Liberal Arts Course Catalog (Gargoyle)

Transcription

Liberal Arts Noncredit Courses Autumn and Winter 2016/2017
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Liberal Arts Noncredit Courses Autumn and Winter 2016-17
When the Stranger says: “What is the meaning of this city?
Do you huddle close together because you love each other?”
What will you answer? “We all dwell together
To make money from each other”? or “This is a community”?
Oh my soul, be prepared for the coming of the Stranger.
Be prepared for him who knows how to ask questions.
-T.S. Eliot, “The Rock”
what is the
meaning of the city?
is the city a community?
ach season the Liberal Arts Program
Theatre and offering a series on all of the Bard’s
at the Graham School of Continuing
plays: the tragedies in the Autumn, the histories in
Liberal and Professional Studies highlights
the Winter, and the comedies in the Spring.
a group of course offerings around a
theme. While continuing to offer open-enrollment
classes in a wide variety of subjects, such as art,
literature, languages, history, and practical writing
courses, this Autumn and Winter we are offering
some classes around the topic of “the City.” In the
early twentieth century Chicago was known as the
“literary capital of America,” and we are featuring
two classes on its literature, “Writing the White
City,” and “Writing the Windy City,” (see page 19).
We are also looking at the “Cinema of the City,” and
“Urban Photography.”
“The Compleat Gargoyle” is the catalogue of open
enrollment liberal arts courses offered by the
University of Chicago’s Graham School. “Compleat,”
with its alternate spelling, comes from a book
published in the 17th century, and signifies the
possession of all desired knowledge and skills.
“Gargoyles” are images carved in stone, hundreds
of which oversee the collegiate gothic quadrangles
of the University of Chicago campus in Hyde Park.
The title refers to the Graham School’s founding
mission, to extend UChicago into its city, by offering
courses at times and places convenient for working
Communities are formed through shared
professionals and others committed to life-long
experience, and this year, Chicago is hosting the
learning. And T.S. Eliot taught evening extension
Shakespeare 400 celebration, on the playwright
courses for adults in his adopted city of London.
who did so much to shape his city. The Graham
a starting point, an opportunity to explore a new
School is partnering with the Chicago Shakespeare
world. We hope you will join us in our exploration.
Contents
4
Events and Lecture Series
6
Humanities
PAGE 11
ARTS
CINEMA AND MEDIA STUDIES
LITERATURE AND LANGUAGE:
THE GREEKS
ARABIC AND ISLAMIC CULTURE
LITERATURE
MUSIC
PHILOSOPHY
18
PAGE 17
Social Sciences
AFRICAN AND AFRICAN-AMERICAN STUDIES
CHICAGO
HISTORY AND POLITICS
21
Biological and Physical Sciences
22
Writing
WRITING FOR BUSINESS AND THE PROFESSIONS
WRITER’S STUDIO: AUTUMN
PAGE 25
WRITER’S STUDIO: WINTER
28 General
Information
LOCATIONS
TEACHER RECERTIFICATION POLICIES
Join Us | Graham School Liberal Arts Open House
Thursday, September 15, 5:30–7:30pm
University of Chicago Gleacher Center, Concourse Level
RSVP: grahamschool.uchicago.edu/liberalartsopen
Want to learn more
about the Graham
School’s programming?
PAGE 11
Oxford Travel Study
PAGE 17
Basic Program Autumn
Symposium
PAGE 25
Wabash Avenue 1907
Picture colorized by Patty Allison.
Website: facebook.com/imbuedwithhues
Professional Development
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Events and
Lecture Series
FIRST FRIDAY LECTURES
These free lectures are offered at 12:15 pm on the first
Friday of every month. Lectures will be given at the
Chicago Cultural Center.
October 7, 2016
Shakespeare’s War of the Roses Plays:
The Original Game of Thrones
Cynthia Rutz, Basic Program Instructor
Course Code: BASC 13011 | Section 01
See page 12, The Complete Shakespeare
November 4, 2016
Neither Tyranny Nor Freedom:
Saul Bellow's Herzog and the
American Century
Joseph Alulis, Basic Program Instructor
December 2, 2016
Shakespeare: the Master of Ambiguity
Katia Mitova, Basic Program Instructor
January 6, 2017
Epic of Id, Epic of Superego: A
Freudian Reading of Homer’s Iliad and
Odyssey
Adam Rose, Basic Program Instructor
February 3, 2017
Why the Philosophical Definition of
Freedom Matters
Clare Pearson, Basic Program Instructor
Course Code BASC 13022 | Section 01
March 3, 2017
Counterlives: Philip Roth in Context
Katia Mitova, Basic Program Instructor
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WORKS OF MIND LECTURES
These free lectures are offered on selected Sundays at 1
pm from October through May. Lectures will be given at
the Chicago Cultural Center.
October 16, 2016
Tocqueville, The Problem of Equality,
and John Ford’s Stagecoach
Robert Pippin, Evelyn Stefansson Nef Distinguished
Service Professor and Chair of the Committee on Social
Thought, the Department of Philosophy, and the College,
the University of Chicago
November 13, 2016
THE ANASTAPLO MEMORIAL LECTURE
Providence in Hamlet and The Tempest
David Bevington, Phyllis Fay Horton Distinguished Service
Professor Emeritus, the Department of English, the
Department of Comparative Literature, and Chair, Theater
and Performance Studies, the University of Chicago
See page 12, The Complete Shakespeare
December 11, 2016
Chaucer in the Land of Unlikeness:
Subjectivity and Self-Division in The
Canterbury Tales
February 12, 2017
What’s Love Got to Do With It?
Russell H. Tuttle, Professor of Anthropology, Evolutionary
Biology, History of Science and Medicine and the College
March 12, 2017
Responses to Suffering: Greek Tragedy
and the Religions
David Tracy, Andrew Thomas Greeley and Grace
McNichols Greeley Distinguished Service Professor
Emeritus of Catholic Studies and Professor of Theology
and the Philosophy of Religions; Professor in the
Committee on Social Thought
Mark Miller, Associate Professor, Department of English
January 15, 2017
Antiquities Crime as a Policy Problem
Lawrence Rothfield, Associate Professor in the
Department of English, the Department of Comparative
Literature, Research Affiliate, the Cultural Policy Center
See page 7, Who Owns the Past?
See page 18, Time Has No Future:
Toni Morrison and Maya Angelou
SAVE THE DATE
April 28–30, 2017
Basic Program Spring Weekend Study
Retreat: Toni Morrison’s Beloved
The Abbey Resort, Fontana, WI
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Humanities
ARTS 6
CINEMA AND MEDIA STUDIES 8
LITERATURE AND LANGUAGE: THE GREEKS 9
LITERATURE AND LANGUAGE: ARABIC AND ISLAMIC CULTURE 10
LITERATURE 12
MUSIC 15
PHILOSOPHY 17
ARTS
The Visual Culture of the American
Civil War: Reimagining a Nation in
Conflict
Urban Photography of the 20th
Century
Maggie Hazard
See bio under Visual Culture of Civil War.
Ms. Hazard holds an MA in art history from the University of
Wisconsin-Milwaukee and is a PhD candidate in art history at the
University of Illinois at Chicago.
At the beginning of the 20th century, technology and
urbanization were the driving forces of progress that
defined a captivating new era. Drawing inspiration from
this stimulating atmosphere, photographers latched onto
the chance to document the new city and the life within it,
which epitomized the quickly shifting world and captured
the imagination of photographers and viewers alike. This
class will examine the evolution of urban photography
through the work of early photographers like Jacob Riis as
well as Alfred Stieglitz, Weegee, Gordon Parks, and many
other photographers of the 20th century who have taken
on this fascinating subject matter.
The Civil War was one of the most formative events
in American history as it tore the country apart and
split families and communities in two. Critically, visual
innovations from photography to printing helped to
form the ways in which citizens and soldiers understood
the numerous changes the war brought. This class will
examine the visual culture produced during of the Civil
War. We will also look at the reverberating effects of
Civil War memory including the Lincoln Memorial, the
Freedman’s Memorial, and Richmond’s Monument Avenue,
as well as the recent controversy surrounding the display
of the Confederate flag.
Course Code HUAS 77001 | Section 01 | PD/CPDUs 20
Mon 10 AM–12:30 PM / Sep 26–Nov 21 / GC / $360
*No class Oct 3
Maggie Hazard
Mon 10 AM–12:30 PM / Jan 9–Mar 6 / GC / $360
*No class Jan 16
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Art Since 1945
Who Owns the Past?
Margaret Farr
Monica Phillips
Margaret Farr is an independent art historian with a PhD in art history,
specializing in art from 1800 to the present. A former senior lecturer
at the Art Institute of Chicago, Margaret has also taught at several
colleges and universities.
Monica L. Phillips is a doctoral candidate in the Department of Near
Eastern Languages and Civilizations at UChicago, where she also
teaches in the Humanities Core. Her research focuses on Sumerian
literature, Mesopotamian religion, and Intellectual History of the
ancient world.
