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Hutton Honors College

 — Indiana University



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HON-H 211 8838 & Ideas & Experience I : Visions of Heaven and Hell
Richard Cecil MW 1:00-2:15 p.m. HU 108

Beginning with Homer’s vivid depictions of the Greek gods in heaven in The Iliad and of the shades of the human dead in Hades in The Odyssey, progressing through Dante’s medieval Catholic vision of the afterlife of the damned and the saved in The Divine Comedy, and ending with Milton’s great dramatization of the Genesis story of Adam and Eve in Paradise Lost, we will read, in chronological order, a series of great books which go beyond earthly experience. Each of these masterpieces presents us with a great example of creative imagination at work in literature. Written work in the course will consist of 3 three-five page critical papers plus a 6-10 page creative paper--a short visionary account of the author's visit to heaven or hell.
Course texts:

  • The Iliad
  • The Odyssey
  • The Aenead
  • The Divine Comedy (Inferno, Purgatorio, Paradisio)
  • Paradise Lost

    HON-H 211 19428 & Ideas & Experience I
    Kalani Craig MW 1:00-2:15 p.m. HU 217

    History is full of crisis. From big battles that changed the fate of continents to stories of unrequited love that only mattered to one or two sad souls, what we know about the past is often centered on painful experiences. These crises didn't just change the lives of the people who wrote history; they changed the way history writing worked. This class examines how crisis changed both people and the literary practices of people who wrote history. We'll look at how an author's personal response to crisis shaped the limits of their text, the literary themes on which they depended, and the ways in which they characterized the people around them. From the Battle of Thermopylae to the Fall of Rome to the Black Death, we'll focus on large-scale crises, the societies they affected and the texts written by people who lived through crisis. We'll also come face to face with personal crises, Augustine's religious conversion; the anguished advice written by Dhuoda for her captive son; and the lifelong complaints of Peter Abelard, a man castrated for love, through the eyes of the people who experienced them.


    HON-H 211 30680 & Ideas & Experience I
    Robert Terrill TuTh 2:30-3:45 p.m. HU 111

    “What we’ve got here is failure to communicate.”
    This line from the classic 1967 film Cool Hand Luke has been repeated in movies and in songs, and countless times in casual conversation. But what does it mean to communicate? Why does it matter? And what is communication, anyway? This class will explore these questions, and no doubt many others, within the framework of the study of rhetoric. Rhetoric first became established in ancient Athens as a way of describing and studying public communication in a civic context, and continues as a vibrant tradition into the present. Throughout its 2500 year history it has offered provocative answers to questions about the value, purpose, and potential of human communication. And rhetoric also has come under critique because many of the answers it gives to these questions run counter to some widely held assumptions or ideals.

    We’ll begin with the ancient Greeks — Plato, Aristotle, Isocrates — and work our way through various theorists and critics into the present. Throughout, we’ll pause frequently to put the ideas to work, to see what they can help us to understand about present-day public communication in the overlapping forms of TV, Film, social media, political speech. Because this is a class in communication, you will be expected to come to class prepared to communicate. The ideas we will be exploring are about how to interact with others, and as such they need to be explored and interrogated through discussion and application, not merely absorbed through memorization.

    All required materials for this course will be available through Oncourse. Assignments will include several short essays of 3-5 pages and two longer essays of 10-15 pages.


    HON-H 211 30687 & Ideas & Experience I: What Can Tragedy Do for Us?
    Natalie DeDeo TuTh 1:00-2:15 p.m. HU 108

    HON-H 211 33229 & Ideas & Experience I: What Can Tragedy Do for Us?
    Natalie DeDeo TuTh 9:30-10:45 a.m. HU 217

    Tragedy is a literary form that asks us to endure suffering, and in exchange, promises us insight into the human condition. As a literary genre, it is somewhat at odds with contemporary tastes: we tend toward optimistic futurism on the one hand, and apocalyptic fiction on the other. This course will return to a series of foundational tragedians—from Aeschylus, to Sophocles, to Shakespeare—to examine what insights the tragic literary form can offer to us. Each of us will have the opportunity to analyze our experiences of a series of tragic dramas to develop a more comprehensive view of how tragedies move our minds and psyches to gain traction on our place in the world. Once we have begun to develop a working understanding of the literary architecture and psychological power of tragedies, we will then examine tragedies in contemporary life. The course will culminate in a discussion of tragedy in the modern context. We will investigate how tragedy is distinct from other literary forms, and we will examine whether our experience of tragedy is transformed by our democratic and technological landscape.

