Spring 2009 Course Descriptions

ANTH 200 Culture Conflict – 1 equivalent credit

Beverly Rodgers
What happens when people from different cultural backgrounds encounter each other? If one culture is more populous and powerful is the other culture subjugated? How does subjugation take place? What are the ramifications of forced acculturation? These are some of the questions we will read about and discuss. Readings will provide examples from around the world in order to inform our thinking and the discussions.

ANTH 350 Survey of N.A. Indian Anthropology – 3 equivalent credits

Beverly Rodgers
During this course we will examine how Native Nations, residing in what is now the United States, have been “studied” and presented by anthropologists. The readings will represent historic as well as contemporary writings. While learning how Native Nations from different geographic regions organize their lives and view their place in the world, participants in the course will develop a deeper comprehension of the diversity and complex structure of the Peoples who are indigenous to the United States.

Each participant will select a Native Nation that is recognized by the federal government and complete an in-depth research project that will be shared with the class.

CHEM 125 Everybody’s Chemistry – 3 equivalent credits

Kab Butamina
This course uses chemical principles to answer basic questions about the air we breathe, the water we drink, the cosmetics we use, the cleaning chemicals we use around the house, the threat of nuclear radiation around us, etc. No previous exposure to chemistry is required. We will operate on the assumption that chemistry is not magic, that all of its underlying principles were conceived by human beings and intended to be comprehended, mastered and expanded upon by other human beings like you and me in an exciting and enjoyable learning environment.”

CS 170 Applications of Microcontrollers – 2 equivalent credits

CT Chen
This is a course designed for microprocessor/microcontroller enthusiasts who do not have a technology back ground in microprocessors or microcontrollers but want to use microcontrollers for nonscience projects. This course involves learning (very) basic electrical rules and digital logics. A background in any high-level programming language will help, but it is non-critical only if you really want to learn.

We will use Arduino boards and its supporting peripherals for our course projects. Participants have the responsibility of obtaining all needed electronic components for this class. The hardware cost for this class ranges $150 – $400, largely depending on what you want to do.

DANC 120 Gentle, Joyful Dance for Seasoned Bodies – 1 equivalent credit

Jill Becker
In this course we move gently to music using simple exercises and guided imagery that keep the joints moving freely, improve balance and integrate the whole body around a and moveable center. The goal is to keep the body moving well and efficiently while enjoying the pleasure of moving individually and within a group to beautiful music. This course is meant to be comfortable for older or more delicate bodies.

DANC 212 Advanced Beginning Modern Dance – 3 equivalent credits

Jill Becker
This course explores some fundamental principles of modern dance. We learn modern dance technique and work on sensory practices to increase awareness of our bodies and dance as a medium of expression and communication.

The goals of this class are: To increase understanding of dance as an expressive, communicative art. To increase awareness of one’s own movement sources and habits/preferences as well as awareness of connections between movement, sensation, feeling and thinking. To help students understand what Modern Dance is and which strands of American culture helped shape it and its historic and contemporary significance as an artistic movement.

We will develop a dance in this course to be shown informally in an end of semester performance.

DANC 215 Dance Improvisation & Composition – 2 equivalent credits

Jill Becker
In this course we will explore movement improvisation as a tool for self-discovery and development, compositional resource (choreography & staging), performance improvisation (in the moment composition) and as an approach to healing and integration. In the initial exploration phase, we will investigate how the body moves with attention to anatomy, energy, weight, rhythm, dynamics, musicality, sculpting the body’s sphere and shaping movement in the overall architecture of the space. During this phase the student learns to recognize and expand her/his personal movement vocabulary. This initial work provides a foundation of self-knowledge and expression as the student learns to trust spontaneous impulses and to listen acutely, with all of the senses, to internal and external stimuli.

We will then explore a variety of structures, which provide a framework for individuals to connect with one another. Here the challenge is to stay integrated internally while being sensitive and responsive to the people we are working with. We will explore Contact Improvisation, Authentic Movement, voice & movement integration, musical structures, image work (using visual art, music and poetry as source), narrative, etc. Students will also develop their own structures, which we will try in class.

The midterm project will involve researching an important improviser and making a presentation to the class about the person’s approach, including a guided exploration using the artist’s ideas. The final project will include structured improvisations created by students, working individually or in small groups. These may be performed in class or opened to the public, depending on the group decision. Students will keep a journal for this class, which can include reflections in writing, drawing or any other form of expression. Additionally, the journal will include responses to class readings and the various performances that we will see.

The course should be a valuable resource for creative and performing artists in a variety of disciplines

DANC 217 Intermediate Modern Dance Technique – 2 equivalent credits

Jill Becker
Drawing on contemporary dance techniques of Humphry-Weidman, Cunningham, Limon, Hawkins and release techniques, as well as improvisation, each class will progress from a simple to more complex movement patterns.

Each class session will include preliminary warm-up exercises aimed at strengthening and stretching the body and facilitating deep organic connections in the core of the body. Through a series of musical movement phrases, the dancers will expand the range of movement possibilities with an emphasis on musicality, a generous use of space, a clear sense of rhythm and shape, and, in the words of Irene Dowd, “taking root to fly.”

We will develop an original piece in this course will be presented informally at the end of the semester.