This course explores developments in the visual arts since
1945 through a survey of major trends and artists along
with a consideration of the artists’ own statements. The
class begins with Abstract Expressionism, proceeding to
Pop Art, Minimal Art, Conceptual Art, Earth Art, the return
to figurative art, and new media, bringing us into the
present. Each class will consist of lectures and discussions
of images and texts. Supplementing this examination of
the cultural, historical, and conceptual bases for the varied
movements of art since the 1940s will be a visit to the Art
Institute to view the contemporary collection.
Mon 1:30–4 PM / Sep 26–Nov 21 / GC / $360
*No class Oct 3
A Basic Program Exploration of the
Visual Arts
Claudia Traudt
Claudia Traudt holds an MA from the Committee on Social Thought at
the University. Her art-making, research, and teaching explore modes
of creation and perception in word and image. She is the 2006
recipient of the Graham School's Excellence in Teaching Award.
Art is—thrillingly—always with us, and ever new. In Plato's
Symposium, Socrates describes Eros (or Love) as the
desire that drives one toward that which draws one—
toward the loving of humans, the begetting of works of art,
the founding of cities, the clamoring to understand that
is philosophia. The same Eros or desire leads us to take
in and respond to works of art. Basic Program students
look directly at classic texts without the mediation of
secondary commentary. Here, we will explore directly a
wide selection of the Art Institute of Chicago’s and other
sites’ spectacular holdings, engaging them in unmediated
intercourse and discussion. In Autumn Quarter, the first
meeting will be held at Gleacher Center. In Winter Quarter,
the first meeting will be held in Hyde Park. The following
sessions will be site visits.
Course Code BASC 70411 | Section 01 | PD/CPDUs 30
Mon 2–5:15 PM / Oct 10–Dec 12 / GC / $430
Sat 1:30–4:45 PM / Jan 7–Mar 11 / HP / $430
check grahamschool.uchicago.edu for day-1 assignment
With the looting in the Middle East, destruction of
antiquities following the Iraq War, the Arab Spring, and
the rise of ISIS/Daesh (among other events), the issue of
the ownership and conservation of cultural heritage has
become an increasingly hot topic in today's politicized,
global environment. Humans have historically attached
great religious, cultural, political, and social value to
artifacts and locations, usually with significant immediate
and historical consequences. This course explores this
relationship between past and present, focusing on how
various social, political, and economic forces affect the
ways in which the past is collected, interpreted, presented,
preserved, and destroyed to create meaning in the present.
*No class Jan 16
How to View Art
Ariela Lazar
Ariela Lazar received her PhD from UC Berkeley in philosophy. She
currently teaches at UChicago and has previously taught at Stanford
and Northwestern. She is also an art consultant in Chicago.
What makes a piece of visual art great? What are the
features that make it deep, interesting, meaningful and
impactful? Unlike the reading of novels, a skill we learn
over many years at school, the appreciation of visual art
is generally entirely ignored in our educational system.
Just as we learn how read fiction, we must learn the
basic principles of how to approach art in order for the
interaction to be meaningful. This class will provide you
with the basic principles that are essential to approaching
visual art: every piece of art is a response to contemporary
and older pieces; how to include socio-historical context in
your interaction; what is composition and what makes for
a great composition; basic ideas of color theory and how
they impact us; basic facts about human perception; what
is perspective and how is it used.
The class will take place at the Art Institute of Chicago (an
additional fee may apply).
Course Code: HUAS 75010 | Section 01 | PD/CPDUs 20
Thu 12–2:30 pm / Sep 29–Nov 17 / Art Institute/ $360
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CINEMA AND MEDIA STUDIES
Steven Spielberg, an American Auteur
Bill Stamets
Mr. Stamets holds an MA from the University of Chicago and reviews
films for the Chicago Sun-Times. He has taught film courses at the
School of the Art Institute of Chicago, Columbia College, and the
University of Illinois at Chicago.
Steven Spielberg is a master of sentiment in the
mainstream. His career illustrates the auteurist idea
that a director’s style distinguishes his films. Some film
scholars take Spielberg too seriously, others not seriously
enough. Screening/discussions range from early features
Duel and Jaws to later lengthy films like Munich and
Lincoln. Noting themes and techniques that recur, we
will see how Spielberg’s collaborators—screenwriters,
cinematographers and composers—shape his oeuvre. To
quote critic Andre Bazin: "One way of understanding
better what a film is trying to say is to know how it is
saying it."
Tue 6–9:30 PM / Sep 27–Nov 22 / GC / $360
*No class Oct 11
Cinema of the City
Bill Stamets
See bio under Steven Spielberg, an American Auteur.
Film can make sense of the modern city, maybe like no
other medium of modern art can. The urban trope inspires
an astonishing spectrum of dramas, documentaries and
avant-garde works. Genres include noir, sci-fi and the
essay film. A historical selection of screenings will range
from Metropolis and Man with a Movie Camera, to Playtime
and Los Angeles Plays Itself. Discussions will draw on the
visual history of cities, plus fantasies of their future designs.
We will reconcile celebrations of life in an idealized
metropolis with dystopian critiques like Blade Runner and
the set-in-Chicago Divergent franchise.
Course HUAS 79102 | Section 01 | PD/CPDUs 28
Tue 6–9:30 PM / Jan 10–Feb 28 / GC / $360
Downton Abbey Revisited:
Seasons 1–2 and Seasons 3–4
Raymond Ciacci
Raymond Ciacci is a lecturer in the Humanities Collegiate Division in
the College at the University of Chicago and began his teaching in
the Basic Program in 1981. He is a former Chair of the program.
Downton Abbey is a television series beloved by viewers
who intuit connections between late Edwardian society
and our own. The late Edwardian period was a time of
unprecedented social and cultural changes in music,
literature, art, architecture, fashion, and inventiveness.
These innovations affecting all levels of society are
balanced against a world that is resisting change. The
question of how people reinvent themselves is at the heart
of our exploration of this popular series.
SESASONS 1–2
Mon 10 AM–1:15 PM / Sep 26–Dec 5 / GC / $430
*No class Oct 3
Mon 6–9:15 PM / Sep 26–Dec 5 / GC / $430
*No class Oct 3
SESASONS 3–4
*No class Jan 16
Mon 6–9:15 PM / Jan 9–Mar 20 / GC / $430
*No class Jan 16
Genres of Early Nonfiction Film
Shannon Foskett
Ms. Foskett is a PhD student in cinema and media studies at the
University of Chicago where her interdisciplinary research focuses on
psychology, neurology, philosophy, and film.
Although many histories of cinema emphasize narrative
and popular forms that we recognize today, significant
contributions to film form and visual culture were made
from non-narrative and documentary ambitions. The
very technological possibility of cinema had its roots in
scientific and practical purposes, long before the medium
capitalized on storytelling. This class will introduce the
early history (pre-WWII) of these non-fiction cinemas,
with an emphasis on the conditions of production and
reception.
Wed 6–9:30 PM / Sep 28–Nov 30 / GC / $360
*No class Oct 12 and Nov 23
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LITERATURE AND LANGUAGE: THE GREEKS
Introduction to Classical Greek,
Parts 1 and 2
Herodotus' Histories, Books 1 and 2
Paul Mathai
See bio under Introduction to Classical Greek, Parts 1 and 2.
Mr. Mathai is a PhD student at the University of Chicago Committee
on Social Thought; his research focuses on Greek literature,
philosophy, and history, as well as Russian language and literature. He
has taught classical Greek at the Graham School.
This year-long sequence introduces students to the basics
of ancient Greek morphology and grammar through the
glories & riches of Homer. In the autumn, students learn
the basic forms of nouns, adjectives & verbs; in winter, they
begin to get a grasp on grammar through full exposure
to the complexities of the Greek verb system. After
three quarters, students will be prepared to join an Iliad
seminar beginning in Autumn 2017; an optional summer
quarter will prepare them for prose authors like Plato and
Herodotus.
PART 1
Mon 6–8:30 PM / Sep 19–Dec 12 / GC / $400
*No class Oct 3, 31, and Nov 28
PART 2
Prerequisite: Course HUAS 48001 (Part 1)
Mon 6–8:30 PM / Jan 9–Mar 20 / GC / $400
*No class Jan 16
Getting Better at Ancient Greek
Paul Mathai
This unique offering aims to give students of ancient
Greek—whether a few or many years removed from their
introduction to the language—a refresher on grammar and
morphology. Each week we’ll compare for their grammar
and differences in style and diction two short excerpts
of (mostly) prose works, drawing from philosophical
dialogues and treatises, historical accounts, and political
and forensic oratory. The first half of the quarter will
facilitate a review of noun and verb forms; the second half
will feature prose composition exercises to encourage
students to think more actively about ancient Greek.
Prerequisite: At least two years of Greek, whether Attic,
Homeric or koine.
Sat 10 AM–12:30 PM / Sep 24–Dec 17 / GC / $360
*No class Oct 8, 29, Nov 5, 26, and Dec 3
Paul Mathai
“Here is the exposition of the historia of Herodotus of
Halicarnassus, so that what has come to pass because of
human beings may not pass away with time…” Herodotus
seamlessly stitches together the results of his investigation
(historia) into the then-known world, creating a work
written to be heard, resistant to the simple label “history,”
and epic in the Homeric sense (and then some). This
continuing course investigates the first two books of
Herodotus’ exposition, including the rise of Persian power
and his chronicling of the geography and history of Egypt.
