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ENGL 19, Seminar 1
Playful Forms: Creative Writing Workshop
Most students of writing are familiar with such poetic forms as sonnet, blank verse, and heroic couplet; or with elements of fiction and theater such as plot, rising action, character, and denouement. But there is vast array of forms--some classic, some very new--increasingly used by contemporary writers of poetry, fiction, and plays--such as sestina and lipogram--that are both challenging and liberating for creative writer. Students read works by poet Christian Bök, playwright David Ives, short-story writer Donald Barthelme, and classic Exercises in Style by French writer Raymond Queneau as way to inspire their own writing exercises. Students read their own creative writing exercises and discuss theirs and others' work. Class meets January 10, 24, February 7, 21, and March 7, 2017 in 3211 Bunche Hall.
Brian Kim Stefans teaches poetry, new media and film/screenplay studies in the English Department. He has published several books of poetry and essays. More information is available at www.arras.net.
ENGL 19, Seminar 2
Origins of Identity: History and Memory in Women's Poetry
Who we are or may become originates in history, each unique by virtue of ethnic heritage, gender, sexuality, spirituality, and individual talents and traits. In personal writings and poetry, women voice maternal stories that also recollect communal history replete with images of homelands, political struggle, and ancestral rituals. Whether reading poetry or creating it, hearing stories or crafting them, or drawing forth dreams of ancient lands and sacred objects, students expected to be contributors and collaborators. By identifying and celebrating personal legacies of being and belonging, students learn how memory and history imprint identity, how past suffuses present. By heeding truths gleaned from ancestral past, each woman comes to know her self and infuses her poetry with distinctive vision and voice that makes lives, both old and new, into poetic memoirs. Remember, Audre Lorde proclaims, "poetry is not a luxury" but "litany of survival."
A Professor of English, Karen Rowe's research ranges from Renaissance and early American literatures to later British and American women writers, from continental fairy tales to women's education and curriculum reform. She was the Founding Director of UCLA's Center for the Study of Women and teaches courses cross-listed through the Women's Studies Program. She received a Distinguished Teaching Award and has been active in curriculum transformation and general education reform.
ENGL 19, Seminar 3
Mark Twain's Tom Sawyer: Essential American Novel
Few novels are as important and as funny as Tom Sawyer. Everyone should read it; first of all just for fun, and ultimately to discover a few things at heart of American culture. Class meets January 10, 24, February 7, 21, and March 7 in 2333 Public Affairs Building.
Robert Maniquis, Associate Professor, English Department. See the English Department biography on its site.
ENGL 19, Seminar 4
What a Poem Says: Three Fundamental Modes of Poetry
Each student selects poem from anthology (of about 100 poems in varied basic modes of poetry) as exemplar of mode or mixed mode, reads poem aloud, and writes one- to two-page paper detailing what poem says--not what it is thought to mean--and opens class discussion of what mode of thought, emotion, or experience it expresses. Class meets January 11, 25, February 8, 22, and March 8 in A46 Humanities Building.
Please consult Professor Kessler's 1-page website: www.jfkessler.com
ETHNMUS 19, Seminar 1
Music Theory through Recorder
Would you like to learn music theory while learning to play an instrument? Designed for students who would like to study rudiments of music theory by playing recorder. Each class students practice pieces and exercises related to music notation, keys, melody, rhythm, rounds, and harmony. Students also have opportunity to write and perform short compositions. By taking practical approach to music theory, students develop foundation for reading, playing, and writing music. No prior experience required. Recorders available for purchase at first class for nominal cost.
Roger Savage is a professor of systematic musicology in the Department of Ethnomusicology. He teaches courses in aesthetics, philosophy and sociology of music, and he has special interests in hermeneutical philosophy and music criticism. His research focuses on aesthetics, politics and questions of identity, and he has published widely in these areas in books and journals. He was a Fulbright Scholar at the Centre for Irish Studies and a Moore Institute Visiting Fellow at the National University of Ireland, Galway.
