After Charleston: Next Steps for a Movement for Social Justice. The panel will include Bree Newsome, Bishop John Selders, Professor Clemmie Harris, and Tedra James
When: Thursday, September 17th at 8pm.
Where: The Chapel
The event is free and open to the public. Seating is on a first-come basis.
More information is available here:
http://engageduniversity.blogs.wesleyan.edu/?post_type=event&p=6185
Mindfulness with Brownies : every Wednesday at 7pm: basement Memorial Chapel. Informal, lasts 30 min. No previous experience necessary. This is a supportive community led by our mindfulness intern. This is year two of this project.
Our 6 week MBSR based class now called: BPN: Being Present Now. Starts Monday 10/5 with a sample class on Monday at 9/28. To apply: http://mindful.blogs.wesleyan.edu/class/. This is limited to 25 students.
For more info on the benefits of mindfulness from a scientific perspective:
http://mindful.blogs.wesleyan.edu/science/
First year students may not know that we offer one-year of Portuguese coursework (PORT 155 in the fall and PORT 156 in the spring). These 2 consecutive courses are designed for students who are already familiar with a Romance Language. The one-year of intermediate coursework in Portuguese that we offer has been steadily popular with Wesleyan seniors preparing for going abroad to Brazil or Portugal after they graduate from Wesleyan, but we would like to encourage students to think of Portuguese earlier in their career. First year students are welcome in the course and should contact Elizabeth Jackson (ejackson@wesleyan.edu) should they have questions.
What is particularly exciting about this coursework is that although students would “only” be doing one year of Portuguese, they would actually reach an early advanced level in Portuguese after that one year.
Check this out, either for now or in the future!
French, Italian, Spanish in Translation (FIST) 126 Being Golden: The Life and Afterlife of the Spanish Masters
Tues/Thurs 2:40 to 4:00 pm Wyllys 110 Prof. Melissa R. Katz Fall 2015
The achievements of 17th-century Spanish painters justly made them protagonists of a Golden Age. Centuries later, their works took on new roles as inspirations for modern artists: Manet copied Velázquez, Picasso copied El Greco, and (famously in Project Runway) Christian Siriano copied Murillo. What allowed these complex works to resonate so strongly in another era? Is such influence automatically a sign of success? Students will develop a critical understanding of the religious, social, and cultural context of that gave rise to the great artists of Golden Age Spain, as well as insights into the role of art as cultural currency.
The Sexual Assault Survivors Support Group for female-identified survivors will be held on Tuesdays beginning September 22th-December 8th from 5:30-6:45PM. Meetings will follow an open support group format and participants determine group topics each week.
Contact Alysha B. Warren, LPC, Therapist/Sexual Violence Resource Coordinator (awarren[at]wesleyan[dot]edu) to sign up no later than Thursday, September 17th. Reference “Tuesday Support Group” in subject line of email.
Dates: Tuesdays, September 22nd-December 8th
Time: 5:30-6:45PM
Pipe Organ in Theory and Practice, from Sanctuary to Stage: A Performance-Based Examination of Music
MUSC 441
Fall 2015 Section: 01
This course may be repeated for credit.
Weekly group and individual meetings to prepare for public performances at least once per semester. Those employed at area institutions are encouraged to bring and discuss their music
Sacred Sounds: Music in Religious Context
MUSC 124
Fall 2015 Section: 01
Music forms an essential component of many religious practices throughout the world. From a tool for social solidarity to a trigger for intensely personal expression and even violence, the ability of music to shape religious life is tangible and often profound. This course employs the literature of ethnomusicology as a starting point for understanding the role of music in contemporary religious life and how associated artistic practices are implicated in dynamic processes of individual and social transformation. Music scholars employ a variety of interpretive lenses to articulate the meaning of such processes and a number of these will be central to our class discourse, including: hybridity, transnationalism, gender, and identity formation. Students will critically assess these and other theoretical models through an exploration of largely ethnographic research dealing with a variety of broad religious categories: Christian, Muslim, Jewish, animist etc. Points of interreligious interaction will be of particular interest as a means to understand the central position music often plays in drawing groups with competing or conflicting socio-political views into sustained contact with one another.
Popular Music in Contemporary China
MUSC 127
Fall 2015 Section: 01
Crosslisting: CEAS 259
As in the rest of the world, popular music dominates contemporary China’s music industry and consumption. Yet China’s popular music market also presents unique issues of state-sponsored popular culture intersecting with the bottom-up popular taste and desire, the repressive collective “we” intersecting with the resilient individual “I” in artistic expressions, and the imagined “ancient China” intersecting with the modern sound and technology. This course offers an opportunity for students to explore music, aesthetic, political, and cultural meanings contained in popular music through in-depth research projects on a number of important pop musicians and bands in Reform China from the 1980s to the present. Writing at the university level will be emphasized through the written assignments.
Introduction to Experimental Music (MUSC 109)
Fall 2015; Tuesdays & Thursdays, 1:10 p.m. – 2:30 p.m., RHH 003
This course is a survey of recent and historical electronic and instrumental experimental works, with emphasis on the works of American composers. Starting with early experimentalists, germinal works of John Cage and Henry Cowell, Earle Brown, Christian Wolff, and Morton Feldman will be studied; followed by electronic and minimal works of La Monte Young, Terry Riley, David Behrman, Gordon Mumma, Alvin Lucier Robert Ashley, Steve Reich, Philip Glass, Meredith Monk, Laurie Anderson, Glenn Branca, John Zorn, and including discussions of recent work by composers, performers, and sound artists such as Luke DuBois, Tristan Perich, Jacob Cooper, Lesley Flanigan, Nick Hallett, Jace Clayton (DJ /rupture), Jennifer Walshe, and Object Collection. The course includes lectures, demonstrations, and performances, occasionally by guest lecturers.
Please see the courses with openings below.
Best,
Dean Wood
Literature as a Form of Knowledge
FIST 124
Fall 2015
Instructor(s): Souto Alcalde,David Times: .M.W… 02:40PM-04:00PM; Location: FISK312;
This course is an inquiry about the nature of fiction and the genealogy of literature–fiction and literature overlap but are not the same. Readings include different fictional genres of Spanish Golden Age and English, Italian, French texts of the 16th and 17th centuries., which is when literature as an institution has been established. Students will see what kind of knowledge fictional texts promote by putting them in the context of the so-called scientific revolution and the encounter with the New World. The course advances critical analysis and provides a solid background in the political, historical, and philosophical context of 16th and 17th centuries.
Being Golden: The Life and Afterlife of the Spanish Masters
FIST 126
Fall 2015
Instructor(s): Katz,Melissa R. Times: ..T.R.. 02:40PM-04:00PM; Location: WYL110;
The achievements of 17th-century Spanish painters justly made them protagonists of a Golden Age. Centuries later, their works took on new roles as inspirations for modern artists: Manet copied Velázquez, Picasso copied El Greco, and (famously in Project Runway) Christian Siriano copied Murillo. What allowed these complex works to resonate so strongly in another era? Is such influence automatically a sign of success? Students will develop a critical understanding of the religious, social, and cultural context of that gave rise to the great artists of Golden Age Spain, as well as insights into the role of art as cultural currency.
