Exit Strategy

David did this great thing in Production class and Thesis: he made an “exit strategy” for the second half of the semester. I’m going to make an “exit strategy” for my BA. (Likewise, my friend Jenny will be throwing a “bachelorette party” to celebrate the completion of her BA) Are you ready for this? The course descriptions are copied from Columbia College’s Fall 2010 course catalog.
Writing, Language, and Culture Seminar (Brendan Riley)

In this course, students will study issues surrounding language, writing, and representation, and produce substantial, complex writing and research projects as they work to build skills in research, prose style, editing, and design. Topics will include public debates such as the “English Only” movement and the politics of immigration, Ebonics and language education, the effects of media representations in public health, or the influence of digital culture on writing and literacy. Overall, the course heightens student awareness of the power of writing and representation to shape the way we produce and are produced by the world around us.

Graduate Seminar in Literature: Dickinson (Karen Osborne)

I’m trying to get into this graduate course. It looks fantastic, and I need a pre-20th Century literature course. That said, I do not have the course description.

The Historical Poem (Tony Trigilio)

When Plato (in)famously kicked out poets from his ideal republic, he kicked off a debate that extends to this day over the relationship between the imaginative play of poetry and the truth-telling boundaries of historiography.  This course explores critical and artistic strategies that are unique to writing a sequence of poems in history.  Our assigned readings in poetics, philosophy, and contemporary poetry will inform the poems we write. Where is the “self” situated in poems inspired by historical events in which the poet him/herself may not have participated? What does the ambition to write a historical poem say about the poet’s trust (or lack thereof) in representation, self-expression, and, of course, in poetry itself?

And one of the following history courses (though I’m disappointed that there’s only one Asian history course–and it’s just a generic early Asian history course! And they closed the Vietnam course! WHAT?!):
American Cultural History (T. Prados)

This course examines major trends in American cultural and intellectual history from the Colonial period to the present. We explore the ideas of those who, either from a dominant or an alternative position, had an important impact on their contemporaries’ views, and who best reflected the spirit of their time. It is highly recommended that students have completed at least one prior course in U.S. History.

The Great Depression & the New Deal: the U.S. in the 1930’s (E. McCarthy)

This course will explore the Great Depression and the decade of the 1930s, from the election of Hebert Hoover in 1928 to bombing Pearl Harbor, from three main perspectives: the politics of FDR and the New Deal, the social response to the Depression and the president, and the cultural innovation of the era. Through reading and the examination of primary sources (including songs, speeches, films, poems and plays) students will explore the relationship between the individual and time to which s/he lives. Special emphasis will be given to the artistic and documentary production of the decade.

German Culture in the Weimar Republic: 1919-1933 (F. Kopp)

This course examines the turbulent history of Germany’s Weimar Republic from 1919 to 1933 and introduces students to the art, architecture, film, literature, music, and theater of this era. Through analysis and interpretation of selected works by various influential artists and writers such as Fritz Lang, Berthold Brecht, and Thomas Mann, this course explores the social, economic, cultural and political climate, as well as themes of class, gender, and race in Germany before Hitler came to power.

And maybe one of these for fun:

The Radio Narrative (D. Berner)

This course focuses on the craft of writing and producing effective radio narratives with an emphasis on storytelling techniques, writing for the ear, sound usage, and basic spoken word audio editing. Each student will produce at least four completed radio narratives, working from already written pieces (re-drafting it for broadcast writing) or writing entirely new works. The course will progress from writing, to re-drafting, to basic audio production, to completed productions.

Sound for Interaction (Don Noffs)

This course provides the foundation for understanding sound in the visual and non-visual media. The first half of the course examines the power of creating images with sound and music without using visuals. Sound sculptures and landscapes, as well as classical impressionistic examples are reviewed and critiqued. The second half of the course investigates the impact of sound on both moving and still image. Film, Web site, game, and animation audio is analyzed for impact, technique, structure, and effectiveness. The terminology used in the field is underscored with reading and writing examples. The roles of all the people involved with film, game, and Web sound are covered.

Quantum Physics for Artists (TBD)

This course is designed for non-scientists (with little or no background in physics and mathematics) with emphasis on the paradoxes and beauty of quantum physics. Students will learn basic ideas about quantum duality, wave functions, uncertainty principle, teleportation, theory of relativity, elementary particles, and cosmology.

I’ve also inquired about doing an independent study on the speculation of time travel.

So, what do you folks think?


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About abi nighthill

Abi has a BA in Poetry from Columbia College Chicago.
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One Response to Exit Strategy

  1. Pingback: Fall 2010 Readings | neuroflora

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