ESS 201 Local & Sustainable Agriculture Workshop – 1 equivalent credit

Jenny Hack and Dennie Eagleson
Workshop dates: January 31, February 14, February 28, March 28, April 11, and April 25.
This workshop continues the work begun in the fall semester that engaged in a study of systems of local food production and distribution based on sustainable and renewable methods. The winter months of the semester will be spent reading and discussing Animal, Vegetable, Miracle, by Barbara Kingsolver, The One-Straw Revolution, by Masanobe Fukuoka, and the recent article, Farmer in Chief, by Michael Pollan published in the New York Times. We will share recipes and food made from winter foods available locally. Other topics covered will be sources for seeds and other materials, seed starting, soil studies, and foraging for edible food…

This workshop meets the above Saturday afternoons from 1:00-4:00 pm at a location to be determined.

Cost for the semester series is $100.00. Individual days are $30.00. This workshop has a 1 credit

ESS 201A Mentorship Practicum in Local & Sustainable Agriculture – 1 equivalent credit

Doug Christen and Dennie Eagleson
In addition to participating in ESS 201 Local and Sustainable Agriculture: Seasonal Transitions, students could register for a 1 credit Practicum. They will work with local organic farmers to accomplish tasks preparing for the growing season. Possible work projects could be building cold frames and warm bins, chicken coops, or solar dryers, and starting seeds. Later spring projects could be preparing vegetable beds and planting. This would involve at least two hours per week for the semester.

Registration for this Practicum is $100 for the semester.

ESS/LIT 224 Reading Nature Writing – 1 equivalent credit

Colette Palamar
Workshop dates: Jan 20, Feb 3, 14 & 17, March 10 & 31, April 14 & 28.
This 1 credit course is divided into 4 distinct sections. Unless students want to earn credit for the course, they are free to attend only the sections they desire, although they must enroll in the course as a whole for registration and fee purposes, and they must attend the first session which will have some organizational information. The class is held on alternating Tuesday evenings and on ONE Saturday afternoon when we will discuss Animal, Vegetable, Mineral with the Local and Sustainable Agriculture class.

In this course, we will read 4 books about the natural world and the human place within that world. The texts are: Collapse by Jared Diamond (1/20 & 2/3); Animal, Vegetable, Mineral by Barbara Kingsolver (2/14 [NOTE: 2/14 is a Saturday!] & 2/17); The Omnivore’s Dilemma by Michael Pollan (3/10 & 3/31); and Hot, Flat and Crowded: Why We Need a Green Revolution by Thomas L. Friedman (4/14 & 4/28).

Students will be asked to keep a reflections journal on the reading and to be prepared to contribute actively to the class discussions. All books can be purchased at Epic Books in Yellow Springs. Support local economy!

ESS/PHIL 283 Queer Animals – 3 equivalent credits

Colette Palamar and Isabella Winkler

What does it mean to think about queerness and animals together? What will interest us in this question over the course of the semester is not only—not even primarily—whether animals can be homosexual, bisexual, or transsexual. Rather, we will explore what queer theory* tells us about the exclusion of the animal from the human as the basis of identity politics. When we claim identities of difference (race, sex, gender, orientation, class, age, ability, etc) as the basis of human rights, we make certain unacknowledged assumptions about what it means to be human. But what assumptions exactly are we making? How do these assumptions actually limit the ways in which we can be political? In this course, we will “queer” how we think about animals—-and therefore, by extension, about human identifications. By exploring the figure of the animal as the “other” of the human in philosophy, literature, and film, we will gain some fresh insight into the possibilities and limitations of identity politics. Readings by Aristotle, Descartes, Heidegger, Freud as well as Donna Haraway, David Jensen, Jacques Derrida, Diane Ackerman, Franz Kafka, and others.

*Queer theory, upon which the queer political movement is based, is a form of poststructuralist thought that explores the unexamined constraints of traditional identity politics. It is not a critique of identity politics, but rather a ceaseless interrogation of the preconditions and effects of identity. Although queer theory originates with questions of nonnormative sexual identities, it does not stop there. Rather, it forms a thoroughgoing resistance to regimes of normativity in general.  This semester, we will explore exactly how such a resistance might work.

ESS/PHIL 390 Advanced Readings in Environmental Thought and Philosophy – 1-3 equivalent credits

Colette Palamar
In this variable course, we will investigate contemporary and classic texts in the field of environmental philosophy, broadly construed. The course texts will be selected on the first day of class, in consultation with the professor. Students should bring a list of texts or subjects that they would like to learn more about to the first meeting. After the first meeting, we will meet every other week for discussion of the reading. This course is intended for advanced, upper division students with significant previous background in environmental studies, philosophy, women’s studies or other theory-based disciplines. The level of discourse will be critical and rigorous and students will write a substantial (15-20 page) research paper on a topic of their own choosing.

FREN 210 Conversational French – 3 equivalent credits

Kab Butamina
This is primarily a conversational course in the French language. It is an intermediate-to-advanced course and it assumes a year or two of previous exposure to the language. (Other prior preparation may be considered at the discretion of the instructor.) Topics to be covered in the course will include current events, culture, society, politics, music, food, travel, art, literature, etc.

HIST 210 Historical Memory – 3 equivalent credits

Hilary Lerman
This course will discuss how different societies remember the past, particularly in connection with wars. This is very important because the creation of the ‘past’ has become more important than what actually occurred. Several simple examples are the even current inability of the Japanese to accept the atrocities committed in the past century. The French view that many were in the Resistance when there was only a small number and most accepted Nazi and Vichy rule. And the current erasing of the lessons of Vietnam from US memory and current history. This could also be linked to ethnic animosities such as how politicians use ‘history’ to inflame ethnic tensions such as in the Balkans and the Caucasus today.

