- All Courses
- Closed/Waitlist
- Courses with Available Seats
- 1st Half Semester Courses
- 2nd Half Semester Courses
- Labs
- Freshman Courses
- Immersion Courses
- Textbook Information
- Course Type Key
For capacities and available seats, go to Search for Sections.
21/FA Course | Faculty | Days | Comments/Requisites | Credits | Course Type | Location | ||
---|---|---|---|---|---|---|---|---|
BLS - BLACK STUDIES | ||||||||
BLS-270-04 Politics of Civil Rights Mvmt |
Gelbman S |
M W F
11:00AM - 11:50AM |
PSC-214-01=HIS-240-01=BLS-270-04. Instructor permission required.
|
1.00 | BSC |
BAX 201
|
||
BLS-270-07 Civil Rights the Black Arts |
Vogel H |
M W F
11:00AM - 11:50AM |
THE-103-01=BLS-270-07=HIS-240-02. Instructor permission required.
The 1950s and 60s saw the emergence of two sociopolitical
movements: the mostly rural-based Civil Rights Movement, and the
mostly urban-centered Black Arts Movement. In this course, we
will examine Black theatrical contributions to the movements:
witnessing the sanctioning of violence on Black citizens and the
representation of Black life and community.
In 1955, the funeral of Emmett Till ignited wide-spread activism
and James Baldwin's THE AMEN CORNER premiered at Howard
University. In 1959, Lorraine Hansberry's A RAISIN IN THE SUN was
the first play written, directed, and performed by Black theater
artists on Broadway; and paralleled the news coverage of the
Greensboro, South Carolina lunch counter sit-ins, as well as
simultaneous sit-ins across the South.
In the 1960s, Black-run theatres such as the New Lafayette in
Harlem, the Negro Ensemble Company, and the Free Southern Theater
produced playwrights Amiri Baraka, Ed Bullins, Ron Milner, Sonia
Sanchez, Adrienne Kennedy, Alice Childress, Douglas Turner Ward
and Joseph A. Walker, who were writing in a new Black idiom. In
these plays of the Black Arts Movement, the protests and violence
of the era are confronted on the stage, both in dialogue and
action, melding the spheres of public and dramatic performance
|
1.00 | HPR, LFA |
FIN M120
|
||
DV1 - DIVISION I | ||||||||
DV1-277-01 Chemistry of Wine |
Schmitt P |
W
03:10PM - 04:00PM F
02:10PM - 03:50PM |
This course will explore the chemistry and technology of modern
wine making. Primary literature and a wine chemistry text
(Understanding Wine Chemistry, Waterhouse et al.) will form the
core material for the course, with representative wine parings
chosen to accompany each topic. The course will combine elements
of organic chemistry, biochemistry, and analytical chemistry
together with a basic study of geography, history, culture, and
tasting protocols necessary in any form of wine education. In
more detail, the course will explore i) how the chemical
components of grapes and wine (sugars, alcohol, phenols, esters,
among many others) are influenced by terroir, climate,
fermentation, etc. ii) the structure/ properties of these
compounds and how they are measured and quantified, and iii) how
these compounds impact the taste, aroma, mouthfeel, longevity,
and value of wine. Each example wine would be tasted in the
context of identifying these specific chemical characteristics,
also (briefly) discussing the geographic and cultural origins of
each particular example.
|
1.00 |
HAY 321
HAY 321
|
|||
HIS - HISTORY | ||||||||
HIS-210-01 Jesus and Jewish War With Rome |
Royalty B |
TU TH
09:45AM - 11:00AM |
HIS-210-01=REL-250-01 Instructor permission only
The course is a social and political history of Roman Judea and
Galilee in the context of the life and death of Jesus of Nazareth
and the Jewish Revolt against Rome. Both events offer windows
into understanding the Roman world in the first century CE and
the formation of Judaism from the diversity of the Second Temple
Period. The course will include a strong emphasis on archaeology
and the material culture of the sites, which have given scholars
new insights into Jesus and the war in the past 40 years.
This course includes an immersion trip to Israel during
Thanksgiving Recess, 20-28 November 2021. We will visit the
Galilee, Jerusalem, Jericho, Bethlehem, Qumran, and Masada.
|
1.00 | HPR |
BAX 114
|
||
HIS-240-01 Politics of Civil Rights Mvmt |
Gelbman S |
M W F
11:00AM - 11:50AM |
PSC-214-01=HIS-240-01=BLS-270-04. Instructor permission required.
|
1.00 | HPR |
BAX 201
|
||
HIS-240-02 Civil Rights & the Black Arts |
Vogel H |
M W F
11:00AM - 11:50AM |
THE-103-01=BLS-270-07=HIS-240-02. Instructor permission required.