Prerequisite: At least one year of introductory ancient
Greek, whether Attic, Homeric or koine.
PART 1
Fri 10 AM–12:30 PM / Sep 23–Dec 9 / GC / $360
*No class Oct 7, Nov 4, 25, and Dec 2
PART 2
Fri 10 AM–12:30 PM / Jan 13–Mar 17 / GC / $360
*No class Feb 3 and Mar 3
Plato, Meno, Part 1
Paul Mathai
“Can you tell me, Socrates—is excellence something that
can be taught?” So the not-so-excellent Meno launches
one of Plato’s early philosophical dialogues, with Anytus—
one of Socrates’ main accusers at his fateful trial in 399
BCE—also attending to the conversation. We’ll read this
essential work of Plato in Greek carefully over two quarters.
Note: this is the first of a four-quarter sequence to include
Aristophanes’ Clouds and Plato’s Apology. Prerequisite:
At least one year of introductory ancient Greek, whether
Attic, Homeric or koine.
Sat 10 AM–12:30 PM / Jan 14–Mar 18 / GC / $360
LITERATURE AND LANGUAGE: ARABIC AND
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LITERATURE AND LANGUAGE: ARABIC AND ISLAMIC CULTURE
See the Graham School website throughout the academic year for cultural course offerings.
Beginning Arabic
Continuing Arabic
Dina Farag
Laurel Harig
Ms. Farag grew up in Alexandria, Egypt, and has taught Arabic as a
second language since 2007. Her interests include modern Arabic
Egyptian novelists such as Ihsan Abd al-Quddus and Bahaa Taher.
Ms. Harig is a graduate student in Islamic studies at the University
of Chicago Divinity School. Her interests include anthropology of
religion, literature and creative writing, religion and politics, and Islam
and authority.
These are the first two courses in a yearlong series that
provides a general introduction to Modern Standard
Arabic, the language of media and official discourse
throughout the Middle East. The courses will familiarize
beginners with the look and feel of the language.
Emphasis will be placed on learning to read, write, and
pronounce the Arabic characters, learning basic words
and key phrases for making very simple conversation,
and surviving while traveling in various Arabic-speaking
countries. This sequence is for students seeking exposure
to the rudiments of Modern Standard Arabic, the literary
language of the Middle East and North Africa.
CERTIFICATE
Course Code ARAL 10101 | Section 01 | PD/CPDUs 25
Mon 6–8:30 PM / Sep 26–Dec 5 / GC / $560
*No class Oct 3
NON-CERTIFICATE
Mon 6–8:30 PM / Sep 26–Nov 21 / GC / $360
*No class Oct 3
CERTIFICATE
Prerequisite: Course ARAL 10101
Mon 6–8:30 PM / Jan 9–Mar 20 / GC / $560
NON-CERTIFICATE
Mon 6–8:30 PM / Jan 9–Mar 6 / GC / $360
*No class Jan 16
These are the first two courses in a yearlong series
with a primary emphasis on the review and acquisition
of grammatical structures in Modern Standard Arabic.
Through both oral and written media, students will be able
to ask questions and make comparisons using complex
sentences and expressions. In addition, students will be
introduced to short narratives, conversations, and media
pieces. This series is for students who want a better
understanding of Modern Standard Arabic, the official,
literary language used in the media.
CERTIFICATE
Wed 6–8:30 PM / Sep 28–Dec 14 / GC / $560
NON-CERTIFICATE
Wed 6–8:30 PM / Sep 28–Nov 30 / GC / $360
CERTIFICATE
Wed 6–8:30 PM / Jan 11–Mar 15 / GC / $560
NON-CERTIFICATE
Wed 6–8:30 PM / Jan 11–Mar 1 / GC / $360
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11
TRAVEL STUDY
Spoken Colloquial Arabic
Jumana Al Mahamid
Ms. Al Mahamid holds a masters in international education with an
emphasis on teaching Arabic as a second language. She has taught
Arabic in Chicago and Jordan, led study abroad programs in the
Middle East, and developed colloquial Arabic manuals.
A Fortnight in
Oxford
This yearlong series is for students who are already familiar
with Modern Standard Arabic. The next step is to build
the necessary vocabulary and expressions to hold a basic
conversation in colloquial Egyptian Arabic. Focusing
on corresponding patterns of morphology and verb
conjugations, students will not read or write extensively,
but rather will have regular conversations, watch videos,
and read comic strips in colloquial Arabic. This course is
for students interested in acquiring basic conversational
skills in Egyptian Arabic.
CERTIFICATE
Wed 6–8:30 PM / Sep 28–Dec 14 / GC / $560
NON-CERTIFICATE
Wed 6–8:30 PM / Sep 28–Nov 30 / GC / $360
CERTIFICATE
Wed 6–8:30 PM / Jan 11–Mar 15 / GC / $560
NON-CERTIFICATE
Wed 6–8:30 PM / Jan 11–Mar 1 / GC / $360
Islamic Literature
Adrian De Gifis
Mr. De Gifis holds a PhD in Islamic Thought from the Department of
Near Eastern Languages and Civilizations at UChicago. His areas of
specialization include Islamic political thought, Islamic sectarianism,
history and historiography, and classical Arabic literature.
This course explores the motifs of love and loss in one
of the richest global literary traditions: Classical Arabic
literature. Students will be guided through readings of
select poetry and prose in translation to gain a deeper
understanding of how Arabic writers make sense of a
variety of experiences. Amidst much media coverage of
political violence in the Arab world, reading about love
and loss is a valuable reminder of these most tender and
intimate emotions underpinning our humanity.
Course Code HAUS 89000 | Section 01 | PD/CPDUs 5
Sat 10 AM–4 PM / Sep 17 / GC / $115
*One-hour lunch break
See the lush college gardens of Oxford at their
most inviting for two weeks in early June, as
you study in small classes led by Oxford faculty,
visit historic landmarks throughout the district,
and enjoy a series of lectures on medieval and
Renaissance drama led by one of our distinguished
University of Chicago faculty, who will accompany
us on the experience.
June 4–17, 2017
Course Code HUAS 91001 Section 01
2017 Seminar Topics
"Virginia Woolf's Modernism"
"English Civil War and Revolution, 1642-1660:
A World Turned Upside Down"
Accommodations
Participants will stay in the Rewley House
Residential Centre in Oxford. Accommodations are
similar to those of a conference center.
Fees
$5,150 per person, double occupancy. Single room
supplement: $550. Price does not include airfare or
ground transportation to and from Oxford.
For more information and to register, visit
grahamschool.uchicago.edu/travelstudy
12
LITERATURE
Shakespeare 400 Chicago is a
yearlong international arts festival
in 2016 commemorating the four
hundred years since Shakespeare’s
death in 1616 and celebrating the
vibrancy, relevance and reach of
Shakespeare. In conjunction with
the festival, the Graham School
is offering courses and lectures
exploring Shakespeare’s work. In
addition, three instructors from
the Basic Program—Cynthia Rutz,
Joseph Alulis, and Sean Hannan—
will be writing about festival events
online at the “City Desk 400” site
sponsored by Chicago Shakespeare Theater: citydesk.shakespeare400chicago.com.
The Complete Shakespeare
In honor of Shakespeare 400, the worldwide, year-long celebration of the 400th anniversary of Shakespeare's death, we
are offering a three-quarter sequence of all of his plays.
The Tragedies
The Histories
Eva Fernandez, Cynthia Rutz
Eva Fernandez, Cynthia Rutz
Eva Fernandez has an MA in English from the University of Chicago.
Her primary interests include Chaucer, Aristotle, Aquinas, and
contemporary philosophy of mind and action. She is the 2011
Cynthia Rutz completed her PhD on Shakespeare at the University
of Chicago in 2013. Other interests include mythology, folktales, and
ancient Greek philosophy and literature. She is a former Staff Chair of
the program, and currently teaches at Valparaiso University.
See bios under The Complete Shakespeare Fall 2016: The Tragedies.
This quarter, we will read the tragedies in the order in
which Shakespeare wrote them. We will see the evolution
of Shakespeare’s drama from the brutal Titus Andronicus
through the stirring rhetoric of his early Roman plays
such as Julius Caesar, ending with the almost unbearable
pathos of his late great tragedies, King Lear and Othello.
Here is the full pageant of human nature from lust for love
to lust for power, from first love to mature love, from family
squabbles to battles for empire. For the first class, please
read Titus Andronicus.
Thu 10 AM–1:15 PM / Sep 29–Dec 8 / GC / $430
*No class Nov 24
Tue 6–9:15 PM / Sep 20–Dec 6 / GC / $430
Winter quarter we will read the histories in the order of the
reigns of the monarchs. Many of these plays portray the
“War of the Roses,” a bloody phase of English history rife
with ambition, lust for power, betrayals, and civil strife. In
the violence and pageantry of these plays, Shakespeare
takes us from the tavern brawls and hijinks of young Prince
Hal, through Hal’s apotheosis as the silver tongued Henry
V, to the wicked machinations of one of his greatest villains,
Richard III. For the first class, please read King John.