HIST/POLS 215 The Story of Democracy – 2 equivalent credits

Ludo Abicht
A critical history of the development of humanity toward existential and institutional autonomy. The ancient Greek term made a fundamental distinction between “demos” and “ethnos”, between the extended family and the citizenry of a city-state. During approximately the same period, the biblical prophets were gradually extending the idea of the (Jewish) people to mankind as whole. This universality was adopted by the followers of Rabbi Jeshua, aka Jesus the Christ: every man and woman accepting the faith, Jew and Goy, Roman, Greek or “barbarian”, would in principle considered to be an equal. This “in principle” meant that slavery as an institution was to be maintained.

Throughout the history of Europe, the gap between this principle and social reality would slowly be closed. The Reformation abolished the monopoly of the Roman Catholic Church and paved the way for 16th century “Humanism” as a new horizon of human aspirations. After the catastrophe of the inter-Christian Thirty Years’ War, philosophers and scientists developed the idea of religious Tolerance, encouraged by the accomplishments of the three great revolutions (Great Britain, 1688; the United States, 1776 and France, 1789) and culminating in the “Universal Declaration of the Rights of Man” of the Enlightenment. The discovery of the contributions by non-Western civilizations has been crucial to the elaboration of this new, historically unheard of concept of mankind as a whole.

HIST 310 War and Dissent in America – 3 equivalent credits

Steven Conn
The goal of this course is study the history of American war, and to pair that examination with an analysis of the dissent that those wars each generated. Students will be expected to: read and research material on their own; present material to the rest of the group; participate in seminar-style discussion. At the end of the course, students will present a portfolio of their writings for evaluation.

JAP 210 Conversational Japanese – 3 equivalent credits

Conrad Zagory, Jr.

LIT 202 Palestine in Fiction and on the Ground – 1 equivalent credit

Iveta Jusova
Many of the events in contemporary politics, including the worsening deadlock between the Israelis and Palestinians, seem to be triggered by what seem to be irreconcilable differences of opinion between the West and the Middle-East. As citizens of the world, we all have the right and the responsibility to understand the conflicts which move the world politics and which, in various forms, touch directly on our everyday lives. The mainstream media, the main source of information for most of us, however, still tend to represent the conflict between the Palestinians and Israelis, and more generally conflicts between Arab and Western countries, in black and white colors. Such one-dimensional representation of complex issues is not only unhelpful but also potentially harmful because it tends to further alienate both parties.

LIT 202 proposes to use literature to add a human dimension to one of the central Arab-West conflicts. Listening to what the assigned authors have to say about the Palestinian experience in Israel/Palestine will ideally help us move beyond the one-dimensional stereotypes of Palestinians (and Arab people in general) prevalent in the US mass media. Arabs in the Middle East, and Palestinians specifically, have many serious grievances against the West. Unless we finally begin to listen, we will never truly appreciate the full complexity of the story and will miss a chance to start building bridges of understanding between the West and the Middle East.

LIT 210 Developmental Disabilities Contemporary Literature– 1 equivalent credit

Laura Ellison
This course will examine the presence of individuals with developmental disabilities; Sensory Processing Disorder, High-Functioning Autism, Pervasive Developmental Disorders, and Asperger’s Syndrome, in society. Through contemporary literature, we will meet individuals with these disabilities and gain a better understanding of how we all view our world.

LIT 258 Travel Writing and Memoir – 3 equivalent credits

Jean Gregorek
Traveler’s tales are as old as antiquity, and stories which recount epic adventures and magical journeys have long been staples of world literature. Reading first-hand accounts of other peoples and places has been a major vehicle for learning about the world, and certainly also a way in which we come to ponder our own values, customs, and ways of life. This course will examine twentieth-century narratives of travel and travel-related memoirs written in English. We will study a number of traditions and tropes within travel writing, explore different relationships between travel writers and their subject matter, and take up questions of who gets to travel, for what purposes, and the material conditions of their journeys. The study of travel writing overlaps with many related genres, and we will also be considering examples of autobiography, ethnographic writing, accounts of ‘slumming,’ adventure tales, immigrant narratives, experimental memoir-novels, and others, as well as contemporary post-colonial critiques of travel writing and the new experiments in ‘reverse ethnography.’

Some authors we are likely to read will include Langston Hughes, Richard Wright, George Orwell, Martha Gellhorn, Sara Wheeler, Jonathan Raban, William Least-Heat Moon, Amitav Ghosh and J.G. Sebald.

LIT 274 Literature of Crime – 3 equivalent credits

Jean Gregorek
According to C.K. Chesterton, “the first essential value of the detective story lies in this, that it is the earliest and only form of popular literature in which is expressed some sense of the poetry of modern life.” For Michel Foucault, crime fiction in the nineteenth century represents “a new pleasure” which western middle-classes have still not outgrown. Emerging from urban industrialized centers in the eighteen-thirties and forties, the detective story has from its inception been a wildly popular although controversial genre, ranked above most other forms of formulaic, mass-marketed fiction but below ‘real’ literature. In this course we will be exploring a wide range of crime fiction in its historical context and examining the ideological work being performed by gothic and detective thrillers.

