Increased practice in listening comprehension, reading, and group interaction. For graduate credit see 21F.752.In Spanish II focuses on continuing to develop fluency in understanding, speaking, reading, and writing in Spanish, using the second part of the video-based program, Destinos, begun in Spanish I. Destinos is a soap opera that allows students to learn Spanish and experience its cultural diversity while following a good story full of surprises and human emotions. Spanish II also includes additional materials, such as Spanish films and other media, various types of reading selections and online resources. Spanish II continues to develop students' listening, speaking, reading and writing skills using the second part of the video-based program, Destinos, begun in Spanish I. Destinos is a soap opera that allows students to learn Spanish and experience its cultural diversity while following a good story full of surprises and human emotions. Spanish II also includes additional materials, such as Spanish films and other media, various types of reading selections and online resources.

Systematic training in spoken and written skills to improve fluency and style. Oral reports by participants on individual topics. Discussions with native speakers, analyses of selected literary texts, periodicals, and Spanish-language media. Taught in Spanish.

Seminar explores approaches to representation for very distributed cinematic storytelling. The relationship between story creation and story appreciation is analyzed. Readings are drawn from literary, cinematic criticism, as well as from artist's descriptions of interactive, distributed works. Students analyze a range of storytelling techniques, develop a previsualization, story construction, or audience participation model. Individual or group final projects.

Intensive study of films of a particular period or genre, or films by a single director. Instruction and practice in oral and written communication. Topic: Technologies of Seeing: Pre-cinema to Early Cinema. This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, HonorĚŠ de Balzac, Henry James and F. Scott Fitzgerald.

Subject considers how the visual and material world of "nature" has been reshaped by industrial practices, beliefs, structures, and activities. Readings in historical geography, aesthetics, American history, environmental and ecological history, architecture, city planning, and landscape studies. Several field trips planned to visit local industrial landscapes. Assignments involve weekly short, written responses to the readings, and discussion-leading. Final project is a photo-essay on the student's choice of industrial site (photographic experience not necessary).

"In diesem Kurs erhalten Sie einen ?berblick ?ber einige wichtige literarische Texte, Tendenzen und Themen aus der deutschsprachigen Literatur- und Kulturszene. Wir werden literarische Texte, Gedichte, Theaterst?cke und Essays untersuchen, sowie andere ?sthetische Formen besprechen, wie Film und Architektur. Da alle Texte gleichzeitig in ihrem spezifischen kulturellen Kontext gelesen werden, tragen sie zu einem Verst?ndnis von verschiedenen historischen Aspekten bei. Unter anderen werden folgende Themen und Fragestellungen besprochen: Technologie und deren Einfluss auf die Gesellschaft, Fragen der Ethik bei wissenschaftlicher Arbeit, Konstruktion von nationaler Geschichte und kollektivem Ged?chtnis."

21F.031 examines the terms "avant garde" and "Kulturindustrie" in French and German culture of the early twentieth century. Considering the origins of these concepts in surrealist and dadaist literature, art, and cinema, the course then expands to engage parallel formations across Europe, particularly in the former Soviet Union. Emphasis on the specific historical conditions that enabled these interventions. Guiding questions are these: What was original about the historical avant-garde? What connections between art and revolution did avant-garde writers and artists imagine? What strategies did they deploy to meet their modernist imperatives? To what extent did their projects maintain a critical stance towards the culture industry? Surveying key interventions in the fields of poetry, painting, sculpture, photography, film, and music, the readings also include signal moments in critical thought of the last century. Figures to be considered are: Adorno, Aragon, Bataille, Beckett, Brecht, Breton, BĚ_rger, Duchamp, Eisenstein, Ernst, JĚ_nger, Greenberg, Kandinsky, Malevich, Mayakovsky, and Tzara. Taught in English, but students are encouraged to consult original sources when possible.

"This semester, we will read writing about travel and place from Columbus's Diario through the present. Travel writing has some special features that will shape both the content and the work for this subject: reflecting the point of view, narrative choices, and style of individuals, it also responds to the pressures of a real world only marginally under their control. Whether the traveler is a curious tourist, the leader of a national expedition, or a starving, half-naked survivor, the encounter with place shapes what travel writing can be. Accordingly, we will pay attention not only to narrative texts but to maps, objects, archives, and facts of various kinds. Our materials are organized around three regions: North America, Africa and the Atlantic world, the Arctic and Antarctic. The historical scope of these readings will allow us to know something not only about the experiences and writing strategies of individual travelers, but about the progressive integration of these regions into global economic, political, and knowledge systems. Whether we are looking at the production of an Inuit film for global audiences, or the mapping of a route across the North American continent by water, these materials do more than simply record or narrate experiences and territories: they also participate in shaping the world and what it means to us. Authors will include Olaudah Equiano, Caryl Philips, Claude L?vi-Strauss, Joseph Conrad, Jamaica Kincaid, William Least Heat Moon, Louise Erdrich, ?lvar N

Does race still matter, as Cornel West proclaimed in his 1994 book of that title, or do we now live, as others maintain, in a post-racial society? The very notion of what constitutes race remains a complex and evolving question in cultural terms. In this course we will engage this question head-on, reading and writing about issues involving the construction of race and racial identity as reflected from a number of vantage points and via a rich array of voices and genres. Readings will include literary works by such writers as Toni Morrison, Junot Diaz, and Sherman Alexie, as well as perspectives on film and popular culture from figures such as Malcolm Gladwell and Touré.