In this course we will look closely at the structure of longform prose, including non-fiction as well as fiction. We will read longform essays, a hybrid work of poetic prose, and a short novel, and we will consider how each is organized by paying close attention to how the craft of each serves the content, and vice versa. We will then read and workshop your projects, which may include works of short fiction, longform non-fiction, and literary journalism. You will propose a project to the class and then follow through with one writing project for the semester.

Examines through a philosophical approach to representational theory the ways in which gender marginalized and gender diverse individuals and groups represent themselves, their bodies, and their power. In particular, the course explores why women and other gender-marginalized/diverse groups engage in self-representation, and what strategies they have used to reject or revise controlling images and stereotypes.

n Queer Dance: Meanings and Makings, Clare Croft proposes queer dance as a space of radical difference, where multiple identities, subjectivities, and politics collide, propelling artists and audiences into world-making action. This course will begin with Croft's text and expand into other creative and scholarly frameworks for considering the power and potential of queer + dance.

This course is designed to offer a deep overview and practical application of decolonizing pedagogy-an approach to teaching and learning that promotes reciprocity, balance, healing, sustainability, and the inherent sovereignty of Indigenous and dispossessed peoples.

This course offers a survey of critical Indigenous studies-contemporary transnational and transdisciplinary theorymaking from a new and emerging generation of Indigenous scholars. Critical Indigenous studies make crucial interventions in our collective understanding of race, gender, politics, sexuality, identity, democracy, dis/ability, migration, human rights, and multiculturalism.

This semester we will explore organic structure, reactivity, and spectroscopy through the study of aromatic molecules, carbonyl compounds, nitrogen-containing compounds, pericyclic reactions, and radical chemistry. The emphasis will be on organic mechanism and synthesis, along with relevance of the chemistry to biology, medicine, society, and environment. By the end of the semester you will have a solid intuitive sense of how organic molecules react and how to manipulate them in the lab.

This studio course introduces intermediate level sculpture and studio art concentrators to mold making and casting processes. Students will be exposed to a range of cast sculpture both historic and contemporary via books and slide lectures. Through assignments and independent work, students will explore the process of mold making and casting through a range of different materials including Plaster, concrete, silicone rubber and thermoplastics. Students will research historical and contemporary artists who utilize casting and present relevant work for class discussion.

Autobiography is not one literary genre among others--autobiographical writing cuts across all distinctions of genre. In the last 30 years, there has been a remarkable proliferation of life writing, and also expansion into new forms, such as on the internet and graphic novels. In this course we will read earlier forms of confession, autobiography, and memoir, and look at a wide range of recent writings, including testimony, memoirs of illness and recovery, and coming out narratives.

In this course, students will create a series of interactive projects, starting with screen-based works, progressing to connecting simple electronic sensors and actuators to multimedia programs, and culminating in a fully realized interactive work, which may be web-based, a sculpture, installation or performance. Students will work with a variety of multimedia technologies (including animation, video, and sound), various types of sensors (tracking motion with video cameras, sensing movement and touch, sensing environmental conditions, etc.).

This course will give you the opportunity to learn how to write stories for the stage through both practice and discussion. We will explore the major elements of playwriting, including conflict, character, dialogue and action and we will deepen our understanding of these various elements by completing and workshopping writing assignments, and giving and receiving feedback with our ensemble members.