We will be considering some of the following questions: why is modern society so obsessed by representations of crime? how do we define ‘crime’ and has this definition changed over time? Why have criminals proved so attractive to basically law-abiding people? when did the figure of the detective emerge, and why? why do we continue to idealize the figure of the policeman, the investigator, the sleuth? how do detective fictions work to reinforce our faith in modern science, technology, law, legitimate authority? why has this (many have argued) quintessentially masculine form so often been authored by women? how have women writers appropriated or parodied detective genres for their own uses? what happens to the genre when the detective is a woman? and are detective stories and thrillers still serving the same functions today, still appealing to the same cultural anxieties or concerns that they appealed to in the nineteenth century?

MA 200 Toxic Tours Documentary Course – 3 equivalent credits

Anne Bohlen
Work with Emmy Award winner, Anne Bohlen, on “Toxic Tours: Nuclear Ohio”. Students would receive rofessional credit for their contributions, and experience first-hand what is involved in making a ocumentary. Participants will be a part of a production team, and be involved in research, fund-raising, production and post-production. We will focus on environmentally compromised nuclear sites in Ohio, meet with and interview citizen activists, EPA officials and others, and shoot relevant footage to tell important stories that will inform the public and demonstrate the power of citizen involvement in creating solutions. This course could be configured either as a full or part-time media Arts coop, or a Media Arts Independent Study.

MA 260 Elements of Photography II – 2 equivalent credits

Dennie Eagleson
Elements of Photography II will meet every Monday afternoon from 3:00-5:00pm at the Arts Space at
108 Dayton Street. This is a continuation of the fall course where students were introduced to the basic language of photography, became comfortable working with their digital cameras, and began to develop an individual voice in responding to class assignments. Elements of Photography II will introduce students to more experimental uses of digital photography, such as using a scanner as a camera, digitally printed handmade books, gel medium transfer, and using selection tools in Photoshop to create invented landscapes and narratives. As resources become available, students will be able to learn color management and advanced printing techniques.

Students need to own their own digital camera. If they are using Nonstop resources for printing, there will be costs for printing inks and paper.

Prerequisites: Photo 1, Elements of Photography 1 or permission from the instructor.

MA 268 Film and Labor – 3 equivalent credits

Bob Devine
This course aims to examine the subject matter of narrative film texts dealing with labor in terms of theories of culture and representation. The course will develop a common language of film analysis and narrative theory, enabling students to analyze the structure and discourse of films presented in daily screening sessions. Against the backdrop of selected readings on labor and labor history, students will be asked to address issues of inclusion, representation, and the role of labor and other cultural groups in shaping the content and processes of film production in their papers, journals and discussions.

MA 282 Introduction to African Film – 3 equivalent credits

Bob Devine
A survey and close reading of films from Senegal, Guinea Bissau, Chad, Mali, Ethiopia, Nigeria, Tanzania, Zimbabwe, Burkino Faso, and South Africa. Screenings will be framed by consideration of the historical and cultural context of production, the phenomena that intervene before the film (financing, contexts of decision-making, technology, etc.), the phenomena that intervene during the film (distribution, venues, social circumstance of exhibition, etc.), and the phenomena that intervene after the film (social, political and ideological significance of filmic discourse, etc.).

MA 284 Introduction to Revolutionary Cinema – 3 equivalent credits

Bob Devine
An examination of films that are oppositional in (a) production circumstance, (b) form, (c) content, or (d) circumstance of reception, in order to become familiar with the historical and cultural context of the films studied to develop skills in close reading, to discern patterns across cultures that might be considered revolutionary. Selected films from Russia, Europe (France, Italy, England), Argentina, Cuba, Chad, Senegal, Tanzania, Mali, South Africa, Algeria, Martinique and the US will be screened.

MA 285 Convergent Journalism – 3 equivalent credits

Dennie Eagleson
Students enrolled in the course will create documentary projects combining image and text, focusing on personal dynamics in community life. Students will learn skills in interview, photography, image and print editing, writing, and the application of these skills in creating multimedia “dispatches” for publication online. Students are expected to present work in both text and image, and to gain fundamental fluency in both media. There will be a video component to the class taught by Chris Hill using cell phone cameras and inexpensive video cameras and basic editing. The class may take up, as a collective project, creating content for the Record Online, or contribute to the Nonstop Communications Team effort in publicizing Nonstop events and accomplishments.

MA 286 French New Wave Cinema – 3 equivalent credits

Bob Devine
An in depth examination of the period in French Cinema known as the French New Wave. Close reading of films that influenced the Cahier du Cinema group of filmmakers, followed by chronological screening of New Wave films from 1958 through 1974. Study of the theory and criticism that preceded the films, and reading of texts that reflect on the period from a more contemporary theoretical perspective. Screening of films by Bresson, Melville, Godard, Truffaut, Renais, Rouch, Demy, Varda, Marker, Rohmer, Akerman and others.

MA 288 Italian Neorealist Cinema – 3 equivalent credits

Bob Devine
An examination of the historical context, the ideological underpinnings, its evolution and influence beyond the period in which it flourished. Close reading of the films of Luchino Visconti, Vittorio De Sica, Roberto Rossellini, Giuseppe De Santis, Michaelangelo Antonio, Federico Fellini, Gillo Pontecorvo and others.

MUS 101A/201A Individual Instruction: Piano – 1-2 equivalent credits

James Johnston
Lessons on Piano are available with James Johnston on an individual basis. Lessons will be for 1 or 2 credit equivalents, and last 1/2 or 1 hour each. Students of all ages, backgrounds and levels of development are welcome to take lessons. Fee structure for these lessons may differ from other NonStop courses. Scheduling will be set mutually by the student and instructor.