    Students can expect to prepare regular short written exercises, quizzes, a mid-term and a final exam, interpretive papers and presentations, and a term paper.

    To see Professor DeDeo on video click here.


    HON-H212 14340 Ideas & Experiences II
    John Karaagac TuTh 11:15am-12:30pm HU 217

    It is impossible to think meaningfully about ideas without reference to a range of experiences. It is a failure of the imagination to experience without some reflection on its meaning. This is a class that examines the classics & works that speak to subjects and ideas rooted in time and place but also time-less.

    We will intensively read and reflect on nine to ten classic works, both from fiction and nonfiction. In some cases, we will substitute several short readings or selections from longer texts for one of those ten. In past cycles, authors have included Conrad, Woolf, Kawabata and Didion in fiction: non-fiction authors have included Adam Smith, De Tocqueville and Nietzche.

    The books you read in Ideas and Experience II will be books that you will want to have in your library; the non-fiction sections will draw you into larger schools of thought.Your final grade will be based on five short (under four page) papers and two longer (seven to eight page) papers. I will grade you on your capacity to make sustained arguments with evidence from the texts.

    I will also grade on your capacity to add to class discussion&discussion based on close textual analysis. Active participation is essential. This is not only a writing-intensive but a reading intensive course.


    HON-H 213 16510 Madness and Melancholy
    Gareth Evans MW 2:30-3:45 p.m. HU 108

    HON-H 213 16511 Madness and Melancholy
    Gareth Evans MW 4:00-5:15 p.m. HU 108

    “Madness and Melancholy” rests on the assumption that definitions of madness and melancholy are, in Roy Porter’s words, “not fixed points but culture-relative.” While we will read some contemporary discussions of how depression and other mental disorders are treated and defined, the bulk of our reading will consist of literary, medical, and philosophical accounts of madness and melancholy written from the classical period to the early seventeenth-century. Our reading will be comparative and we will seek to understand each account of madness and/or melancholy in the context in which it was written. Instead of agreement, we will find, in every period, debate and disagreement about how madness and melancholy should be defined and treated. While depression and madness are now typically medicalized and pathologized, in other periods, writers, scientists included, took an approach to melancholy and madness that was as much, or more, religious, ethical, or philosophical as it was medical. We will see madness and melancholy sometimes judged positively rather than negatively. We will read writers defining madness and melancholy in relation to the bodily humors, to gender, genius, genetics, the gods or God, love, parents, power, the planets, reason, and sin. More often than not, these same writers are more concerned with what it means to live the good life than they are concerned with what it means to be well. Frequently, the writers we read are critical of the societies in which they live and of most of the people in those societies, including those who are wealthy and have power. The class has less to say, then, about psychology or medicine than it does about religion, moral philosophy, and the social and political implications of madness and melancholy.

    NOTE: Before you enroll in the class, you should be aware that every semester some students find some of the work we read difficult to comprehend and interpret. You should also be aware that I place a great deal of emphasis on the quality of student writing. While it is perfectly possible to get an A in the class, you have to write well to earn it.

    • Euripides, Medea
    • Euripides, Bacchae
    • Plato, Phaedrus (Hackett).
    • Kay Redfield Jamison, An Unquiet Mind.
    • Shakespeare, King Lear (Arden).
    • (More on ereserves, etc.)
    Books are available at Boxcar Books, 408 E. Sixth Street, Bloomington, IN 47408.

    • Three six to eight page essays. 75% of final grade.
    • A library exercise that will test your ability to find material in IUCAT and a variety of subject-specific online

    • databases. 10% of final grade.
    • Participation in class discussion and in-class activities. 10% of final grade.
    • A 5-minute presentation of the argument of your final essay. 5% of the final grade.


    HON-H226 30693 Toys & the Visual Culture of Play
    Bret Rothstein MW 9:30-10:45 a.m. HU 111

    Apples and oranges, four for a penny.

    You're a good scholar to count so many.
    E–>O, down below,
    Father and Mother and Dirty Joe.
    Joe went out to sell his eggs,
    He met a man with painted legs.
    Painted legs and crooked toes,
    That's the way the money goes.



