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OSPPARIS 72: The Ceilings of Paris

Seventeenth century transformation of the ceilings of Paris, religious, private and public. Itinerary of this transformation from artists¿ initial drawings to their finished work. In conjunction with an exhibition in the Louvre on this topic, study the original drawings as well as the venues in and around Paris. Sites vary from the most illustrious (Versailles) to the lesser known (Hôtel Lauzun). Reflection on the changing religious, social and political aspirations as represented in these new artistic forms.
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Gady, B. (PI)

OSPPARIS 79: Film and Immigration in Contemporary French Cinema

Current debates in France regarding immigration, national identity, and the integration of immigrants and their descendants, notably from the former colonies (Maghreb, Africa, Vietnam), as reflected in the political sphere and in cinema from the 1990's to the present. Visual and discursive rhetorical strategies used in films and other media to represent ethnic, cultural, and religious minorities, discrimination, secularism, inter-racial marriages, or women rights. Representation of space and the movement between physical and symbolic spaces and the diverse groups that that inhabit in or transit through these spaces. Discussions with French film directors and critics; visit to the Cinémathèque française and the Cité nationale de l'histoire de I'Immigration.
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED
Instructors: Alduy, C. (PI)

OSPPARIS 92: Building Paris: Its History, Architecture, and Urban Design

The development of Parisian building and architecture from the 17th century to the present. Interaction of tradition and innovation in its transformation and its historical, political, and cultural underpinnings. Visits and case studies throughout Paris illustrate the formation of the city landscape and its culture.
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
Instructors: Halevi, E. (PI)

OSPPARIS 186F: Contemporary African Literature in French

Focus is on African writers and those of the diaspora, bound together by a common history of slave trade, bondage, colonization, and racism. Their works belong to the past, seeking to save an oral heritage of proverbs, story tales, and epics, but they are also contemporary.
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED
Instructors: Leca, F. (PI)

OSPSANTG 14: Women Writers of Latin America in the 20th Century

Key figures in poetry, narrative fiction, theater, and testimonio, such as Mistral, Garro, Lispector, Poniatowska, Valenzuela, Eltit and Menchú. Close reading technique. Issues raised in literary texts that reflect the evolution of the condition of women in Latin America during the period. Topics include gender differences and relationships, tradition versus transgression, relationship between changes in the status of women and other egalitarian transformations, and women writers and the configuration of literary canons.
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED
Instructors: Missana, S. (PI)

OSPSANTG 30: Short Latin American Fiction of the 20th Century

Introduction to short narrative fiction produced in Latin America during the 20th Century. Key features of the short story genre, as defined by Chekhov in the 19th Century and redefined by Kafka and Borges in the 20th Century. Main literary movements of the period in Latin America, including Regionalism, Social Realism, the Avant-Garde, the Boom of the 1960s and Magical Realism, the Post-Boom, etc. Close reading course with strong emphasis on analysis and discussion of the required texts. Readings placed in the context of the main developments in Latin American history and culture in the period.
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Missana, S. (PI)

PHIL 1: Introduction to Philosophy

Is there one truth or many? Does science tell us everything there is to know? Can our minds be purely physical? Do we have free will? Is faith rational? Should we always be rational? What is the meaning of life? Are there moral truths? What are truth, reality, rationality, and knowledge? How can such questions be answered? Intensive introduction to theories and techniques in philosophy from various contemporary traditions.nnStudents must enroll in lecture AND one of the 4 discussion sections listed.
| UG Reqs: GER:DB-Hum, WAY-A-II

PHIL 2: Introduction to Moral Philosophy (ETHICSOC 20)

A survey of moral philosophy in the Western tradition. What makes right actions right and wrong actions wrong? What is it to have a virtuous rather than a vicious character? What is the basis of these distinctions? Why should we care about morality at all? Our aim is to understand how some of the most influential philosophers (including Aristotle, Kant, and Mill) have addressed these questions, and by so doing, to better formulate our own views. No prior familiarity with philosophy required.
| UG Reqs: GER:DB-Hum, GER:EC-EthicReas, WAY-A-II, WAY-ER

PHIL 5N: The Art of Living

Whether we realize it or not, all of us are forced to make a fundamental choice: by deciding what is most valuable to us, we decide how we are going to live our life. We may opt for a life of reason and knowledge; one of faith and discipline; one of nature and freedom; one of community and altruism; or one of originality and style.We may even choose to live our lives as though they were works of art. In every case, hard work is required: our lives are not just given to us, but need to be made. To live well is, in fact, to practice an art of living. Where, however, do such ideals come from? How do we adopt and defend them? What is required to put them into practice? What do we do when they come into conflict with one another? And what role do great works of art play in all this? "The Art of Living" will explore the various ways in which it is possible to live well and beautifully, what it takes to implement them, and what happens when they come under pressure from inside and out.
| UG Reqs: WAY-A-II, WAY-ER

PHIL 6N: Pictures and the Imagination

Paintings, drawings, and photographs often function as pictures or images of the preexisting things they take as subjects. They represent these subjects from specific spatial vantage points in ways that may be more or less definite, more or less detailed, and more or less faithful to what the subjects are actually like. One longs to know how this works: how vision, imagination, and background knowledge come together when we experience a picture as a picture. Certain forms of imagining and remembering involve mental picturing, mental imagery. Sometimes we imagine or remember things in visual terms from a specific spatial vantage point, with the result that we feel brought face to face with the things imagined or remembered, however far away they may actually be. How is the physical picturing that goes on in paintings, drawings, and photographs both like and unlike the mental picturing that goes on when things swim before the mind's eye? What role does mental picturing play in physical picturing? What kinds of artistic value and interest attach to paintings, drawings, and photographs in virtue of what they picture and how they picture it?
| UG Reqs: GER:DB-Hum, WAY-A-II
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