Thu 10:00 AM–1:15 PM / Jan 12–Mar 16 / GC / $430
Tue 6–9:15 PM / Jan 10–Mar 14 / GC / $430
13
Shakespeare’s The Merchant of Venice
as Christian Comedy
MINI COURSE
Eros & Power, Hidden & Confused:
Shakespeare's As You Like It and
Twelfth Night
Adam Rose
Claudia Traudt
Adam Rose has taught in the Basic Program since 1993, and is a
former Staff Chair of the program. He is primarily interested in the
ways texts affect human life. He is the 2007 recipient of the Graham
School's Excellence in Teaching Award.
See bio under Man as Woman as Man: Reveries on As You Like It,
Antony and Cleopatra, and Twelfth Night.
Although modern interpretations of The Merchant of
Venice often focus on the play’s characterization and
treatment of the Jewish moneylender Shylock, both
the play’s title and plot suggest that Shakespeare’s
focus was on the Christian merchant Antonio. Through
a careful reading and discussion of Shakespeare’s play
in conjunction with selections both from Christopher
Marlowe’s roughly contemporaneous The Jew of Malta
and from the New Testament, this course will explore
Shakespeare’s exaltation of “graceful Christianity” in both
the major and minor plot threads of one of Shakespeare’s
most controversial plays.
Wed 10–11:30 AM / Aug 31–Sep 14 / GC / $60
Sat 9:30–11:00 AM / Sep 3–17 / Online / $60
MINI COURSE
Man as Woman as Man: Reveries on
As You Like It, Antony and Cleopatra,
and Twelfth Night
Claudia Traudt
Claudia Traudt holds an MA from the Committee on Social Thought at
the University. Her art-making, research, and teaching explore modes
of creation and perception in word and image. She is the 2006
We shall explore relations of identity, sexuality, gender,
disguise, confusion, danger, pain and joy, representation,
degrees of knowing or understanding, of power and
politics—both interpersonal and imperial in three of
Shakespeare's plays. We will do close reading of examples
from their sculpted language and interactions, assessing
how these specific plays' men and women apprehend
themselves and each other—coming to triumphant union,
to possibly triumphant death And we will piquantly
remember that ALL Shakespeare's players were men.
Please have read the plays in order of the course title
before each week’s work.
Thu 10–11:30 AM / Sep 1–15 / GC / $60
ONLINE CLASS
“If I were a woman…”
—Rosalind, As You Like It (epilogue)
As You Like It and Twelfth Night are comedies par
excellence—romantic comedies, with zest. They are
classically comic—in the definitive sense that, profoundly,
they have a happy ending. Lovers are sorted out—mainly
rightfully. In both works, indelible characters pierce us—
Rosalind/Ganymede, Orlando, Celia, Touchstone, Jacques,
disastrous lovers Phoebe and Silvius; Orsino, Cesario/Viola,
Olivia, Malvolio, Feste, raucus Aguecheek and Sir Toby
Belch. Limpid language, gender-unsettlings, disguises,
dilemmas, outlandishness delight us. The works seize
us—via loss, longing, threat, death’s dangers, ignorance
and knowledge (and the powers inherent in them),
hilariousness, accident, intention, poignancy—ostensible
magic, the outright magic of poetry and structure.
Mon 10 AM–1:15 PM / Oct 10–Dec 12 / GC / $430
Legality and Morality: The Quest for
Certainty
Elliott Krick
Elliott Krick holds an MA in English from the University of Chicago
and has been teaching in the Basic Program since 1965, specializing
in poetry and film courses.
We will examine three texts: Kafka's The Trial, Herman
Melville's Billy Budd, and Shakespeare's Measure for
Measure. In each work, significant ambiguity exists as to
the letter and spirit of the law. Also, the outcome of each
work raises fascinating questions concerning honesty,
"fairness," and the complex workings of the human spirit.
Sat 9:30 am–12:45 PM / Sep 24–Dec 10 / HP / $430
14
Shakespeare’s Henriad
Nabokov's Lolita
Zoë Eisenman
Irina Ruvinsky
Zoë Eisenman is the current Chair of the Basic Program, which
she joined in 1992. She has a MA in Classics from the University of
Chicago, and is particularly interested in the history and philosophy of
the ancient world.
Ms. Ruvinsky received her PhD in philosophy from the University
of Chicago. She studied philosophy and French literature at the
Sorbonne and the École normale supérieure in Paris. She currently
teaches at the School of the Art Institute of Chicago.
A country divided, the legitimacy of leadership questioned,
a wrong-headed foreign war, rulers who think God is
on their side, and a son’s attempt to rise to his father’s
expectations—these are some of the themes that resonate
in the four plays of Shakespeare’s “Henriad.” Shakespeare
uses England’s medieval kings to explore the inner
workings of human nature and of political life in a way that
is timeless even though it is history. For this course we will
read Richard II, Henry IV Part I, Henry IV Part II, and Henry
V. For the first class, please read Richard II, Act 1–2
Wed 6–7:30 PM / Sep 21–Dec 7 / Online / $200
Time and Temporality in Shakespeare
and Faulkner
Lolita, Vladimir Nabokov's disturbing masterpiece, is the
story of middle-aged Humbert Humbert and his tragic
love affair with his 12-year-old stepdaughter Dolores
"Lolita" Haze. It's a post-war road novel, an inverted murder
mystery, an allegory for Europe’s relationship to America,
as well as a story of a dangerous obsession. For all its
controversial subject matter, Lolita is also one of the most
beautiful love stories you'll ever read. In this course we will
explore the lyrical, the tragic, and the monstrous aspects
of the novel depicted so fearlessly and with so much
complexity by its author.
Fri 1:30–4 PM / Sep 9–Dec 9 / GC / $400
*No class Oct 7, Nov 4, Nov 25, and Dec 2
Man Without Qualities
Elliott Krick
Irina Ruvinsky
See bio under Legality and Morality: The Quest for Certainty.
See bio under Nabokov's Lolita.
We will compare Shakespeare's Macbeth with Faulkner's
The Sound and the Fury, raising questions of plot
articulation, character development, and the nature and
disposition of time in its formative and transformative
dimensions. At the end of the course, we will examine
two of Shakespeare's sonnets--numbers 73 and 129--and
compare them with Faulkner's short story, "A Rose for
Emily."
Robert Musil’s Man Without Qualities is one of the most
prestigious novels of the 20th century that no one has
read but everyone has heard of. Even though it is very long,
very slow, and was unfinished at the time of Robert Musil's
death, it is a masterpiece of extraordinary wit, complexity,
and intelligence. Regularly cited alongside Joyce’s Ulysses,
Proust’s In Search of Lost Time, and Thomas Mann’s The
Magic Mountain, Man Without Qualities is a triumph of high
modernism. Set in Vienna in 1913, it depicts a world on the
edge of a precipice—moral, cultural and political—that was
to give way to the abyss of World War I the following year.
In this course we will follow Musil’s protagonist Ulrich—a
gifted, amoral, concupiscent mathematician of good family
who finds himself in the midst of an existential crisis and
becomes one of the most engaging comic anti-heroes in
modern fiction.
Sat 9:30 AM–12:45 PM / Jan 7–Mar 11 / HP / $430
Fri 1:30–4 PM / Jan 6–Mar 24 / GC / $400
15
MUSIC
The Heroic Beethoven and the Birth of
Musical Romanticism
John Gibbons
Mr. Gibbons holds a PhD from the University of Chicago Department
of Music. His works have been performed at the Rockefeller Music
Competition and by the Minnesota Chamber Symphony. He received
the 2005 Graham School of Continuing Liberal and Professional
Studies Excellence in Teaching Award for the Humanities, Arts, and
Sciences.
A History of Music in the Medieval,
Renaissance, and Early Baroque
John Gibbons
See bio under The Heroic Beethoven and the Birth of Musical
Romanticism.
The fascinating evolution of Medieval music, the staggering
array of intellectual and spiritual masterpieces in the
Renaissance, and the establishment of musical modernity
in the early Baroque form the substance of this course.
Special attention is paid to the relationship of music to
the culture of its time, and its place in history. Music as
diverse as Gregorian chant, Lassus, Palestrina, Tallis, Byrd,
Schuetz, and Monteverdi is included. Sacred, secular, and
instrumental genres are considered in historical context.
Tue 10 AM–12:30 PM / Sep 27–Nov 22 / GC / $360
*No class Oct 11
A History of Piano Music from Bach to
the Present
John Gibbons
Romanticism.
With its huge and varied repertory, the piano is a unique
microcosm of Western music. This course offers an
historical survey of the genre, from the Baroque suite to
the modern étude. Acknowledged masterworks from Bach,
Beethoven, Chopin, Schumann, Liszt, and Rachmaninov
are presented, along with great but lesser known works
from the French, Spanish, and Eastern European traditions.
The course concludes with a look at contemporary styles
and trends in piano composition.