    HON-H226 33228 The Production of Culture
    Chris Anderson TuTh 2:30-3:45 p.m. HU 108

    We may watch The Daily Show with John Stewart for its award-winning satire of contemporary politics and media, but that isn’t why a network like Comedy Central produces and broadcasts the program. From a business perspective, The Daily Show attracts viewers ages 18-34, who are the target market for advertisers selling movies, booze, and video games. The Daily Show is clearly more than a marketing scheme, but the bottom line is that Comedy Central uses The Daily Show to attract our attention and then sell us to advertisers. We live in a society in which culture is a product: organized into industries with their own lobbying groups in Washington, produced and distributed by corporations, and sold to consumers in the marketplace. The buying and selling of mass-produced cultural products dates back to the origins of book and newspaper publishing, accelerated with the rise of motion pictures and the expansion of national advertising in the early 20th century, and now – in the age of social media -- pervades every aspect of our lives. It is virtually impossible to imagine how one might live a life beyond the reach of commercial culture. The cultural industries make cultural products like The Daily Show or The Hunger Games widely available, but this also means that the market determines cultural value in ways that are clearly worth examining more closely.
    The object of this course is to understand how cultural industries function by discussing many of the defining features of commercial culture, including the role of corporations and media conglomerates in producing and distributing cultural products, the social organization of creative practices within these corporations, the influence of advertising and marketing on the selling of these products, and the expansion of global markets.

    Students will come to understand how these features of cultural industries shape and contribute to the cultural value of the movies, books, television, music and other media they encounter in their daily lives. The readings, assignments, and classroom activities are intended to help you develop competence in critical thinking about culture and society, as demonstrated through exams and short essays, and advanced skill in the writing of reasoned arguments, as demonstrated in formal papers.

    • Suzanne Collins, The Hunger Games (Scholastic, 2010)
    • Anita Elberse, Blockbusters: Hit Making, Risk-Taking, and the Business of Entertainment (Harvard, 2013)
    • David Hesmondhalgh, The Cultural Industries, 3rd Edition (Sage, 2013)
    • John B. Thompson, Merchants of Culture: The Publishing Business in the Twenty-First Century, 2nd Edition (Plume, 2012)


    HON-H228 18221 History of Documentary Film
    Ronald Osgood Tu 2:30-3:45 p.m and Th 2:30-5:00 p.m. HU 217

    This course is a historical survey of documentary film, with an emphasis on the influence of cinema verite in the 1960’s through contemporary documentaries. The class will screen video and film documentaries and analyze the evolution of the genre and how producers and directors develop content and style. We will examine the varied roles of the documentary producer as a historian, social activist, journalist and entertainer. Last, we will explore how documentaries interface with social media and how some are created to provide online interactive storytelling experiences.


    HON-H228 30715 A History of Consumer Culture
    Chris Anderson TuTh 11:15-12:30 p.m. HU 111

    If you know someone who stood in line recently to purchase the latest generation of the Apple iPhone, then you’re aware of how deeply consumer culture permeates our lives. Our relationship to brands has increasingly become the cultural context for everyday living, individual identity, and even our emotional attachments to the people in our lives and the places in which we live. By tracing the history of consumer culture in the United States since 1900, we will explore this terrain where politics, economics, and culture intersect. We will focus largely on the tension between Americans’ identities as citizens and consumers.

    The goal of this course is to understand how and why American society became committed to mass consumption and, for better or worse, its far-reaching consequences. By focusing on issues related to the development of consumer culture, the readings, assignments, and classroom activities for this course are intended to help you develop competence in critical thinking about the history of American culture and society, as demonstrated through exams and short essays, and advanced skill in the writing of reasoned arguments, as demonstrated in formal papers.

    •Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar America (Knopf, 2003)
    •Gary Cross, An All-Consuming Century: How Commercialism Won in Modern America (Columbia, 2000)
    •Bryant Simon, Everything But The Coffee: Learning About America From Starbucks (California, 2009)


    HON-H228 (33232) Issues in Bioethics
    David Smith TuTh 4:00-5:15 p.m. HU 108

    This course focuses on the increasing power wielded by biomedicine. The acquisition and use of this power raises issues of ethics – of virtue, right and wrong, good and bad; of politics – who should decide; and of religion – who are we, what is our fate. The course ultimately revolves around one issue: to what extent should persons or communities attempt to master the fate and quality of life of individuals? Should we think of ourselves primarily as designers, rule followers or responders? There are many related issues: Who should make the kinds of decisions that will need to be made? What criteria should be used in decision making? We are interested in morally assessing alternative resolutions of biomedical problems; we will give attention to the possible role of religion in their resolution.