MUS 101B/201B Individual Instruction: Strings – 1-2 equivalent credits

James Johnston
Lessons on Bowed Strings are available with James Johnston on an individual basis. Lessons will be for 1 or 2 credit equivalents, and last 1/2 or 1 hour each. Students of all ages, backgrounds and levels of development are welcome to take lessons. Fee structure for these lessons may differ from other NonStop courses. Scheduling will be set mutually by the student and instructor.

MUS 101C/201C Individual Instruction: Voice – 1-2 equivalent credits

Beverly Logan

MUS 101D/201D Individual Instruction: Guitar – 1-2 equivalent credits

Kevin Mulhall

MUS 142 Music Composition – 3 equivalent credits

James Johnston
MUS 142 functions as a basic composition course, following basic training in music theory. Students will explore methods for coming up with musical ideas, fixing them in particular notated or recorded format, developing and expanding ideas, and performing and recording the finished score. Notation is an important skill in composition and arranging. Students will be encouraged to and use Finale notation software, composing and editing using Reason and Logic Express (and GarageBand if available), and in hand notating. Class time will be spent listening to musical examples to analyze structure and use of musical materials, and also in basic music theory and musical dictation exercises if

MUS 160 Chamber Orchestra – 1 equivalent credit

James Johnston

MUS 150 Community Band – 1 equivalent credit

James Johnston

MUS 170 Singing Ensembles – 1 equivalent credit

Beverly Logan
GOALS: To learn to sing well and have fun doing it. To learn from each other. To integrate Nonstop students with the Yellow Springs community into the various intermediate and advanced singing groups.

NEWCOMERS PURPOSE: To learn or brush up on basic vocal technique. Day and time to be arranged. Three sessions only; required of singers new to the program. For easier focus on technique, we sing unison songs; individual attention as appropriate. At the end of the 3 sessions, the singer may choose among other options.

INTERMEDIATE MEN AND WOMEN PURPOSE: To learn to carry your own harmony part singing folk and old pop tunes. Women and men learn parts to the same songs separately; later in the term we join together to sing in 4-part harmony.

ADVANCED WOMEN SINGERS PURPOSE: To gain experience singing in 3 and 4 parts, and enjoy singing challenging classical and close-harmony songs. By invitation. Childcare available most weeks.

ADVANCED MEN SINGERS PURPOSE: To gain experience singing in 4 parts, and enjoy singing barbershop harmony. Barbershop music. By invitation. Childcare available most weeks.

ADVANCED MEN AND WOMEN SINGERS PURPOSE: To sing and perform challenging music for mixed voices. Mixed 4, 5, and 6-part, classical and jazz style. By invitation. Childcare available most weeks.

PEAC 260 Nonviolet Direct Action: History, Theory, Practice – 3 equivalent credits

Jim Keen
Presents a critical analysis of nonviolent action as an approach social and political change using examples from a variety of cultures over the course of the past 100 years. Special emphasis is placed on the organization of nonviolent movements with attention to strategy, training and issues of leadership. Includes an assessment of past cases and of future potentials for using strategic nonviolence as a means of preventing or curtailing deadly conflict and wars and of resisting oppression.

PHIL 114/214 Legitimation & Capitalism I & II – 3 equivalent credits

Scott Warren
This course is a philosophical inquiry into the nature and process of ideological legitimation. Although legitimation is a phenomenon that characterizes all regimes and systems (fascist, totalitarian, communist, tyrannical, monarchical, etc.), in this course we will examine the role it plays in the defense and support of the system of capitalism. The discourse of legitimation is an old one in the history of philosophy. At the very least, it returns to the work of Plato’s “Myth of the Metals” in the Republic, where he attempted to use the language of allegory and myth to defend a philosophical elitism in the service of modeling the good society after the order of the psyche. After Plato, the discourse of legitimation drew its greatest strength from the work of Rousseau’s critique of the natural foundations of inequality and Marx’s critique of bourgeois ideology. The philosophers Rousseau and Marx will be the starting points of our investigation of the dynamics of legitimation and capitalism.

Consider the following questions:
1. Are alienation and exploitation the twin towers of capitalism?
2. Does capitalism inescapably stand as an obstacle to human liberation and fulfillment?
3. Is capitalism the very negation and distortion of human nature?
4. Are true community and human equality impossible as long as capitalism exists?
5. Is capitalism a system that robs us of our very humanity?
6. Does capitalism perpetuate oppression based on race and gender?
7. Are we all alienated prisoners of false consciousness under capitalism?
8. Does capitalism make it impossible to fulfill and realize the promises of liberal democracy
(life, liberty, happiness, equality, and justice for all)?

If the answer to all of these questions is “No,” then there is probably not much reason to have a lengthy conversation in a course with the title of this one. It would be pointless.

However, if the answer to all of these questions is “Yes,” then we face a more difficult problem. It requires us to ask why capitalism continues to exist and persist as a dominant system of economic, social, and political life. If the answer is “Yes,” then why do the majority of people continue to swear their allegiance and support to a system that does all those negative things to them? That is the question we will address in this class.

This course will explore the nature of capitalism with a focus on the phenomena of alienation and exploitation, and with a focus on how capitalism produces its own ideological legitimation. We will examine the form and content of the various explicit and implicit justifications used to protect and defend (or even celebrate) capitalism as the “best possible form of human society.” Particular attention will be paid to American capitalism, and to its legitimation in the realms of political culture, mass media, art, advertising, popular culture, education, and other systems of power – as well as to forms of resistance to capitalism.