Tue 10 AM–12:30 PM / Jan 10–Feb 28 / GC / $360
ONLINE CLASS
Beethoven's middle period works (the heroic Beethoven)
is the single most influential repertory in the history
of Western music. The "Eroica" symphony, the mighty
Fifth, the "Emperor" piano concerto and other works
permanently established the model of artist as hero,
artist as liberator, artist as sacrifice. The Romanticism
of Schumann, Berlioz, Mendelssohn, Wagner, Mahler,
and the contemporary image of musical genius is
unthinkable without Beethoven's achievement. This course
contextualizes these great works and assesses their impact
on the course of music history.
Thu 10 AM–12:30 PM / Sep 29–Nov 17 / GC / $360
Brahms and the Twilight of Musical
Romanticism
John Gibbons
Romanticism.
Brahms began his career as a protege of Schumann and
ended his career in the era of Debussy and Schoenberg,
and acutely felt that he was at the end of a line stretching
back to Bach. This course examines his achingly beautiful
late works, including the great chamber works, the most
bittersweet and valedictory music in the Western tradition.
Works by contemporaries such as Dvorak, Wolf, Bruckner,
and early Mahler are also included as they relate to the
"twilight of Romanticism."
Thu 10 AM–12:30 PM / Jan 12–Mar 2 / GC / $360
16
ONE DAY ONLY
Tchaikovsky
John Gibbons
Romanticism.
Tchaikovsky is unique among the great composers in
having written immortal and popular works in virtually
every genre. The ballet "Swan Lake," the "Pathetique"
symphony, "Eugene Onegin," and the piano and violin
concertos as well as other works continue to be absolutely
essential pieces for performers, conductors and audiences.
This seminar uses video and audio recording as well
as explanatory commentary to examine Tchaikovsky's
amazing career.
Sat 10 AM–4 PM / Oct 15 / GC / $115
ONE DAY ONLY
The Great Conductors and the
Evolution of the Orchestra
John Gibbons
Romanticism.
The orchestra has become the signature vehicle of
Western classical music. Why this happened is a
fascinating story, musically, of course, but also from
social and historical perspectives. This seminar takes an
entertaining look at the institution of the orchestra and
it's most visible figure, the conductor. Recordings and
video, including archival footage, are presented, illustrating
the nature and purpose of the various instruments, and
considering the careers of figures such as Toscanini,
Furtwangler, Stokowski, Bernstein, among others.
Sat 10 AM–4 PM / Feb 18 / GC / $115
17
17
PHILOSOPHY
Michel Foucault
Thomas W. Kim
Thomas W. Kim is co-chief investment officer at Mansur & Company,
a boutique asset management firm specializing in traditional and
alternative investments. He holds a PhD in English language and
literature from UChicago, and has taught at UChicago, Northwestern,
and Boston College.
Michel Foucault is regarded as one of the most influential
philosophers of the twentieth century. His work has
inspired various groups of scholars in multiple fields, and
his “(post) structuralist” theories continue to provoke lively
debate within academia. This course will provide a broad
but focused introduction to one of the most challenging
yet highly accessible thinkers of the modern era. We
will map out the trajectory of Foucault’s philosophical,
academic, and political ambitions as well as visit some
of the defining moments of his intellectual becoming
to better understand his arguments regarding power,
epistemology, sexuality, bio-politics, and governmentality.
Thu 6–8:30 PM / Oct 20–Dec 1 / GC / $270
*No class Nov 24
The Socrates Who Does (Not) Know:
Gorgias, Charmides, Laches, Lysis
Adam Rose
Although Socrates has become iconic for “knowing that
he doesn’t know,” only some of Plato’s dialogues cast
Socrates in this light. Other dialogues portray a Socrates
who seems to know a great deal about a great deal
(including love, politics, virtue and the afterlife). In this
course we will examine important dialogues of both types.
On the one hand we will read and discuss “aporetic” or
“inconclusive” dialogues about the nature of temperance
(Charmides), courage (Laches) and friendship (Lysis). On
the other we will consider Plato’s great Gorgias in which
Socrates practically preaches for one particular notion of
the good life.
Sat 9:30–11 AM / Sep 24–Dec 10 / Online / $200
BASIC PROGRAM
Autumn Symposium:
Selections from The
Federalist Papers
“If men were angels, no government would be
necessary.” - Federalist no. 51
Written under the pseudonym Publius by Alexander
Hamilton, James Madison and John Jay, the essays
of The Federalist form a detailed tutorial on the
proposed Constitution of 1787. As part of a serious
debate about the Constitution’s design to fulfill the
needs of government while providing guarantees
and protections to the liberties of American
citizens, it also replies to the attacks on the
proposed government in "antifederalist" writing,
and in the process becomes an exploration of the
nature of governance itself. With the perspective
provided by our experience living under the
government produced by ratification, the Autumn
Symposium will give us the opportunity to think
and talk about the successes and failures of the
framers.
Our speakers will include Ralph Lerner, the
Benjamin Franklin Professor Emeritus in the
College and of Social Thought, and Basic
Program instructors Keith Cleveland and Joseph
Alulis. Recommended readings: The Federalist
Papers (Rossiter, ed., Signet Classics, ISBN 9780451528810).
Sat 9 AM–3:30 PM / Oct 22 / Gordon Center,
University of Chicago Campus / $195
Free shuttle service will be available from the Gleacher
Center to the Gordon Center.
ONLINE CLASS
18
Social Sciences
AFRICAN AND AFRICAN-AMERICAN STUDIES 18
CHICAGO 19
HISTORY AND POLITICS 20
AFRICAN AND AFRICAN-AMERICAN STUDIES
Time Has No Future: Toni Morrison and
Maya Angelou
Up From Slavery: Selected AfricanAmerican Classics
Clare Pearson
Adam Rose
Clare Pearson studied in the University’s Committee on Social
Thought, and pursues interdisciplinary work centering on ethical
questions and experiences. She is a former Staff Chair, and is the 2013
recipient recipient of the Graham School's Excellence in Teaching
Award.
This class will take up key works of two of the most
profound and beautiful literary voices of 20th century
America, Toni Morrison and Maya Angelou. We
begin with a close reading of Morrison’s must-read
masterpiece, Beloved, the hauntingly powerful story of
a young woman’s attempt to recreate life and family
after journeying out of slavery in the face of a past that
continually resurfaces to fracture every beginning. We will
follow this up with Song of Solomon, then turn to Maya
Angelou’s autobiographical I Know Why the Caged Bird
Sings, pairing this with a selection of her poetry.
Tue 10 AM–1:15 PM / Jan 10–Mar 14 / GC / $430
During the long struggle to end American slavery and the
racial attitudes that surrounded and survived it, AfricanAmericans have produced a wide range of works of nowclassic literature. Beginning with the 18th-century poetry of
Phillis Wheatley and ending with the 20th-century poetry
of Langston Hughes, this course will explore an important
sample of that literature in an attempt to understand the
individual works, the literary canon of which they are a
part, and the foundation they laid for more recent AfricanAmerican literature. Texts will include: David Walker’s
Appeal, Frederick Douglass’s autobiographical Narrative of
the Life of Frederick Douglass, Booker T. Washington’s Up
From Slavery, and W.E.B. DuBois’s The Souls of Black Folk.
Sat 9:30–11 AM / Jan 7–Mar 11 / Online / $200
19
CHICAGO
Writing the White City, 1893–1924
Paul Durica
Mr. Durica received his PhD in the Department of English Language
and Literature at the University of Chicago, is founder of Pocket
Guide to Hell, a series of tours and reenactments that draw on his
scholarly work to weave narratives that tackle issues of social justice
and illuminate the hidden past.
This course covers the period from the time of 1893
World's Columbian Exposition through the end of what
critics call the Chicago Renaissance. This period witnessed
the creation of distinct creative communities in the city
such as the Little Room, Jackson Park Art Colony, and the
Dill Pickle Club. These communities led to the emergence
of nationally-known writers such as Theodore Dreiser
and Carl Sandburg and the founding of internationallysignificant publications like Poetry and The Little Review.
In addition to the history of these creative communities,
the course looks at the writing of Sandberg, Dreiser, Ben
Hecht, Harriet Monroe, and others who made Chicago, in
H.L. Mencken's words, the "Literary capital of the United
States." Note: the course involves a visit to relevant sites.
Thu 6:30–9 PM / Sep 8–Oct 13 / GC / $270
Writing the Windy City, 1929–1952
Paul Durica
See bio under Writing the White City, 1893–1924.
By the early 1920s, many of the writers who'd achieved
fame in Chicago such as Sherwood Anderson, Ben
Hecht, and Carl Sandburg had moved elsewhere, and
the onset of the Great Depression brought an end to the
creative communities that had first drawn them together.
Support in the form of Works Progress Administration
dollars would bring into being new communities, such
as those at the Parkway Community House and South
Side Community Arts Center, made up of writers who'd
settled in Chicago as part of the Great Migration. This
course looks at the history of those communities as well
as writers who found themselves working increasingly in
isolation in the Second City. Writers featured in the course
include Neslon Algren, Gwendolyn Brooks, James T. Farrell,
Margaret Walker, Richard Wright, and others. Note: the
course involves a visit to relevant sites.
Thu 6:30–9 PM / Jan 12–Feb 16 / GC / $270
ONLINE CLASS
EDUCATION
Rousseau: The Grandfather of
Progressive Education?