    We will give serious attention to these topics:
    • Experimentation with human subjects and non-human animals
    • Current ways of enabling or controlling reproduction
    • The moral status of zygotes, embryos and fetuses
    • Abortion
    • Care for the disabled, demented and dying
    • The definition of death
    • Euthanasia and physician assisted suicide


    HON-H228 33234 Encountering the Digital Past
    Kalani Craig MW 11:15-12:30 p.m. HU 217

    Does our experience of a medieval manuscript change when we look at it in digital form? What happens when we can't see the rough edges of the parchment, feel the pages turn, see the ink change as light hits it?

    This course is all about the relationship between the discipline of history and computing tools, and we’ll examine that relationship by looking at the history of Indiana University itself. In the first part of the course, we'll look at how technology changes our experience of the past, and how our experience of the past changes our approach to using technology. As the semester progresses, we'll work through a hands-on introduction of the digital tools that historians and other humanities scholars use in digital research projects: curation tools and blogs, text analysis and data mining tools, mapping and GIS. We’ll then use these tools to complete a digital portfolio piece—a digitally curated object, an augmented reality tour, etc.—that that will become part of a permanent collection visible to the public. No technical experience is necessary, and the use of laptops, smartphones and tablets will be encouraged.


    HON-H232 16213 Meaningful Writing: Reading and Writing Short Fiction
    Edward Gubar MW 4:00-5:30 p.m. HU 111

    In this section of H232, students will be expected to write three short stories of varying lengths, complete several exercises, and read a selection of short fiction. There will be a final exam on the readings. Most class time will be spent work-shopping student stories. No experience writing fiction is required or expected. Students who enroll in this course, however, must be seriously committed to studying and writing short fiction.

    Course texts Gotham Writers' Workshop, Writing Fiction; Best American Short Stories 2013; and student writing.


    HON-H232 19425 Meaningful Writing: Reading and Writing Contemporary Poetry
    Stacey Lynn Brown MW 1:00-2:15 p.m. Read 2-120B

    This section of H232 is a poetry workshop that will focus on the close reading of contemporary poetry as well as the creation of students? own original poems. The class will be split between reading weeks and workshop weeks. During reading weeks, we will be studying elements of poetic craft from The Poet's Companion and discussing poems from the From the Fishouse anthology that exemplify these concepts. On alternate weeks, we will workshop and critique original poems written by students. We will also study four full-length collections by modern authors.

    This course will be writing intensive, with writing exercises and critical responses to assigned poems due in addition to the generation of original poems. Students will be required to either memorize and recite one poem or create a broadside (a poem rendered on a medium other than the page). The final portfolio for the class will consist of the first versions of the workshopped poems as well as revised versions that take into consideration the comments and suggestions discussed in workshop. In a critical analysis that will accompany the final portfolio, students will be asked to reflect upon the writing process and discuss the choices that they made during revision.

    READING Calvocoressi, Gabrielle. Apocalyptic Swing; Dungy, Camille et al. From the Fishouse: An Anthology of Poems that Sing, Rhyme, Resound, Syncopate, Alliterate, and Just Plain Sound Great; Jones, Rodney. Elegy for the Southern Drawl; Komunyakaa, Yusef. Dien Cai Dau; Laux, Dorianne and Kim Addonizio. The Poet's Companion; Plath, Sylvia. Ariel: The Restored Edition.

    ASSIGNMENTS The memorization and recitation of a poem by a published poet OR The creation and presentation of a broadside, a poem by a published poet rendered on a medium other than paper (20% of final grade). Writing exercises for each chapter read in The Poet's Companion (20% of final grade). A final portfolio, consisting of seven original poems, with revisions, and a 500-word analysis of each revised poem, explaining the rationale behind the changes made (50% of final grade). Active, vocal participation in class discussion and workshop (10% of final grade)


    HON-H 233 16214 An Interdisciplinary History of Empathy
    Fritz Lieber MW 2:30-3:45 p.m. HU 217

    Our working definition of empathy is the feeling of other people's feelings. As we study the history of this idea from ancient Greece to the present, we will investigate and complicate that definition. From President Obama, who named empathy a valuable trait in a Supreme Court justice, to an audience at a pole vaulting contest who lean in their seats as the pole vaulter curves over the bar, empathy is a central concept in government, athletics, art, science, and the humanities. Empathy has a privileged seat at our human table, but how did it get there? What are its roots? What can the history of empathy tell us about the concept psychologically, socially, and physically? Why is empathy such a pervasive and important idea in diverse cultures and disciplines? This course is an interdisciplinary study of the history of empathy. We follow expressions of the concept in philosophy, medicine, literature, psychology, art and aesthetics, social and behavioral science, education, psychotherapy, and morality.

