate in the Peoples Poetry Gathering in New York. There will be a group performance at the end of the semester. The final project is a book.

The seminar will focus on the cinematic work of a single exemplary director of the great post-war Italian Neo-realist movement, Luchino Visconti. We will look at a select number of narrative films paired with the literary works which inspired them, including James M. Cain's novel The Postman Always Rings Twice and the film Ossessione; Giovanni Verga's I Malavoglia and La Terra Trema; Camillo Boito's Senso, Giuseppe de Lampedusa's The Leopard and the corresponding films of the same name. Juniors and Seniors only. Required term paper. Open to non-majors but some background in either Italian language, literature, or film is desirable. See Professor Pruitt at Registration.

In this course students will write/compose/design/make poetry with the form of the book in mind. We will do this in conjunction with a review of the history of poetry in relation to the book and vice versa. We will also explore the fluid zone between language as communicative sign and resonant graphic presence, both in its typographies and its active dialogue with the space of the page. The story goes that poetry began as song and oral recitation. Its graphic presence on the page came relatively late in its development. The roles of voice, sound, musical elements in poetry carry on the connection with its oral origins. What poetic elements are specific to its written and printed forms? Here we will explore what the fact of the poem as visually composed, printed text - as well as the book as object - add to poetic possibility. We will work on concrete and other visual poetries and engage in poetic projects that are quite literally bound to the book as form. Students will create four books over the course of the semester. They will be encouraged to explore the material location of meaning in which words are simultaneously semantic unit, graphic representation and visual image.

The American Civil War was the first war to be photographed. How do the photographic images represent the unrepresentable facts of loss, death, and violence? How do they relate to poetic images applied to the same facts? What common ground can be found between poetic and photographic images as they seek to address the deadly facts of the war? What general conclusions can be drawn from these efforts? While features of the military and artistic context will be significant, the primary purpose of the course is comparative study of the arts. We will examine poems by Walt Whitman, Emily Dickinson, and minor poets, and photographs by Matthew Brady, Alexander Gardner, Timothy O'Sullivan, and others. Open to Upper College students.

See Film section for description.

See Photography section for description.

See Literature section for description.