Joshua Daniel
Joshua Daniel received his PhD in theology from the University of
Chicago Divinity School in 2013 and joined the Basic Program in 2015.
He also teaches religious studies and philosophy courses at colleges
throughout Chicago.
This course offers a close reading of Jean-Jacques
Rousseau’s novel-treatise Emile, or On Education. While
Emile has often been read as anti-authoritarian celebration
of freedom that promotes an “anything-goes” approach
to education that privileges the satisfaction of children’s
interests and desires over the transmission of knowledge
about the world, a careful reading of the text itself
reveals the ambiguities and complexities of Rousseau’s
educational theory.
Wed 6–7:30 PM / Jan 11–Mar 15 / Online / $200
20
HISTORY AND POLITICS
The Second World War and the
English People
Jim Lothian
Mr. Lothian holds a PhD in history from the University of Chicago and
has taught at Binghamton University. His studies include modern and
early modern Britain and Ireland, British Empire, European intellectual
history, and history of science.
Accomplished historian A. J. P. Taylor maintained that if
“future generations want to know what the second world
war was like for English people” they ought to read Evelyn
Waugh’s trilogy of novels, Sword of Honour (1952–61)—
“the greatest work of a great English novelist.” This course
will center on a close reading of Waugh’s masterpiece in
order to elucidate the experience of the war and grasp
how it was understood in its aftermath. While Waugh’s
critical satirical take will provide our lens, secondary
readings from both contemporaries and historians will
help us to grasp the broader war.
Mon 6–8:30 PM / Sep 26–Nov 21 / GC / $360
*No class Oct 3
The English Catholic Literary
Renaissance
Jim Lothian
See bio under The Second World War & the English People.
The literary history of first half of the twentieth century
was marked by the contributions of convert Catholic
novelists in England. This course will focus on the interwar
works of G. K. Chesterton, Graham Greene, and Evelyn
Waugh. We will explore such novels as Chesterton’s Man
Who Was Thursday and Napoleon of Nottinghill, Greene’s
Heart of the Matter and End of the Affair, and Waugh’s
Handful of Dust and (of course) Brideshead Revisited.
Attention will be paid both to the non-fiction contributions
of these authors, as well as to the broader historical
context in which they wrote.
Mon 6–8:30 PM / Jan 9–Mar 6 / GC / $360
*No class Jan 16
The Origins of Modern Capitalism I:
Reading Adam Smith's The Wealth of
Nations
Robert Stern
Robert Stern is a PhD student in modern European history at the
University of Chicago. For the last six years he has lectured in the
College, predominantly teaching Self, Culture, and Society.
In the United States, Adam Smith is generally thought of
as an economist, the champion of the free market, and
a predecessor of the Chicago School of Economics. This
course will complicate that approach by treating him as
a social theorist, and his magnum opus, The Wealth of
Nations (1776), as an attempt to constitute capitalism as
an object of social scientific analysis. From that vantage
point we will explore not only the virtuous features of
modern capitalist society, as Smith saw it unfolding, but
also its inherent social tensions and contradictions.
Sat 10 AM–4 PM / Nov 19 / GC / $115
The Origins of Modern Capitalism II:
From Adam Smith's World to Karl
Marx's
Robert Stern
See bio under The Origins of Modern Capitalism I.
This course examines an epochal shift in the history of
modern capitalism by comparing and contrasting Adam
Smith’s analysis and critique of the division of labor, in The
Wealth of Nations (1776), with Karl’s Marx’s analysis and
critique of large-scale industry, in Capital Vol. I (1867). We
shall attempt to account for the similarities and differences
between these modern social theorists by situating their
respective analyses and critiques of capitalism in their
specific historical context of articulation.
Sat 10 AM–4 PM / Mar 18 / GC / $115
21
Biological and
Physical Sciences
BIOLOGICAL AND PHYSICAL SCIENCES
Nanomaterials Today: From TVs to
Cancer Treatment
Nicole James
Nicole is a chemistry PhD candidate working with Heinrich Jaeger at
the University of Chicago. She studies particle surface chemistry and
non-Newtonian fluid dynamics, and has a passion for nanomaterials
science. Nicole is particularly interested in science communication
and teaching.
A nanomaterial is any material made up of nanometerscale pieces—particles 50,000 times smaller than a human
hair. These materials are already showing up in new TV
screens, clothing, and ground-breaking cancer research.
The White House compares the impact of nanomaterials
to the steam engine and the internet. In this course we will
describe both natural and man-made nanomaterials, such
as gecko feet, lotus leaves, solar cells, batteries, electronics,
cancer treatments, and more. We will also discuss the
surrounding controversies, such as: How feasible are these
materials? Are they safe? What are their environmental
impacts?
Sat 1:30–4 PM / Jan 14–Mar 18 / GC / $360
22
Writing
WRITING FOR BUSINESS AND THE PROFESSIONS 23
THE WRITER’S STUDIO: AUTUMN 23
THE WRITER’S STUDIO: WINTER 26
WRITING FOR BUSINESS AND THE
PROFESSIONS
Effective Writing for Business and the
Professions
Tracy Weiner and Linda Smith-Brecheisen
Tracy Weiner is co-associate director and Linda Smith-Brecheisen is
assistant director of the University Writing Program at the University
of Chicago, where they teach academic and professional writing and
supervise and train a staff of writing instructors in the humanities
and professional schools. Weiner received the 2009 Graham School
Excellence in Teaching Award.
In the workplace, writing succeeds when it is easy to read,
efficient, and valuable. The more you know, the more
difficult it can be to communicate your expertise clearly
and persuasively. To share your expertise with others, you
must organize your material, structure your ideas, and
frame your concepts in language that is both precise
enough to be accurate and direct enough to be clear to
your reader. This course introduces techniques you can
use to diagnose and revise your writing so that it will
succeed with any readers, from colleagues to clients to the
general public. Tuition includes course materials.
Course Code WRIT 91800 | Section 01 | PD/CPDUs 20
Wed 5:30–8 PM / Sep 28–Nov 30 / GC / $600
*No class on Oct 12 and Nov 23
WRITER’S STUDIO: AUTUMN
Memoir Writing: Exploring the Genre
Dina Elenbogen
Dina Elenbogen has published a memoir, Drawn from Water: An
American Poet, an Ethiopian Family, an Israeli Story; a poetry
collection, Apples of the Earth; as well as award-winning nonfiction
pieces and poems. She is the recipient of the 2012 Graham School
Excellence in Teaching Award for the Humanities, Arts, and Sciences.
In this introductory course, we will explore the art and
craft of writing memoir. Students will draw upon their life
experiences to create works that explore both individual
lives and the human condition in general. In-class writing
exercises will be aimed at beginning larger pieces of
writing. In a workshop format led by the instructor,
students will critique the more finished work of their peers.
We will also read and discuss works by contemporary
memoirists as we explore the limits and possibilities of this
burgeoning form of creative nonfiction.
Mon 10 AM–12:30 PM / Sep 26–Nov 21 / GC / $575
*No class on Oct 3
23
Basic Creative Writing
Advanced Prose Workshop
Sarah Terez Rosenblum
Bayo Ojikutu
Sarah Terez Rosenblum’s debut novel, Herself When She's Missing,
was called “poetic and heartrending” by Booklist. She writes for Salon,
The Chicago Sun Times, XOJane, and AfterEllen.com. Her fiction has
appeared in literary magazines including kill author and Underground
Voices.
Bayo Ojikutu won the Great American Book Award for his first novel,
47th Street Black. His second novel, Free Burning, is forthcoming.
He was included in the “New City Lit 50,” a list of Chicago’s most
renowned writers and literati.
This course will introduce you to creative writing, from
generating ideas to revising drafts. Find your voice and
develop your craft through in-class and at-home writing
exercises and discussions of your own and your fellow
students’ written work. You will also study canonical and
contemporary models drawn from fiction, poetry, and
creative nonfiction, while being encouraged to try your
hand at each of these genres.
Mon 1:30–4 PM / Sep 26–Nov 21 / GC / $575
*No class on October 3
Dramatic Writing: Writing for
Emotional Impact
Designed for writers of long-form narrative (including
novels and memoirs), this workshop will help you develop
and hone your book-length work. As a mixed-genre class,
you will have the opportunity to learn from a wide range of
styles, techniques, and voices. Whether you are in the early
stages of drafting or on one of several revisions, use this
workshop to heighten your telling, build on story elements,
and keep moving your manuscript forward.
Prerequisite: Previous Writer’s Studio course or
administrator approval. Contact
[email protected] for more information.
Wed 6:30–9 PM / Sep 28–Nov 30 / GC / $575
*No class on Oct 12 and Nov 23
Susan Hubbard
Susan Hubbard is an award-winning screenwriter whose work has
screened internationally. She co-wrote feature film Realization and
has pitched to Hollywood executives. She holds an MFA in cinema art
& science. Her play, Thundersnow, was produced in Chicago in 2015.
Beautiful words on the page mean little if the reader is
not 100% with your character on their dramatic journey.