PHIL 210 Introduction to Poststructural Thought – 1 equivalent credit

Isabella Winkler

PHIL 260 Existentialism – 3 equivalent credits

Scott Warren
For the most part, existentialism as a philosophical movement emerged in Europe in the 19th century as a revolt against the excesses of reason and overly systematic philosophy. It also emerged as a subjective concern with the concrete “inner life” of the individual. Existentialism became a self-conscious, powerful movement in philosophy specifically around the middle of the 20th century and after World War II. It has not only been a powerful force in philosophy, but has influenced the areas of ethics, politics, literature, religion, and art as well. We will try to explore as many of these dimensions as possible.

After situating existentialism in the context of modern philosophy from Descartes, Hume, and Kant onward, we will turn to an examination of some of the great figures of the classic existentialist tradition: Kierkegaard, Dostoevsky, Nietzsche, Heidegger, Jaspers, Sartre, de Beauvoir, Camus, and Merleau-Ponty. With a particular eye toward issues of epistemology and the unity of theory and life, we will examine and discuss some of the major themes of existentialist philosophy: the alienation of reason and existence; the relationship between existentialism and phenomenology; “being-in-the-world” as our primary way of existing; the dissolution of various dualisms (subject/object, mind/body, reason/passion, fact/value); the relationship between self and others; God, angst, death, and absurdity; and the meaning of freedom (just to name a few!).

Most historians suggest that existentialism died sometime in the 1960s or 1970s (especially after the death of Sartre). However, there are numerous ways in which the legacy of existentialism lives on in a variety of contemporary philosophical and political movements, and its impact on human thought and existence continues on in some extremely powerful forms, such as feminism and neo-Marxism. We will examine some of these voices.

Finally, although most courses on existentialism begin and end on the continent of Europe, we will investigate how the existentialist voice and perspective have made their way into other forms of existentialism that are rarely heard or heeded: Black existentialism (African, African-American, and Afro-Caribbean); feminist existentialism; Marxist existentialism. There is an incredible richness of thought and experience represented by these philosophical spirits that are often hidden from our view.

RELS 220 Buddhism in America – 2 equivalent credits

Robert Pryor
This course takes an interdisciplinary approach to the study of Buddhism in America, using experiential as well as historical and anthropological methodologies we will examine both the content of Buddhist traditions as well as the institutional forms that they are taking in a new environment. A portion of each class will be spent on the practice of basic Buddhist meditation in order to ground our theoretical understanding in the experience and perspective of the traditions that we will study. This practice will be combined with reflection on our experiences and an analysis of how they relate to the readings in the course. We will also explore the multicultural religious environment of modern America through an examination of the history and development of Buddhist institutions as they adapt to their new surroundings. The experiences of Asian immigrant communities will be contrasted with those of Euro-American Buddhists. We will consider how both types of Buddhists are dealing with key issues in contemporary American culture such as consumerism, gender roles, power imbalances, racism, and the search for meaning in an increasingly secular society. Through observing and comparing these diverse communities we can gain a deeper understanding of the relationship between personal belief, religious practice, and social organization.

SCI 140 Theories and Methods of Science – 3 equivalent credits

Kab Butamina
In this course we will all attempt to explore the way(s) in which some of the greatest ideas and theories in science have arisen (and perhaps fallen just as crushingly), and the way(s) in which they have managed (or not managed at all) to affect our lives over the ages. Perhaps more importantly, we will try to scrutinize and question each idea one at a time, take a critical and very close look at the original evidence and thinking that went behind it, and see if we can make any sense out of the whole mess. The approach we will take will be an integrative one, in the sense that we will try to see how each given idea can be looked at from a variety of points of views within the realm of scientific disciplines, i.e. how the different sons & daughters of science itself (e.g. Biology, Chemistry, Physics, etc.) go about looking at the same idea as it is put forth to them. How far we dig into each one of these sub-specialties of science will depend on how curious we turn out to be as a class; on the average, however, we will try to go only as deep as is necessary to make the point and convey the main idea but no further, unless that’s what the class wishes to do. There will also be opportunities for enriching the course even further through presentations that you will make to the class at the appointed times, as you try to show that you can also master the art of looking at any given scientific idea from a number of different points of (scientific) view.

SPAN 105 Spanish for Active People – 2 equivalent credits

Victor Garcia
This course will be designed for adults who need to develop oral Spanish proficiency and other language skills at the intermediate level, and would like to be involved in some capacity as volunteer tutors, using their knowledge and English skills with adults or children in the Spanish speaking community in the Springfield School District, and the Clark County Literacy Coalition through Del Pueblo, Inc. This course will be conducted in Spanish to provide ample opportunity for students to engage in conversation, and will facilitate effective interaction among students and other members of the Hispanic/Latino community. The students will read using “Jornada Latina”, and viewing “Destinos” to reinforce language learning and cultural sensitivity.

SS 190 Statistical Reasoning in the Social Sciences – 1 equivalent credit

Hassan Rahmanian
Workshop Dates: Feb. 21 & 28, March 7, 14, & 21.
This one credit equivalent workshop will meet in five three-hour sessions. The workshop serves as a companion to Methods of Inquiry in Social Sciences course as well as a standing alone course. This is intended to be a tearless, math-friendly workshop on statistics. The emphasis will be placed on analysis, interpretation, and discursive use of statistics rather than mathematical manipulation and elaboration. The workshop familiarizes the participants with the language, logic, interpretation, and decision-making application of statistical concepts and methods in uni-variate and bi-variate analysis. The workshop also helps the participants to work with Excel in performing statistical problems.

