(Offered as HIST 402 [^c] and ENST 401.) The topic for this proseminar changes year to year. For 2012-13 the topic is wine.

(Offered as ARHA 315 and FAMS 443.)  What constitutes cinematic narrative, distinct from other forms of storytelling? How do we engage film form to tell a story?  Can the camera be a narrator?  How can we alter a traditional narrative structure, and, what are the implications of these transformations? How can we use color to construct the subjective space of a character, or use sound to manipulate the temporal order of the story, creating flashbacks, ellipses or flash-forwards?

(Offered as MUSI 444 and EUST 314.)  In this seminar we explore stylistic characteristics of compositions that demonstrate the most important tendencies in twentieth-century music. Instead of applying one analytical method, we try out various approaches to twentieth-century music, taking into consideration the composers' different educational and cultural backgrounds.

(Offered as MUSI 444 and EUST 314.)  In this seminar we explore stylistic characteristics of compositions that demonstrate the most important tendencies in twentieth-century music. Instead of applying one analytical method, we try out various approaches to twentieth-century music, taking into consideration the composers' different educational and cultural backgrounds.

(Offered as MUSI 442 and EUST 313.)  Russian music has long been a staple of the repertory of "classical music" in the concert halls of the world, but the relationship of the seductive sounds of this music to the complex culture that produced it is rarely understood outside of Russia. This course examines connections between Russian culture and Russian music through in-depth analysis of individual works of music and reading of related canonic texts.

(Offered as MUSI 227 and BLST 244 [US].)  One of two courses that trace the development of jazz from its emergence in early 20th-century New Orleans to its profound impact on American culture. Jazz History after 1945 explores the emergence of bebop in the 1940s, the shift of jazz's relationship with American popular culture after World War II, and the dramatic pluralization of jazz practice after the 1950s. We will also look at the emergence of fusion and the jazz avant-garde of the 1960s and 1970s, and theorize the reformulation of "tradition" during the 1980s.

This course is an introduction to anthropological approaches to the study of economic globalization.

This course will explore ethnographic field methods and techniques as well as the epistemological, political and ethical debates about them. In order to explore various approaches to writing an ethnographic text, students will read excerpts from classic ethnographies and full-length contemporary ethnographies; discuss content, method, and style of each piece; and examine the connections between theory and method. Students will gain an understanding of differing approaches to fieldwork and analysis and discuss the broader ethical and theoretical implications of each approach.

(Offered as SOCI 333 and BLST 246 [US].  This course is an intensive examination of the politics, and the policy consequences, of racial and ethnic identity in the United States. The course focuses on the historical and contemporary experiences of several racial and ethnic groups in American politics. Attention is given to contemporary issues, emphasizing the roles of governmental actors, institutions, and policies. In the first part of the course, we begin by considering the concept of racial identity.

Sociology emerged as part of the intellectual response to the French and Industrial Revolutions. In various ways, the classic sociological thinkers sought to make sense of these changes and the kind of society that resulted from them. We shall begin by examining the social and intellectual context in which sociology developed and then turn to a close reading of the works of five important social thinkers: Marx, Tocqueville, Weber, Durkheim, and Freud.