The 1950s and 60s saw the emergence of two sociopolitical
movements: the mostly rural-based Civil Rights Movement, and the
mostly urban-centered Black Arts Movement. In this course, we
will examine Black theatrical contributions to the movements:
witnessing the sanctioning of violence on Black citizens and the
representation of Black life and community.
In 1955, the funeral of Emmett Till ignited wide-spread activism
and James Baldwin's THE AMEN CORNER premiered at Howard
University. In 1959, Lorraine Hansberry's A RAISIN IN THE SUN was
the first play written, directed, and performed by Black theater
artists on Broadway; and paralleled the news coverage of the
Greensboro, South Carolina lunch counter sit-ins, as well as
simultaneous sit-ins across the South.
In the 1960s, Black-run theatres such as the New Lafayette in
Harlem, the Negro Ensemble Company, and the Free Southern Theater
produced playwrights Amiri Baraka, Ed Bullins, Ron Milner, Sonia
Sanchez, Adrienne Kennedy, Alice Childress, Douglas Turner Ward
and Joseph A. Walker, who were writing in a new Black idiom. In
these plays of the Black Arts Movement, the protests and violence
of the era are confronted on the stage, both in dialogue and
action, melding the spheres of public and dramatic performance
|
1.00 | HPR, LFA |
FIN M120
|
||
PSC - POLITICAL SCIENCE | ||||||||
PSC-214-01 Politics of Civil Rights Mvmt |
Gelbman S |
M W F
11:00AM - 11:50AM |
PSC-214-01=HIS-240-01=BLS-270-04. Instructor permission required.
|
1.00 | BSC |
BAX 201
|
||
REL - RELIGION | ||||||||
REL-250-01 Jesus & Jewish Revolt Against |
Royalty B |
TU TH
09:45AM - 11:00AM |
HIS-210-01=REL-250-01 Instructor permission only
The course is a social and political history of Roman Judea and
Galilee in the context of the life and death of Jesus of Nazareth
and the Jewish Revolt against Rome. Both events offer windows
into understanding the Roman world in the first century CE and
the formation of Judaism from the diversity of the Second Temple
Period. The course will include a strong emphasis on archaeology
and the material culture of the sites, which have given scholars
new insights into Jesus and the war in the past 40 years.
This course includes an immersion trip to Israel during
Thanksgiving Recess, 20-28 November 2021. We will visit the
Galilee, Jerusalem, Jericho, Bethlehem, Qumran, and Masada.
|
1.00 | HPR |
BAX 114
|
||
THE - THEATER | ||||||||
THE-103-01 Civil Rights the Black Arts |
Vogel H |
M W F
11:00AM - 11:50AM |
THE-103-01=BLS-270-07=HIS-240-02. Instructor permission required.
The 1950s and 60s saw the emergence of two sociopolitical
movements: the mostly rural-based Civil Rights Movement, and the
mostly urban-centered Black Arts Movement. In this course, we
will examine Black theatrical contributions to the movements:
witnessing the sanctioning of violence on Black citizens and the
representation of Black life and community.
In 1955, the funeral of Emmett Till ignited wide-spread activism
and James Baldwin's THE AMEN CORNER premiered at Howard
University. In 1959, Lorraine Hansberry's A RAISIN IN THE SUN was
the first play written, directed, and performed by Black theater
artists on Broadway; and paralleled the news coverage of the
Greensboro, South Carolina lunch counter sit-ins, as well as
simultaneous sit-ins across the South.
In the 1960s, Black-run theatres such as the New Lafayette in
Harlem, the Negro Ensemble Company, and the Free Southern Theater
produced playwrights Amiri Baraka, Ed Bullins, Ron Milner, Sonia
Sanchez, Adrienne Kennedy, Alice Childress, Douglas Turner Ward
and Joseph A. Walker, who were writing in a new Black idiom. In
these plays of the Black Arts Movement, the protests and violence
of the era are confronted on the stage, both in dialogue and
action, melding the spheres of public and dramatic performance
|
1.00 | HPR, LFA |
FIN M120
|