SS 295 Mental Health, Human Services & Lifelong Leisure Skills Professional Development Workshop – 1 equivalent credit

Kathleen Scheltens and Louise Smith
Workshop date: April 11
This is an experiential workshop focusing on metaphor to aid in group and individual process. Using games, movement, role play and other activities, participants will experience and reflect on exercises and group structures designed to enhance group dynamics and personal insight in a therapeutic or educational setting. Participants will also have the opportunity to explore their own histories, assumptions and habits in order to become aware of resonances and dissonances that they may have with clients and students that they serve.

SS 310 Methods of Inquiry in the Social Sciences – 3 equivalent credits

Hassan Rahmanian
This course is designed to help students build a methodological foundation for grounding their critical thinking and sense of inquiry. Some preparation in social sciences and philosophy is expected. The course helps students develop their literacy in methodological discourses within and among three paradigms of social research namely multivariate, interpretive, and historical. Through assigned exercises and review of case studies, the course should help the students develop research questions, formulate research problems, find related studies through library research, develop hypotheses, design appropriate research procedures, and perform comparisons, evaluations, and analyses. The course is interdisciplinary in that it draws upon research traditions and examples from a variety of social and behavioral science disciplines and help students apply them to selected social and global issues. As a term-long assignment, students are expected to develop a grant-worthy research proposal.

THEA 201-1 and 201-2 Exploring Your Voice – 1 equivalent credit

Louise Smith
Workshop dates for THEA 201-1: Jan. 24 & 31, Feb. 7, 14 & 21, March 7.
Workshop dates for THEA 201-2: March 14, 21 & 28, April 4, 11, 18 & 25.

Exploring Your Voice is a workshop that incorporates vocal work, creative writing, playwriting and
round singing. Working with the principles of Kristin Linklater, (Freeing the Natural Voice) we will begin each class with a vocal/physical warm-up designed to relax tensions and get us in touch with breath. Structured exercises in creative writing and playwriting inspired by Jean Claude van Itallie and Natalie Goldberg will be utilized to facilitate finding our voice in writing. Read-back will be major part of critique and rewrite. At the end of each class, we will learn a new round. Singing tunes the ear and builds community.

There will be an informal showing at the end of the term based on the participants desires.

THEA 202 Masks, Mimes and Miracles – 1 equivalent credit

John Fleming
Workshop dates: April 4, 11, 18 & 25
Minimum enrollment of 7
This course will introduce students to comedic theater as a historical form of social commentary, while also exploring comedy as a pervasive need in modernism and contemporary society. The use of mask, verbal acuity and physical dexterity will be studied as an expression of mirth, hilarity, doubt, resistance and satire.

We will begin by exploring the roots of comedy in Europe and the West, including antique Satyr plays, Miracle plays of the Middle Ages, processions, carnival and the emergence of wandering troubadours and minstrels. The class will intensively research the Commedia Delle’ Arte, an improvisational mask theater form that flourished in Europe for two hundred years, from the 16th through the 18th Century. The seminal Commedia comic characters of Pantalone, Harlequin and Columbine will be traced through their through their antique origins into contemporary manifestations, such as the comic techniques of Lucille Ball, W.C. Fields and Buster Keaton.

The class will discuss clowning as a method of “taking a stance” in society. The overall thrust of the course, however, is practical. Students will recreate scripts, scenes and monologues from each period as well as be challenged to create and perform individual works in the spirit and manner of former times.

VISA 101/201 Drawing in Community Workshop I & II – 1 equivalent credit

Nevin Mercede
All levels of art making experience welcome; no prior drawing experience necessary.

The course title evokes diverse meanings; all apply to what will occur within this workshop.
We will draw among others who are drawing. Workshop members are drawn into a special-interest community while remaining connected with more divergent larger communities. Drawing produces visual communications to be viewed and explored, both within the workshop and beyond.

We will explore ideas as well as images; materials along with methods of application and image
interpretation. Varying aspects of drawing practice will be encountered each week and students will be expected to practice drawing between class meetings, returning with the results. Drawings made, both while we are gathered together and independently (or collaboratively) over the course of the week apart, will be discussed/critiqued as a group. Subject matter and approach (working from observation, memory or imagination, as well as employing abstraction) will vary according to individual interest. Informal writing will be used to explore drawing ideas, possibilities and experiences, to describe and clarify observations before speaking them, to assess our drawing practices and the challenges to practice. Sharing the essence of these writings during critique discussions is essential to the learning process.

VISA 110 Drawing Workshop I, II & III – 1 equivalent credit

Nevin Mercede
Must attend all three sessions (2/7, 3/14 & 4/4) to earn 1 equivalent credit. See below for detailed course descriptions.

VISA 110A Drawing Workshop I: Life Drawing – Audit only

Nevin Mercede
February 7
Working from model(s), through demonstration and practice participants will become familiar with
several drawing methods and strategies for obtaining accurate proportions. Our focus will be on focusing on what is seen, rather than known about the particular human forms from which we draw. All levels of experience are welcome. No previous figure drawing experience is necessary. This workshop is suggested for anyone interested in Heads, Hands and Feet or Figures in Environments offered later in the term.