GERMAN 19, Seminar 1
Interviewing Holocaust Survivors
Students learn to appreciate value of eyewitness testimony of Holocaust through unique opportunity of working with, interviewing, and learning from Holocaust survivors. Students conduct oral histories with survivors, and consider ethics of listening and composition of testimony in service of public memory. Through collaboration with Jewish Family Services of Los Angeles, Hillel at UCLA Bearing Witness program, and Los Angeles Museum of the Holocaust (oldest such museum in U.S., founded in 1961), students have opportunity to talk with Holocaust survivors and meet in small group to analyze eyewitness testimony.
Todd Presner is Professor of Germanic languages, Director of the Alan D. Leve Center for Jewish studies, and Chair of the Digital Humanities program. Research interests are: Holocaust studies, German-Jewish history, digital humanities, and media studies.
HNRS 19, Seminar 3
Writings of Abraham Lincoln
Abraham Lincoln was not only one of our most important presidents, he was also remarkably lucid thinker and writer. Study of some of his writings as young man; devote great deal of attention to his writings related to slavery in 1850s, including excerpts from Lincoln-Douglas debates; and finish with some presidential writings, especially his two greatest speeches, Gettysburg Address and Second Inaugural.
Daniel Lowenstein served as Deputy Secretary of State of California under Jerry Brown, 1971-75, and as the first Chairman of the Fair Political Practices Commission, 1975-79. He joined the UCLA Law Faculty in 1979 and specialized in election law. His published articles were on subjects such as campaign finance, redistricting, voting rights, parties, initiatives, and bribery and corruption. He wrote the first textbook on election law in 1995, now in its 5th edition. He has also published literary criticism. He is director of the Center for the Liberal Arts and Free Institutions (CLAFI).
MSC HST 19, Seminar 1
UCLA Centennial Initiative: Pop!, Brief History of Popular Music at UCLA
UCLA has long and complex history of hosting, nurturing, commenting on, and being supported by popular music industry. Study traces names of musicians and musical thinkers adorning campus buildings (Schoenberg, Alpert, Ostin, Geffen). Survey of contributions of UCLA students (and drop-outs) to American popular music (Jim Morrison, Oingo Boingo, Linkin Park, Sara Bareilles); UCLA composers and film industry (John Williams, John Horner, Danny Elfman, Paul Chihara); UCLA student musical culture (Gershwin fight song, Spring Sing, campus electronic dance music [EDM] and hip-hop); UCLA as site for counterculture (Mingus, Frank Zappa, Acid Tests); jazz, legacy of UCLA ethnomusicology, and revival of folk music (Seegers, John Fahey, Kenny Burrell, Central Avenue Sounds); new musicology, popular music studies, and music industry studies (Susan McClary, Jessica Schwartz). Consideration of future of music industry, and what roles UCLA graduates and faculty will play in it. Class meets January 10, 24, February 7, 21, and March 7, 2017, in 1230 Schoenberg Music Building.
Robert Fink is Professor in the Department of Musicology and the Chair of UCLA's Music Industry Minor program. He focuses on avant-garde and popular music after 1960, with specializations in minimalism and repetition, soul music, and EDM (his UCLA course on EDM was named "coolest college class" by Spin Magazine). He is a recipient of the UCLA Distinguished Teaching Prize.
MSC HST 19, Seminar 2
Listening to Our Era: Nuclear Power and Climate Change
Exploration of political performances of anthropogenic climate change issues and nuclear chain, cultural expressions of populations experiencing impacts from climate change and nuclear power. Following discussion of issues, surrounding politics, and media representations, students bring in news reports and connect them to performances (e.g., music, dance, poetry, oratory) from focus countries. Readings include critical commentaries on anthropogenic climate change and radioactive colonialism, music history and environment, and performance studies and politics. Students learn about environmental humanities, broadly, and regional music; and develop ability to discuss voices of scientists, politicians, indigenous composers, classical musicians, and activists, etc., from around world. Students extend and expand ideas about roles of sound, voice, and performance in thinking about global changes, media networks, and stakes of human responsiveness and responsibilities to confronting these global issues of import, and shaping its legacy.
