The courses will meet every day in January (from the 3rd to the 26th). The cost of taking a four-credit course is $1,500.00 and if you choose to live on campus there is a $50 weekly charge for your room. Financial aid is not available for courses held during intersession.

You can register for the courses from registration day (December 6) until the last day of fall classes (December 15) by seeing the relevant professor. Tuition must be paid in full to the office of student accounts by the first day of the classes (January 3rd). All classes carry four credits unless otherwise stated. There is no extended drop/add period during intersession, and no refunds are given after the first day of classes has ended.

This course will seek to combine traditional methods of printmaking (wood-cut collagraph, etching, monoprint) with modern reproductive methods (xerography, photography, computer images and typography) to produce small edition, artist designed and written books. Students will produce their own short texts and explore ways to juxtapose them with visual images, found and hand-made. They will be encouraged to experiment with non-traditional notions of book-making and to combine fine art materials and methods with modern commercial ones in the service of serial imagery. Sources which may provide inspiration are the traditions of the livres d'art, livres d'peintre, medieval manuscripts, Japanese scrolls, small press books, the comics and children's books. The class will visit the collection of artists' books at the Museum of Modern Art, and there will be a bookbinding workshop. The course may be considered to correspond to Foundations of Art, the entry level course in the art department. It will meet for three hours, four mornings per week.

2 credits. (The fee for this course is $750).

This course will focus on a selection of films Godard made from the late fifties through the mid-seventies, tracing his development from the enfant terrible of the Nouvelle Vague to the innovator of "ground zero" cinema. We will examine the influence of Hollywood (film noir and gangster movies) on his earliest writings for "Cahier du Cinema"; his romanticism and anti-romanticism; his perspective on sex and money within capitalist culture; his sympathy and antipathy toward his female characters; his embrace of Marxism, then Maoism; and his far-reaching influence on the very media culture he so avidly critiqued. The following films will be given close readings: Breathless, A Woman is a Woman, My Life to Live, Contempt, Alphaville, Weekend, Masculin Feminin, Tout va Bien, Numero Deux.

This class will begin on January 8, 2001. An intensive study of this distinctive art form, including: close and analytical listening to a number of the recorded masterpieces of jazz; review of the stylistic progression of the major periods of jazz (e.g. bebop, cool, hard bop, free, neoclassicism); study of major jazz criticism; reading works in the history of jazz in relation to close listening; a consideration and viewing of jazz films and documentaries; reading fiction, biography, and autobiography depicting jazz music and the jazz life; an inquiry into some of the linkages and affinities between jazz and modern art; and most fundamentally, an investigation into the aesthetics of improvisational music. Throughout, we will focus on the development and progressive evolution of the improvisational "language" within this art form, with an emphasis on the ensembles of Parker, Davis, Coltrane, and Monk (among many others). An ability to read music is welcome but not required; players and non-players equally welcome

Discover your innermost octaves this Intersession under the instruction of Dada-meister Bernd Seydel. Experimental poetry at the beginning of the twentieth century took its inspiration from language in the most literal sense, from the primal attraction of sounds and rhythms unmoored from rational meaning. Dada (1916-1920) was the first major literary movement to explore speech as pure sound. In 1916 Hugo Ball premiered his famous sound-poems at Cabaret Voltaire, an avant-garde den in Zurich, using the plastic qualities of speech to place his listeners under an onomatopoetic spell. Other artists soon followed suit, including Emmy Hennings, Hans Arp, Tristan Tzara, and Kurt Schwitters with his glorious "Sonata in Ur-Sounds," and eventually Dada provided the impetus for the Surrealist movement in France. American relatives include Gertrude Stein, and the scat-singing style in jazz that lies halfway between song and improvised speech. The performance of Dada poems demands both skill and vocal training. In a very unique opportunity, Bard welcomes Germany's most celebrated performer of Dada works, Bernd Seydel, who will be offering a seminar and workshop designed to hone the voice as a literary instrument. Activities will include voice training, lectures, and critical analyses of the literature and music of this experimental tradition. Participants in the seminar will discover for themselves not only the pleasure of vocal improvisation, but also the philosophical and artistic principles behind it. The seminar culminates in a public performance of Dadaist masterpieces, as well as, the participants' original work. A basic knowledge of music and German is desirable but not required. Please note that this course is taught in an intensive format during the last two weeks of the intersession period, with two daily sessions of two hours. Four credits in German Studies or Integrated Arts. For more information see Prof. Franz Kempf (Aspinwall 301).