    Beginning with Greek theories of shared feeling as the basis of physical and social organization, we work our way to modern interpretations of empathy in aesthetic appreciation and criticism, attitude, cultural understanding, perspective-taking, human development, interpersonal relationship, and neuroscience. Students will write three 5-page papers, one on assigned topics, and two on topics of personal choice. All readings are primary documents, and include works of Hippocrates, Plato, Erasmus, Rabelais, Montaigne, Joshua Reynolds, Rousseau, David Hume, Adam Smith, Herder, Keats, Freud, Edith Stein, Charles Cooley, and Carl Rogers, among others. Our class will participate in Themester 2013, Connectedness: Networks in a Complex World.


    HON-H233 16215 Great Authors, Composers & Artists: The Ghost in the Machine: The Fantastical, the Uncanny, & the Weird in Writing & Film
    Michael Chaouli TuTh 4:00-5:15 p.m. BH 011

    On good days, we are competent operators in a rational and transparent world. On bad days, we whisper threats at our computers, kick our cars, and negotiate with higher powers for a parking space. We can label this behavior delusional and be done with it. In this course, we will try to understand it better by examining literature and film that open us to a dimension that is neither fully rational nor fully pathological, what has been called the fantastical, the uncanny, or the weird. What do these artworks reveal to us about the world? And what about ourselves?


    HON-H233 19419 Great Authors, Composers & Artists: American Storytelling: Fiction, Film and Photography
    Ray Hedin TuTh 11:15-12:30 p.m. HU 108

    The premise of this course is that cross-media consideration of different forms of storytelling can illuminate each particular form as well as the underlying nature of storytelling itself. This course will begin with a consideration of the nature and role of stories and storytelling: Why are stories so appealing? Why are they so powerful? What do we accomplish by fashioning them, telling them, and listening to or watching them? How and why do they work? We will then consider some of the basic issues that are common to all modes of storytelling – e.g., what constitutes a story? What is the truth value of various kinds of storytelling? How are various kinds of storytelling shaped toward a particular effect? We will then consider four of the most important media for telling stories – fiction, film, photography, and drama – with emphasis both on the common elements among them and on their differences. What are the characteristic narrative strategies of each medium? What are the strengths and weaknesses of each medium in regard to storytelling? What kinds of stories does each medium seem to convey most effectively? If you have a particular story to tell, what might you gain and lose by choosing one medium over another?

    We will investigate these questions not in the abstract or theoretically but by considering a number of iconic examples in each medium. Our emphasis will be on our own careful examination of each example, on the historical or cultural contexts that illuminate each of them, and on what we can make of the links among the examples. And along the way, we will keep our attention on what these stories convey – their themes, their underlying messages – as well as on how they convey them.


    HON-H233 19662 Great Authors, Composers & Artists: The Fallibility of Memory: Truth and Fact in Modern Memoir
    Stacey Lynn Brown MW 2:30-3:45 p.m. RE 2-120B

    “Memory is a complicated thing, a relative to truth, but not its twin.” --Barbara Kingsolver

    The nature of memory is elusive and slippery. Our most conscious understanding of our own past is often filtered through what has happened since, and whenever we seek to reproduce or render past events, we end up (re)constructing them. When it comes to writing about childhood, especially, where many of our memories are derived from stories we’ve been told, how can memory be anything other than fallible? How, then, can anyone claim to write a “true” life story?

    This class will examine eight contemporary memoirs through the lens of memory, specifically its limitations and relativity. Within a greater contextual analysis of our cultural fascination with “reality,” we will investigate the distinctions between literal and emotional truth with an eye toward how each author navigates the tricky terrain of the past on his or her way to the nonfiction bookshelves.

    Bartók, Mira. The Memory Palace.
    Coates, Ta-Nehisi. The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood.
    Doty, Mark. Heaven’s Coast.
    Karr, Mary. The Liars’ Club.
    Slater, Lauren. Lying: A Metaphorical Memoir.
    Strayed, Cheryl. Wild.
    Wolff, Geoffrey. The Duke of Deception: Memories of My Father.
    Wolff, Tobias. This Boy’s Life.

