This critique-based seminar will provide a forum for the discussion of independent visual art production at the Division III level. Weekly rotating group critiques and presentations will provide a supportive environment for the discussion of Division III work. Short essays written by artists and art critics will inform class discussions. Information regarding graduate school, grants, documentation, artist statements, resumes and employment in the arts will be introduced. Hampshire alums and other renowned artists will present their work and conduct individual critiques.

The Division III seminar is a capstone course for Division III theatre concentrators. In this course, the students will workshop their final projects together, providing valuable feedback and development for their cohort. They will also be prepared with the next steps to bridge their learning as undergraduates into the professional theatre world or graduate work. From working on resumes, headshots, and websites, the students will also have insightful conversations with professionals in the field.

In this course students will focus on two in-depth design investigations. Within a studio setting students will devise specific projects that address scenic, costume, lighting, projection or sound design issues. These projects may consist of, but not be limited to costume design renderings, scenic design models, light plots with cues, or sound plots with cues. Formal presentations are expected. For the final project students will be required to produce a complete design in the area of their choice for an intensive in-class critique.

Through reading novels and short stories in a range of styles and from a range of places, we will look at how fictional characters shape and are shaped by history. What are the tools writers use to create their characters, and how do we talk about character in historical fiction? Are we looking for a portrayal that in some way complements our understanding of a time and place, one that challenges it, or both?

For Whom It Stands--this upper level course brings together the humanities and social sciences, in particular, theater and history in exploration of multiple, conflicting, and contested meanings of the U.S. flag. We will explore the meanings woven into the flag, artistic and political reimagining of the flag, alongside popular meanings and mobilizations of this treasured national symbol.

In this workshop, designed for advanced students of poetry, we will study the organization of chapbooks and collections of poems. Each workshop member will respond to published collections, with an emphasis on 'first book' and small press publications. Students will also write, revise, and design their own chapbooks (15-25 pages); at least 15 pages of this work will be 'new writing' completed in the course of the semester. The collection/chapbook produced can reflect collaboration and hybrid forms.

This course provides preparation for work in the arts and other fields where visual ideas are presented sequentially. Sequential skills will be built through assignments that may utilize drawing, digital work and sculpture. Assignments addressing linear and nonlinear sequence with line, tone, color, space, and light will facilitate the development of personal imagery. Narrative and non-narrative themes will be discussed. A wide range of tools and techniques will be employed in exploration of subject matter.

This is a research course for intellectuals who are artists and artists who are intellectuals. The course has two goals: (First) To investigate life in the U.S., 1890-1910, an era whose inequities and injustices, prejudices and subversions, panics and disasters eerily resemble our own. Students will sift through collections of archival photographs and an array of primary and secondary written documents to carry out their investigations. Photographs will come from on-line, archival collections; newspapers and novels published during the era will serve as primary written sources.

Essential to reading is a sense of where stories come from, in whose voice and from what position narratives unfold. While 'point of view' in fiction is a technical term whose modes must be understood, it is equally a matter of vision, position, ethics, knowledge and voice. Reflecting on their own commitments, class members will encounter and write in a variety of literary points of view. We will ask: What stories and whose voices have we rarely heard? Who are our narrators and what are they uniquely placed to say? What do they fail to see?

In this course, you'll develop your craft by writing a series of short pieces for performance, followed by a longer work. The theatrical form can vary widely: naturalistic pieces, choreopoems, work expressed entirely in stage directions, stories you heard as a child, rants, plays with music, or whatever form necessary to tell your story. The process will help develop an ear for your authentic voice and also foster a community of writers defined by generous listening.