This will be a laboratory in which student dancers of diverse idioms and levels will work with student choreographers to create and bring to life new dances for performance in Hampshire Dance Program concerts. In weekly rehearsals, students will learn, practice, modify, interpret and polish the distinct dance style and vision of the choreographer.

According to D.T. Suzuki, one of the most influential Zen Buddhist teachers of the 20th century, Zen is not a system of philosophy, religion, mysticism, nihilism, or even Buddhism. He says, "Zen has nothing to teach us in the way of intellectual analysis; nor has it any set doctrines which are imposed on its followers for acceptance." Then what is Zen? More importantly, what led D.T. Suzuki to teach Zen Buddhism in this way? This course will start by reading a number of popular books on Zen Buddhism in America, followed by a close analysis of their tenets.

This will be a high intermediate-level class intended for students with two years of training. The focus of the work will be on continuing to refine the kinesiological perception and theoretical understanding of efficient movement in order to increase accuracy, speed and mobile strength. Attention will also be given to developing performance and interpretation skills.

Poetry as Translation--Borders and Bridges: Activities for this course will include lectures/discussions on the theory of translation stressing specific problems of working with different languages, cultures, poetic traditions, and cognitive studies agendas (including theoretical utterances by Dreyden, Benjamin, Nabokov, and Brodsky); Regular critics/close discussions of the participants, translations, following their work in progress; Invited guest workshops. Students must demonstrate proficiency in a world language. The result of this course will be a portfolio of their poetic translations.

This course addresses the development of the United States economy and society from the colonial period to the present. Focusing on the development of capitalism, it provides students with an introduction to economic and historical analysis. Students study the interrelationship among society, economy and the state, the transformation of agriculture, and the response of workers to capitalism. Issues of gender, race, class, and ethnicity figure prominently in this course. This is designed to be a core course for students concentrating in economics, politics, and history.

This course examines the British culture of capital through its defining literary tropes. The seminar features units addressing narratives of production, figurations of slavery, and the aesthetics of consumption, among other topics. We study the ways in which British literary culture both reflects and produces the historically specific economic system of modern capitalism. Readings span the seventeenth to the nineteenth centuries and may include texts by Locke, Richardson, Wheatley, Equiano, Malthus, Wordsworth, Carroll, Dickens, Marx, and Stoker.

This course investigates the imaginative, mythic, historical, and aesthetic meanings of "America," from its earliest incarnations through the mid-nineteenth century, and the ways in which the "national imaginary" has continually been challenged, shaped and pressured by the presence of radical and marginal groups and individuals. We will read both major and unfamiliar works of the colonial, revolutionary, early republic and antebellum years, and examine how these works embody, envision, revise, and respond to central concepts and tropes of national purpose and identity.

Ethnomusicology is a field of music scholarship, which examines a wide range of music and music-related human activities with distinctive sociocultural perspectives and methodologies. This course offers an introductory experience of the field for students pursuing ethnomusicological projects in their Div. II and III and those interested in exploring this relatively unknown field.

In the fourth century BCE, Plato already anticipated the popular derogatory conception of myth as an imaginative fabrication--pseudos, "a lie." Throughout Western history, however, and particularly since the rise of Romanticism, thinkers from various disciplines have viewed the stories of antiquity in more constructive terms. What is "myth"? Deliberate falsehood or veiled truth? Is it a term applicable to or recognizable in non-Western cultures also? What is the relationship between myth and history, myth and literature, myth and ideology?

The rigors of academia mandate that we write in one form or another for most of the first 21 years of our lives. After that we write to get jobs and to keep them, we write to engage in the commerce of our culture, and we write to communicate with others and with ourselves. This last genre is perhaps the least practiced but among the most important since writing is a process that helps us make meaning. Writing is both a verb and a noun; it represents our best thinking and helps us arrive at it.