In this class, we will focus on establishing audience
identification and controlling audience reaction for writing
that emotionally moves and captivates readers. We’ll
work to tighten the interplay of character and causality
to keep audiences invested in your story, resonating to
your themes, and moving toward satisfying catharsis.
Participants will utilize in- and out-of-class writing
assignments and tap dramatic techniques to inform all
genres of creative writing, including novels, short fiction,
plays, and films.
Mon 6–8:30 PM / Sep 26–Nov 21 / GC / $575
*No class on Oct 3
FOR READINGS, EVENTS,
AND OTHER WRITER'S
STUDIO NEWS, JOIN
OUR COMMUNITY AT:
Facebook.com/GrahamSchoolWritersStudio
24
Introduction to Creative Nonfiction
Online Writing Group
Kevin Davis
Natalie Tilghman
Kevin Davis is an award-winning journalist who has written for
Utne Reader, Chicago magazine, The Rumpus, Writer’s Digest, and
Crain’s Chicago Business, among others. He is also the author of the
nonfiction books Defending the Damned and The Wrong Man.
Natalie Tilghman was a recipient of a 2015 Rona Jaffe Writer’s
Award for her novel-in-progress Home Remedies. She co-authored A
52-Hertz Whale, a young adult novel recently released by Carolrhoda
Lab (Lerner). Additionally, her work has appeared in TriQuarterly,
Santa Clara Review, Cicada magazine, and Sudden Flash Youth, a
fiction anthology by Persea Books.
This course will introduce you to the art of writing creative
nonfiction, a wonderfully flexible and diverse genre. Try
your hand at writing literary journalism, memoir, and the
personal essay. We will study the intricacies of craft, with
special emphasis on the importance of narrative voice and
the myriad ways creative nonfiction can be structured. You
will read the work of master practitioners, write in-class
and take-home exercises, and produce one complete
essay that will be discussed in a workshop setting.
Thu 6–8:30 PM / Sep 29–Nov 17 / GC / $575
Do you need structure, deadlines, and a creative
community to produce your best work? This eight-week
multigenre online writing group is designed to provide that
and more. As a member, you will generate and revise your
creative work (up to 6000 words of prose or ten pages of
poetry at a time) alongside a supportive, dedicated cohort
of writers. Regardless of location and schedule, this group
can help you find motivation, inspiration, and creative
breakthroughs under the guidance of a professional writer.
Oct 10–Dec 4 / Online / $575
Stories Onstage: Writing to Perform
Mary Fons
Mary Fons is a nationally-ranked slam poet, Neo-Futurist, founding
editor of Quilty, and co-host of Love of Quilting on PBS. Mary’s
publications include Make + Love Quilts: Scrap Quilts for the 21st
Century, and essays in the Write Club Anthology and Madonna & Me.
Everyone has a story to tell. Our stories can be sad,
hilarious, thought-provoking, completely nuts, quiet, loud,
weird, sweet—and are often a combination of these. In this
four-week class, we’ll put your stories onstage in the form
of solo monologues. We’ll stretch them, bend them, shape
them, and generally play around with them to form a piece
you’ll be invited to perform for an invited audience the
last week of class. (That’s optional, but you’ll want to do
it.) Writing and performance go hand in hand to illuminate
your life, your story. Bring paper and your voice.
Wed 2–4:30 PM / Sep 28–Oct 26 / GC / $295
*No class on Oct 12
25
25
Write to Finish: Developing a Writing
Process that Works
Sandi Wisenberg
Sandi L. Wisenberg is the author of The Sweetheart Is In; Holocaust
Girls: History, Memory, & Other Obsessions; and The Adventures of
Cancer Bitch.
Professional
Development
In this course, writers of all genres will explore and develop
their indivdual writing processes. What works for one
person may not work for someone else. Come to this class
to explore your own writing process and develop habits
and practices that move your writing forward.
Wed 2–4:30 PM / Nov 2–30 / GC / $295
*No class on Nov 23
Jumpstart Session: Publishing Your
Book for Children and Young Adults
Esther Hershenhorn
Esther Hershenhorn serves on the board of advisors of the Society
of Children’s Book Writers and Illustrators. Her publications include
Chicken Soup by Heart (winner of the Sydney Taylor Award) and The
Confe$$ion$ and $ecret$ of Howard J. Fingerhut.
Thanks to the success of Harry Potter, a growing young
adult population, and the crossing of borders between
adult and children's literature, today's ever-changing
children's book world offers writers surprising publishing
opportunities to tell their stories. If you are thinking about
writing a children's book, either fiction or nonfiction,
this seminar will ground you and point you in the right
direction. Bring a proposal or an idea, a character
description, a synopsis or even a first chapter to help
determine your story's format possibilities, audience, and
marketability in today's diverse children's book world.
Thu 6–9 PM / Dec 8 / GC / $85
The University of Chicago Graham School offers
a variety of courses and certificates for students
looking to improve their professional skills. As with
our liberal arts courses, all of our classes are offered
at the downtown Gleacher Center or online, to fit
with your schedule.
Current professional development certficates
include:
• Clinical Trials Management and Regulatory Compliance
• Editing
• Financial Decision Making
• Integrated Marketing
• Medical Writing and Editing
• Project Management
All of our professional certificates offer rolling
admissions and courses throughout the year, so you
may apply to and start a program at any time.
For current schedules and more information, visit
grahamschool.uchicago.edu.
ONLINE CLASS
26
WRITER’S STUDIO: WINTER
Online Writing Group
Structure Your Book
Natalie Tilghman
Bayo Ojikutu
See bio under Online Writing Group (Autumn)
See bio under Advanced Prose workshop (Autumn) on page 23.
See Online Writing Group on page 24.
How do we use narration and plot strategically in booklength works? In this class, we will explore ways that
structure fosters logical progression and builds tension
through the process of revelation in long-form prose.
In addition to using craft essays by Jane Smiley, Milan
Kundera, Janet Burroway, and John Gardner to investigate,
interrogate, and execute the nuance of story delivery,
students will critically engage a self-selected, long-form
prose work in order to parse the function of structure
from familiar narrative fare. Students will also have the
opportunity to workshop partial samples of their own
prose.
Jan 23–Mar 19 / Online / $575
Advanced Prose Workshop
Eileen Favorite
Eileen Favorite is the author of the novel The Heroines, which has
been translated into Finnish, Italian, Russian, and Korean. Her poetry
and prose has appeared in many publications, including The Toast,
Triquarterly, Folio, the Chicago Reader, Poetry East, and Diagram.
See Advanced Prose workshop (Autumn) on page 23.
Mon 6–8:30 PM / Jan 9–Mar 6 / GC / $575
*No class on January 16
Hitting It Hollywood: Screenwriting
that Keeps the Script Reader Reading
Susan Hubbard
See bio under Dramatic Writing: Writing for Emotional Impact.
Hollywood readers put scripts down fast if they don't hit
key points that draw them in, pay them off, and keep them
reading. In this workshop, writers will measure their new
and continuing screenplays against Hollywood standards
for idea, character, structure, tension, intensity, catharsis,
scenes, and dialogue. Writers should come to class having
read two designated screenplays available on the internet
and be prepared to read, critique, and support each
other's work.
Mon 6–8:30 PM / Jan 9–Mar 6 / GC / $575
*No class on Jan 16
Tue 2–4:30 PM / Jan 10–Feb 28 / GC / $575
Poetry: Inspiration to Publication
Ariana Nadia Nash
Ariana Nadia Nash, winner of the 2011 Philip Levine Prize in Poetry for
her poetry collection Instructions for Preparing Your Skin, also wrote
the chapbook Our Blood Is Singing and received a Helene Wurlitzer
Fellowship and a Macdowell Colony residency.
This course will get you writing and help you form habits
to keep writing. From poetic forms and voice-driven
exercises to techniques that tap into the subconscious,
we’ll explore inspiration, composition, revision, and
publication. In addition to discussion of published works
by William Carlos Williams, Adrienne Rich, Charles Simic,
Lucille Clifton, Li-Young Lee, and others, each student
will generate three to four new poems and bring one or
two through multiple revisions so that they’re ready for
publication.
Wed 2–4:30 PM / Jan 11–Mar 1 / GC / $575
27
Memoir Writing:
Exploring the Retrospective Voice
Story-A-Day: A Generative Workshop
in Fiction
Dina Elenbogen
Stephanie Friedman
See bio under Memoir Writing: Exploring the Genre.
Stephanie Friedman has had work published in Michigan Quarterly
Review, among other venues. She holds an MFA in writing from
Vermont College of Fine Arts and an MA in English from the
University of Chicago.
What separates compelling and meaningful memoir from
simple self-exposure is the reflective voice of the narrator.
In the best memoirs, this voice is seamlessly integrated
into scene and summary. This voice speaks from the now,
reflects on past events, and tells us what to make of her
experience. Reflection is often missing from early drafts of
memoirs. In this class, we will explore ways to include and
sharpen this voice while reading professional examples.
Mon 10 AM–12:30 PM / Jan 9–Feb 6 / GC / $295
*No class on Jan 16
Placing Your Novel: Agents, Small
Presses, and Self-Publishing
Sarah Terez Rosenblum
See bio under Basic Creative Writing.
