- Enseignant: Joanna Inglot
Macalester Moodle
Résultats de la recherche: 5
This course is an introduction to a particular method of ethnographic data collection known as Ethnoscience. This is not the only method that anthropologists use, and not all anthropologists use it. It is, however, ideally suited to the research requirements of the undergraduate classroom: the need to complete a high quality research project in the course of a single semester. The aim of ethnoscience is to determine how different societies classify and categorize their worlds, and how these systems of classification provide them with guidelines for behavior and a framework to interpret experience. Ethnoscience thus seeks to elicit in a systematic and replicable way the native categories or folk terms of a culture, and to show how these terms (symbols) relate to each other in a system of meaning. Drawing on the interviewing techniques of ethnoscience, this course provides students with an opportunity to develop skills in the area of ethnographic field interviewing—a methodological staple of the discipline of anthropology and the domain of qualitative research. Students will develop these skills in the context of a field research project, which they initiate. The course revolves around generating, analyzing and reporting the data from this project. The interactive format provides weekly opportunities for students to develop and polish their oral presentation skills.
- Enseignant: Arjun Guneratne
To the average reader, the field of publishing can seem somewhat opaque. How does a novel go from scribbled notes to finished paperback? What goes into editing, printing, and marketing a short story collection? This course will aim to shed light on this exciting field through a combination of readings, talks with local publishing professionals, in-class discussion, and hands-on work. We will learn about publishing by tracing the literary work from the hands of the author, through the processes of acquisition, editing, production, marketing, and distribution, and into the hands of the reader. Additional topics will include recent trends in technology, magazine and book editing, and the roles of the literary agent, the independent publisher, and the book reviewer. We will take advantage of the extraordinary publishing resources in the Twin Cities through guest speakers and field trips. Assignments will include writing brief book reviews, presenting publisher profiles, editing projects, and writing a final paper on publishing issues. This course is designed for readers who want to know how the magazine or book they’re holding got into their hands, for writers who want to know what happens when they send their works to publishers, and for those interested in publishing as a future career.
- Enseignant: Steven Woodward
Reading Plays guides students in close readings of dramatic literature, in particular of plays that are typically left out of the traditional theatrical canon.
Students will learn about the socio-historical context of each play, and in-
class exercises will introduce them to the foundation of script analysis: they will
examine the play's given circumstances, dialogue, dramatic action, characters, and style. Students will read a new play every week; assignments include weekly in- class writing exercises and short critical papers. This course introduces students to contemporary Indigenous theatre and performance (writ large) produced and performed in what is now known as Canada and the United States, and to the theoretical frames provided by Indigenous scholars and artists to engage with these works. While in no way exhaustive, this broad survey includes theatre, dance, film, and music and begins in the 1960’s and ends with current productions.
Students will learn about the socio-historical context of each play, and in-
class exercises will introduce them to the foundation of script analysis: they will
examine the play's given circumstances, dialogue, dramatic action, characters, and style. Students will read a new play every week; assignments include weekly in- class writing exercises and short critical papers. This course introduces students to contemporary Indigenous theatre and performance (writ large) produced and performed in what is now known as Canada and the United States, and to the theoretical frames provided by Indigenous scholars and artists to engage with these works. While in no way exhaustive, this broad survey includes theatre, dance, film, and music and begins in the 1960’s and ends with current productions.
- Enseignant: Sam Mitchell
Music is a ubiquitous part of our daily lives. Your Uber driver wants to know if you’d like to listen to it. It’s playing while you bag up avocados, try on pants, eat a burger. It’s playing while you stretch in the seventh inning or wait in the waiting room. There’s a whole segment of it just for elevators. But sometimes a song cuts through this opaque din. Touches our hearts, soundtracks our lives, makes us want to scream wildly in a room with 20,000 strangers. So what makes a song stand apart? Well, a bit of magic, for sure. But Harlan Howard wasn’t wrong when he said the recipe for any great song is “three chords and the truth”. Strip a song down to its essential elements and you have lyrics, melody, and structure. In this class, we’ll be focusing on these pillars: how to tell a great story (from the personal to the universal), how to write a melody that sticks, and how form can shape the listener’s experience. We’ll examine the modus operandi of prolific songwriters, explore the tricks of the trade for getting started and finishing strong, and work collaboratively to write an album’s worth of hits! To take this class, basic knowledge of a musical instrument, such as guitar or piano, is preferred, but not required. You must simply be able to compose and sing melodies. You will be required to share your compositions with the class, either live or via basic audio recording.
- Enseignant: Kerry Alexander