(Offered as GEOL-253 and ENST-253) Geospatial inquiry is an iterative creative process that involves asking, answering, and communicating the results of questions using data linked to geographic locations. The anticipated results of this process are thoughtfully assembled maps and geographic datasets that serve as accessible, persuasive, and even beautiful means of conveying large amounts of complex information. Geospatial thinking is a critical skill for pursuing a systems-based perspective on our rapidly changing and interconnected world.

We will study the social, philosophical, poetic and institutional currents that contribute to the emergence of allegorical texts in the period between the twelfth and the late-fourteenth centuries. Readings include the Quest for the Holy Grail and works by Chrétien de Troyes, Guillaume de Lorris, Jean de Meung, Dante Alighieri, and Marie de France. All readings will be done in English translation. Conducted in English. Fall semester: Professor Rockwell.

How to handle overenrollment: null

(Offered as SPAN-347, FAMS-328, EUST 347 and SWAG-357) Pedro Almodóvar has defined world cinema for the last five decades. As Spain’s most celebrated film director, Almodóvar has created his own cinematic universe. Almodóvar lit up Spain’s movie screens beginning in the 1980s with his confrontational takes on gender, sexuality, religion and family.

(Offered as SPAN-347, FAMS-328, EUST 347 and SWAG-357) Pedro Almodóvar has defined world cinema for the last five decades. As Spain’s most celebrated film director, Almodóvar has created his own cinematic universe. Almodóvar lit up Spain’s movie screens beginning in the 1980s with his confrontational takes on gender, sexuality, religion and family.

(Offered as SPAN-347, FAMS-328, EUST 347 and SWAG-357) Pedro Almodóvar has defined world cinema for the last five decades. As Spain’s most celebrated film director, Almodóvar has created his own cinematic universe. Almodóvar lit up Spain’s movie screens beginning in the 1980s with his confrontational takes on gender, sexuality, religion and family.

(Offered as ENGL 420 and THDA 420) (Before 1800) Interpretations of William Shakespeare’s plays often align with and reinforce hegemonic conceptions of whiteness. Yet for over two centuries that alignment has been contested by theatre artists from the Black diaspora, from Native or Indigenous nations, and from the diverse communities of latinidad. This course centers what one First Nations playwright calls BIPOC “takeovers” of Shakespeare’s work.

(Offered as ENGL 387 and FAMS ) As an industry in the business of making both entertainment and art, Hollywood is a fascinating case study to explore. This course will focus on how contemporary Hollywood works and how understanding its work can enable us also to understand how films “work.” Our first unit will begin by exploring the context of industrial and independent practices through six key examples, which will form the primary models for the course throughout the semester.

(Offered as ENGL 379 and FAMS 379) “I detect an accent…” Anyone who has heard this sentence has had to navigate the topography of voice, accent and identity that is our multilingual world. But what is an “accent”? What assumptions about speakers and listeners do we make when we “detect” accents—or when we perform them as writers, actors, and citizens? How, in other words, does the simple act of perceiving an accent allow us to “fix” and stabilize our sense of a speaker’s origins, education, affiliations, affects, preferences, and tendencies--even their tastes?

(Offered as ENGL 369 and FAMS 369) This course examines a variety of approaches to “world-making” in
cinema and scholarly debates about the aesthetic and political dimensions of cinematic worlds. We will begin
by exploring the imaginary worlds created within popular film genres such as fantasy, science fiction, and
animation. With the aid of readings from film and media studies, literary theory, cultural studies, and other
scholarly fields, we will consider how such imaginary worlds relate to—and diverge from—the political,

(Offered as ENGL 355 and AMST 364) Emily Dickinson’s poetry is rich in what she called “illocality.” Her writing characteristically dissolves images and refuses specificity of place or event, and yet no writer is more intimately connected to a particular place.