How do you target the right agent or press to make sure
all of your hard work pays off? This class is designed to
shepherd you through that process. Over four weeks, we
will craft elevator speeches; draft and workshop query
letters; and discuss the pros and cons of various agents
versus small presses versus self-publishing. You’ll have a
chance to polish your novel’s intro, get insight into the way
agents view manuscripts, and empower yourself to help
your novel explode onto the scene.
Mon 10 AM–12:30 PM / Feb 13–Mar 6 / GC / $295
Writing True Crime
Kevin Davis
See bio under Introduction to Creative Nonfiction.
Some of the most engaging creative nonfiction is drawn
from real-life crime. While the “true crime” genre gets a
bad rap, many examples elevate the form—from Truman
Capote’s In Cold Blood to Erik Larson’s Devil in the
White City. Readers hunger for a good true crime tale,
and the New Yorker, Vanity Fair, and Atlantic Monthly
regularly publish them. Through readings, discussion, and
in- and out-of-class exercises, we'll explore and practice
techniques that bring these stories to life.
Tue 6–8:30 PM / Jan 10–31 / GC / $295
ONLINE CLASS
In this generative workshop, you will receive a daily email
with a prompt that you will use to write a new short short
story (under 1000 words), except on the days when we
meet in class. Every week, we will explore how to develop
your own writing practice as well as your craft knowledge
through reading and workshop discussion. Once the
course is over, you will have experienced the discipline
of writing every day and also have a pile of stories that
you can revisit and revise in the months to come. While
beginners are welcome, previous experience in fiction
writing is recommended.
Tue 6–8:30 PM / Feb 7–28 / GC / $295
Jumpstart Session: Creating Breakout
Characters for Page, Stage, and Screen
Susan Hubbard
See bio under Dramatic Writing: Writing for Emotional Impact.
Indelible, passionate, strong, single-minded characters
allow us to see ourselves not just as we are but as we
might be at our heroic or anti-heroic best. Because
audiences thrill to identify with these higher versions of
themselves overcoming extraordinary obstacles, breakout
characters help sell stories and put the writer on the map.
Using examples from contemporary media, we will unlock
the mysteries of these larger-than-life icons and, using inclass exercises, discover ways to bring the characters we
write into high definition, breakout focus.
Course Code WRIT 22101 | PD/CPDUs 3
Sat 1:30–4:30 PM / Mar 11 / GC / $85
28
General
Information
COURSE LOCATIONS
Most courses in this catalog are held at the Graham
School’s downtown location, the Gleacher Center, 450 N.
Cityfront Plaza Drive, just east of Michigan Avenue, on the
north bank of the Chicago River.
Courses designated in the course description as Gleacher
Center are held downtown. See
grahamschool.uchicago.edu/locations for directions and
discounted weeknight and Saturday parking information.
Courses designated as Hyde Park are held at the
University of Chicago campus in Hyde Park with plentiful
and free parking. Other courses are located at specific
sites throughout the city. Please check individual course
descriptions for details.
TEACHER RECERTIFICATION
Many Graham School courses have been approved by the
Illinois State Board of Education for teacher recertification
and continuing education. For these courses, the PD/
CPDU or Lane Credit value is noted at the end of each
course description.
NON-DISCRIMINATION STATEMENT
In keeping with its long-standing traditions and policies,
the University of Chicago considers students, employees,
applicants for admission or employment, and those
seeking access to University programs on the basis of
individual merit. The University does not discriminate on
the basis of race, color, religion, sex, sexual orientation,
gender identity, national or ethnic origin, age, status as
an individual with a disability, protected veteran status,
genetic information, or other protected classes as required
by law (including Title IX of the Education Amendments of
1972). For additional information regarding the University
of Chicago’s Policy on Harassment, Discrimination, and
Sexual Misconduct, please see: harassmentpolicy.uchicago.
edu/page/policy.
The University official responsible for coordinating
compliance with this Notice of Nondiscrimination is Sarah
Wake, Assistant Provost and Director of the Office for
Equal Opportunity Programs. Ms. Wake also serves as the
University’s Title IX Coordinator, Affirmative Action Officer,
and Section 504/ADA Coordinator. You may contact
Ms. Wake by emailing [email protected], by calling
773.702.5671, or by writing to Sarah Wake, Office of the
Provost, The University of Chicago, 5801 S. Ellis Ave., Suite
510, Chicago, IL 60637.
The University of Chicago Graham School of Continuing
Liberal and Professional Studies reserves the right to
refuse to retain any student in any program at any time.
To preserve the academic environment, students may not
bring minors to the classroom or leave minors unattended
in university buildings.
The content in this brochure is subject to change; please
visit grahamschool.uchicago.edu for the most up-to-date
information.
DISABILITY POLICY
Persons who have been formally accepted into a Graham
School program or have registered for a course who have
a disability and believe that they may need assistance
should contact Gregory Moorehead, Director of Student
Disability Services, at 773.702.7776 or gmoorehead@
uchicago.edu in advance of the first class meeting.
TUITION REMISSION
The registrar must receive your full tuition payment or
signed documentation from your company regarding
tuition remission before the start of all noncredit courses,
programs, and seminars.
WITHDRAWAL AND CANCELLATION POLICY
(unless otherwise noted in specific program content)
FULL REFUND
To obtain a full refund, registrants need to notify the
Graham School of cancellation five business days or more
before the first class meeting. A full refund will also be
given if the course has been canceled by the University of
Chicago Graham School.
PARTIAL REFUND
To obtain a full refund minus a cancellation fee, registrants
need to notify the Graham School of cancellation fewer
29
ONLINE COURSES
than five business days before the first class meeting (or
the start date of an online course) and at least 24 hours
before the meeting of the second class (or the beginning
of the second week of an online course). Students must
confirm cancellation in writing.
To obtain a full refund, registrants seeking to withdraw
from an online course need to notify the Graham School in
writing 5 business days or more prior to the beginning of
a course. If the course is cancelled by the Graham School,
the student will receive a full refund.
NO REFUND
No refund will be given to registrants if they notify the
Graham School of a course withdrawal less than 24 hours
before the meeting of the second class (or the beginning
of the second week of an online course) unless the course
has been canceled by the University of Chicago Graham
School.
To obtain a refund minus a cancellation fee, registrants
need to notify the Graham School of withdrawal within
7 days following the course start date. Students must
request their withdrawal in writing or by email. No refund
will be given to registrants if they notify the Graham
School of a course withdrawal later than 7 days following
the start of the course.
If payment has not been received at the time of the
cancellation, a separate invoice will be sent to the
registrant for the cancellation fee or course tuition as
applicable. Failure to attend a course does not entitle a
registrant to a refund. Students should call 800.997.9689
for initial cancellation but must confirm all cancellations
in writing to The University of Chicago, Graham School
Registrar, Cancellation Notification, 1427 E. 60th Street,
Chicago, IL 60637. Please include your name, course code,
course name, and course dates.
CONTACT US
Email: [email protected]
Phone: 773.702.1722
Web: Grahamschool.uchicago.edu
Gleacher Center Office
312.464.8655
P1 NBC Tower Garage
N. Fairbanks Ct.
E. Grand Ave.
N. St. Clair St.
Upper N. Michigan Ave.
PARKING LOCATIONS
Upper E. Illinois St.
AMC Self Park
GLEACHER
CENTER
P2
P1
NBC Tower
Upper E. North Water St.
Lower E. North Water St.
Sheraton Hotel
Parking lot entrance
Lower level streets
Stairs
P2 201 E. Illinois Street
(Enter lot at ground level)
Exit building at Cityfront Plaza
Drive and Upper East Illinois. Walk
directly across Cityfront Plaza to
Gleacher Center (southwest).
N. Colu
mbus
Dr.
N. Cityfront Plaza Dr.
E. Illinois St.
N. Cityfront Plaza Dr.
Tribune Tower
P3
200 E. Lower North Water Street
Take elevator in garage to main
floor. Gleacher Center is across the
street (west).
Gleacher Center
450 N Cityfront Plaza Dr.
Chicago, IL 60611
P3 300 E. Illinois Street Self-Park
Exit building at Illinois Street. Walk
west over Columbus Drive and
go up the stairs to Upper East
Illinois. Walk across Cityfront Plaza
to the Gleacher Center entrance
(southwest).
1427 E. 60th Street, Chicago, IL 60637
ABOUT THE GRAHAM SCHOOL
Since the University of Chicago’s founding in 1890, the Graham School of Continuing Liberal and Professional
Studies has served as the center of innovative lifelong learning at the University. Connecting people around
the world to the University of Chicago’s distinct educational tradition, the Graham School offers a diverse
collection of courses, certificates, and degree programs, primarily taught at the University of Chicago
Gleacher Center in downtown Chicago. The Graham School is dedicated to helping the University engage
civically and globally by exploring new intellectual scenarios by which to curate and disseminate the
University’s rich academic content. We invite curious individuals with an appetite for new knowledge and
enriching conversation to join our community today.
To learn more visit
grahamschool.uchicago.edu

Liberal Arts Course Catalog (Gargoyle)

Transcription

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