VISA 110B Drawing Workshop II: Heads, Hands and Feet – Audit only

Nevin Mercede
March 14
Heads, Hands and Feet continues working with drawing toward correct proportion and observational likeness to the model. Drawing methods introduced in Figure Drawing Workshop will be honed further as we become more comfortable with these three complex figural aspects. February’s Figure Drawing Workshop or some other previous figure drawing experience is suggested. All levels of experience are welcome. This workshop is suggested for anyone interested in Figures in Environments offered later in the term.

VISA 110C Drawing Workshop III: Figures in Environment – Audit only

Nevin Mercede
April 4
Figures in Environments introduces several approaches to moving the life model from the pedestal to an engaged environment toward revealing particularities of relationship and narrative. Aspects of work during the day may take place in public spaces. Some previous figure drawing experience is suggested. All levels of experience are welcome.

Michael Casselli
Sight, sound, taste, touch, smell; with these senses we navigate our physical reality, they are essential to us in the translation of our day-to-day lives. What can happen if we allow ourselves to pause and use these senses to translate ideas into the physical realm? STUFF!!!!!!!!

Part art course, part practical application and skills development, part playground for the senses, STUFF is a course for anyone interested in how we think about abstract concepts and translate them into the world of the tangible. Be prepared to use tools, materials and resources you may be unfamiliar with, and be prepared to actively engage the world of the maker. We will be using traditional and non-traditional media, and engage in an ongoing discussion of what material/process is appropriate to an idea, and as we go along, start to redefine our concept of the tangible. There will be a section of this course that deals with digital media and its creation so a laptop is a plus if you have one, though not a precondition for taking this course.

It should be mentioned that while critique plays an essential part in refining ideas, we will follow a process that engages the idea and its clarity to the viewer, not a critique based on the viewer’s personal preference (i.e. taste). The goal is to move a conversation forward by analyzing how well the concept is being communicated to an audience, and how to improve the makers’ access to methods that produce a visual language that is complex and clear and allows a way into a dialogue with ideas and concepts both new and shared.

VISA 220 Integration of Image & Text: History & Practice – 3 equivalent credits

Nevin Mercede
This course examines ways that images and texts have been paired for both high art and popular audiences, for both adults and children. Starting with Medieval religious and secular books, traveling through illustrated novels, children’s books, print advertisements and graphic novels, we will seek to understand when and why some images override any accompanying text and vice versa, and where, and to what effect, the two may operate with greater interdependence. Artworks that derive from these formats will also be examined. Our understandings of these various approaches will be concretized through the production of original artworks that similarly combine text and image. All levels of visual art experience welcome.

VISA 289 Studio in Acrylic Painting – 1 equivalent credit

Colette Palamar
Workshop dates: Jan 27, Feb 10 & 24, March 24, April 7 & 21, and May 5.
In this hands-on, 1 credit course, students will practice painting techniques using acrylics on canvas or paper. We will focus on color mixing and accuracy, color theory, composition, texture, form, space, design as well as other aspects of visual language. We will hold several critiques of work over the course of the term and will discuss how to successfully give and receive both positive and critical feedback. Students will be expected to be painting between studio periods on their own time. Students of all backgrounds and skill levels are welcome—we will begin with the basics! Even if you’ve never painted before—you can try it now!

**PLEASE NOTE: All students MUST HAVE the following supplies BEFORE THE FIRST DAY OF CLASS: varying sizes of stretched canvases, gesso-prepared boards, canvas paper, OR acrylic paper (I recommend a tablet of canvas; please do not bring “regular” drawing paper); acrylic paint brushes of varying sizes and textures, 5 tubes of paint: cyan blue, light hansa yellow, magenta, black, and white (preferably Golden or Liquitex), a mixing cup, paper towels, and a pencil. It would also be helpful to have a board large enough to support your paper or canvas paper since we will not have easels available. All supplies can be purchased at Unfinished Creations in Yellow Springs. Support local economy!

WS/PHIL 210 Introduction to Poststructural Thought – 1 equivalent credit

Isabella Winkler
What is structuralism? Poststructuralism? Deconstruction? Queer theory? How does poststructural thought shed light on current U.S. discourse on race, abortion, gay marriage, animal rights, terrorism, etc? Find out in this five-week, intensive, one-credit course, in which we will learn some of the basic concepts of contemporary continental philosophy, contextualized through current political events and debates. No previous knowledge of poststructuralism is required; however a commitment to intensive participation over the five weeks is expected.

WK 250A Toxic Tours Documentary Project – 9 equivalent credits

Anne Bohlen

WK 250B Yellow Springs News – 3/6 equivalent credits

Diane Chiddister

WS 310 New Continental Feminist Theories – 3 equivalent credits

Iveta Jusova
This seminar draws on several leading developments in current European feminist scholarship. Three trends appear to be emerging from the contemporary dialogues among feminist thinkers in Europe the nomadic and queer, the post-secular, and the neo-materialist and the course will be organized around these developments. In the first cluster we will explore ongoing Continental feminist discussions concerning the concept of subjectivity, particularly focusing on the ways in which these conversations have been informed by theories of becoming. Cluster two will be centered around the contemporary postcolonial critique of the roles played by the so called “embedded feminism” and “homonationalism” in the projects of colonial modernity and neoliberal postmodernity. Finally cluster three will inquire as to the implications of the “linguistic turn in theory” for women, with special emphasis on new materialist feminisms’ response to the linguistic turn.

Questions concerning women and sexual difference, viewed through an intersectional lens, will be foregrounded throughout the course, and all theories will be interrogated as to their applicability and usefulness for the ongoing feminist examinations of the gendered character of local and global power relations.