Jessica Schwartz is an Assistant Professor of Musicology at the UCLA Herb Alpert School of Music. She received her Ph.D. in Music from New York University. Her work dialogs with American studies, Pacific studies, and environmental anthropology. She conducted two years of ethnographic work in the Republic of the Marshall Islands on musical responses to nuclear testing. Other research interests include issues of musical transcription and analysis, critical pedagogies, race, class, and gender in respect to popular music from the postwar onwards and subcultural genres, such as punk and hip-hop.
MSC HST 19, Seminar 3
Racial Politics in American Musical
Consideration of how race and ethnicity have been depicted and embodied on American musical stage and screen, both historically (The Mikado, Show Boat, The Jazz Singer) and in recent years (Dreamgirls, Hairspray, Memphis, and Hamilton). Specific shows studied to some extent depend on student input.
Raymond Knapp, Professor Musicology, has authored four books and co-edited two others, including Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (2006), and The Oxford Handbook of the American Musical (2011, with Mitchell Morris and Stacy Wolf).
MUSC 19, Seminar 1
Eternal Beauty of J.S. Bach Works for Solo Violin
Presentation of J.S. Bach sonatas and partitas for solo violin, in engaging format of live performance by faculty and invited guests. Students write 2-page essay. Class meets from 3:30 to 4:30 p.m. on January 31 and February 7. Class meets from 3:30 to 5:30 p.m. on February 14, 21, 28 and March 7. All meetings held in 165 Ostin Music Center.
Armenian-born violinist Movses Pogossian made his American debut with the Boston Pops in 1990, about which Richard Dyer of the Boston Globe wrote: "There is freedom in his playing, but also taste and discipline. It was a fiery, centered, and highly musical performance?" He is a Prizewinner of the 1986 Tchaikovsky International Competition, and the youngest-ever First Prize winner of the 1985 USSR National Violin Competition, previous winners of which included David Oistrakh and Gidon Kremer. He has extensively performed as soloist and recitalist in Europe, Northern America, and Asia.
MUSC 19, Seminar 2
Understanding Why Music Moves Us
Although anyone can take pleasure in making and moving to music, primary way of interacting with it is through listening. Music arouses feelings of euphoria, affects minds and bodies, and many social activities and friends are often determined by musical preferences. Given vast quantity of music instantly available through Internet, how do we select music we listen to; and how might we come to understand each other by learning to appreciate musical choices made by people from diverse social groups? Examination of science behind musical preferences and backgrounds. Exploration of how listening to music affects cognitive and emotional selves. By sharing and discussing music, students come to appreciate each other's unique musical and cultural backgrounds. Designed for students with any level of musical involvement--who like music, would like to understand how it works, and would like to develop skills in how to talk about music in meaningful way.
Frank Heuser is currently Associate Professor of Music Education at UCLA. He holds degrees in music from Yale and the University of Southern California. He also taught in the California public schools and at the University of Oregon. He has published numerous journal articles and book chapters, most recently in Research Studies in Music Education and the International Journal of Children's Spirituality.
THEATER 19, Seminar 1
"Desire is what we make movies with" says Maggie Cheung, playing herself in Irma Vep. Investigation of variety of ways sexualities are represented in mainstream and avant-garde film and video. Students look at examples from several cinematic traditions around world. Topics include voyeuristic, narcissistic, and other perverse pleasures as well as modes of representing bodies, genders, and desires. Students read some film theory and criticism, but emphasis on films themselves. No background in film studies required.
Sean Metzger is an Associate Professor in the UCLA School of Theater, Film, and Television. He is the author of Chinese Looks: Fashion, Performance, Race (2014) and co-editor of Futures of Chinese Cinema (2009), among other works. He is the faculty in residence for Courtside.
WL ARTS 19, Seminar 1
Meditation for College Students
Introductory techniques for meditation. New and experienced students have opportunity to deepen their meditation practice.
Dr. David Shorter has been a regular meditation participant for decades, teaching meditation at UCLA since 2014. He is also a certified Reiki practitioner in Los Angeles, as well as Professor and Vice Chair of World Arts and Cultures/Dance at UCLA. In 2013, he received the University's Distinguished Teaching Award.
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