This class is meant to explore the technical and aesthetic concerns of photographic printing, its theory, history, and practice. We will spend time in the darkroom every day, exploring the possibilities of expressive printmaking, as well as such topics as film selection/manipulation and making emulsions from scratch. We will also devote a great deal of time to looking at actual prints culled from various sources and collections, as well as discussions of different printing philosophies and practices. The lab work in class will be in black and white, but will be relevant to color printing as well. Students are expected to bring negatives but we will also make negatives in class.

An intensive course in Romantic, Victorian and Modernist literature in England, which emphasizes close readings in historical contexts, the development of critical vocabulary and imagination, and the discovery of newly important and long-respected works which make up English literature from Wordsworth to Woolf. Third of a three-part series, Literature 252 concentrates primarily on poetry of the nineteenth and early twentieth centuries, with significant attention to the essay, criticism and drama; among writers studies are Wordsworth, Coleridge, Shelley, Keats, Tennyson, Browning, Ruskin, Wilde, Eliot, Shaw, Lawrence and Woolf. This course is for new and continuing literature majors who want to explore the range and depth of English literature while they fill program requirements.

This class will begin on January 8, 2001. An interdisciplinary approach to Wagner's great operatic tetralogy, a mythological account of the beginning and the end of the world (along with much in between). We will approach the work from a number of different perspectives--musical, historical, literary, philosophical, visual--in an attempt to come to terms with a work which Wagner felt could only be fully realized by a total integration of all the arts. We will consider such topics as: the sources of the Ring in Norse mythology; Wagner's debt to the literary and philosophical currents of his time (including his complicated relationship to Nietzsche); the musical and dramatic structure of the Ring; differing scenic solutions to the problems of putting a mythological epic on stage; and the role of "Wagnerism" as a cultural phenomenon in both the 19th and 20th centuries. The course will make considerable use of audio/visual material. Students from all disciplines are encouraged to enroll (technical knowledge of music is neither required nor supplied).

Kafka can be read as the chronicler of modern despair, of human suffering in an unidentifiable, timeless landscape. Yet he can also be read as a representative of his era, his "existential anguish" springing from the very real cultural and historical conflicts that agitated Prague at the turn of the century (e.g., anti-Semitism, contemporary theories of sexuality). While focussing on Kafka's shorter fiction ranging from fragments, parables and sketches to longer, complete tales (e.g. The Judgement, The Metamorphosis), we will also discuss two novels, The Trial and America. Together they reveal the breath of Kafka's literary vision and the extraordinary imaginative depth of his thought.

The course is an introduction to Modern Hebrew as it is spoken and written in Israel today. It begins with the learning of script and pronunciation and works rapidly into a wide range of texts and topics that build active and passive lexicon as well as grammatical structures. Differences between standard and colloquial Hebrew as well as significant aspects of Israeli culture will be highlighted. Open to students with no previous knowledge in Hebrew and to others in consultation with the instructor.

This first-year Russian course introduces the student to the fundamentals of Russian grammar, composition, and conversation. Special attention is given to developing phonetic proficiency and effective reading strategies. Audio-visual exercises supplement in-class instruction.
For more on Smolny and study in St. Petersburg click here

The goal of this course is to enable students to make critical judgements and come to informed conclusions about current issues involving chance. Most topics will be introduced in a case-study fashion, usually by reading an article in a periodical such as The New York Times, Chance, The New Yorker, and Scientific American. The primary reading will be supplemented by readings on basic probability and statistics.

Prerequisite: eligibility for Q courses.

• Using narrative to get started; methods for beginning to write.
• Writing to identify central themes, clarify a thesis, construct an argument.
• Small group work to develop ideas; students will give and receive responses to their writing.
• Individual attention to the questions inherent in your project (and at your stage of research and writing).

The conference begins on Sunday evening and continues Monday through Friday. Classes meet from 9:00 to 12:00 and from 2:00 to 4:00 each day. Senior Writing Conference is non-credit. The only cost to students is for on-campus housing during the five-day conference. Registration is limited to 12 senior students on a "first-come" basis. To register for Senior Writing Conference see Prof. Nancy Leonard at Registrati