    • Three 6-8 page essays critically engaging with two of the assigned texts per essay (60% of final grade)
    • Final essay exam (30% of final grade)
    • Attendance and participation (10% of final grade)


    HON-H233 33231 Great Authors, Composers & Artists: Adaptation: The German Approach
    Marc Weiner TuTh 4:00-5:30 p.m. HU 111

    For a long time people have been arguing about which is better, the book or the movie, and about other works – literary or not – that provide the basis for another. We ask ourselves such questions as: Should the first one count as some kind of ideal original, against which any adaptation should be measured in terms of its adherence or faithfulness to the original, or do we feel that later re–workings should stand on their own or have the right to be judged by other criteria? Which do we prefer – the first work or the second, and why? What can we take into consideration when responding to one artistic form (say, a short story, poem, drama, or novel) that we might not take into account when responding to another form? What if the new formal possibilities eliminate some aspects of the original story and/or the original form? Should we consider the different time periods in which the different works were created, which opens up other issues such as the nature of their different audiences, or are such considerations incidental? These are some of the questions we will explore in the course of the semester.

    With this in mind, the course has three goals: 1) to provide an introduction to major artistic works of German–speaking Europe from the late 18th century to the present day; 2) to examine how these works have been adapted into other aesthetic forms; and 3) to consider the questions we need to ask when looking at them. We will be analyzing poems, short stories, novellas, dramas, and novels, and their transformations when their major features (plot, character, mood, structure, etc.) reappear when re-used in other guises. For the most part, the transformations in question will concern literature into film, but also into other aesthetic forms – oratorio, ballet, opera, and music video. In order to understand the various questions that pertain to the transfer of one work into another, we will also be reading some discussions on the process of adaptation – it's pros and cons, questions of faithfulness or distortion, the new possibilities of stories told through different means, and others.

    All texts will be read in English translation. No knowledge of German is required. No credit given in Germanic Studies.

    Participation (not mere attendance) is essential to the class being successful, so it is important that all students come to class having prepared the assigned material and being ready to engage in its discussion. There will be three writing assignments, each ca. 5-8 pp. in length: 1) the first will concern a student’s response to a given work we will have discussed on the syllabus; 2) the second will discuss the degree to which a given work is a faithful adaptation of another; and 3) the third will discuss and analyze an adaptation of a work not found on the syllabus. Students will have the option of re-writing either paper I or II within a week of receiving its evaluation, and the second grade will replace that of the first. In the final weeks of the semester, students will present to the class their work on their final papers, the proposal of which the students and the Instructor will have agreed upon by the end of the 10th week of the semester.


    HON-H 234 16216 21st Century American Fiction
    Gareth Evans MW 11:15a.m.-12:30 p.m. HU 108

    Reading Jonathan Safran Foer, Extremely Loud and Incredibly Close; Jennifer Egan, A Visit from the Goon Squad; Jonathan Franzen, Freedom; Allegra Goodman, The Cookbook Collector; Junot Diaz, The Brief Wondrous Life of Oscar Wao; Chris Ware, Jimmy Corrigan: The Smartest Kid in the World; Edward Jones, The Known World; Kate Walbert, A Short History of Women.

    In this course, we'll read 21st-century American novels, which, for the most part, have been written by authors who made their name in the 21st-century. The course has no thesis to propound, and the novels we read vary in style, content, and concerns, just as the authors vary in their race, ethnicity, gender, and regional background. In Extremely Loud and Incredibly Close, Foer experiments with style, images, and typeface in a tale narrated by a boy whose father died in the World Trade Center. In A Visit from the Goon Squad, Jennifer Egan also experiments with the ways in which a story may be told as she dips in and out of the lives of a group of people involved in the music business since the mid-1970s. The novels by Franzen and Goodman are both large, sprawling state of the nation novels, and we'll read them back-to-back, along with some of their reviews, to see in part how the gender of the author often shapes a novel's reception. Junot Diaz's version of American looks very different from those of Franzen and Goodman, and in The Brief Wondrous Life of Oscar Wao he focuses on an overweight Dominican-American comic book fan, or nerd, and the alternately comic and tragic events of his days in New Jersey and the Dominican Republic. Chris Ware's Jimmy Corrigan also focuses on a series of dysfunctional men and is frequently hailed as the most important graphic novel published during this century; an, indeed, the inclusion of Ware's book points, in part, to the rise of the graphic novel to prominence during the last decade. The last two novels we will read are both historical novels. In The Known World, Jones tells a tale of slavery that focuses, in part, on African-American owners of slaves, while Walbert's A Short History of Women focuses on the history of the women in one particular family from the 1890s, through the period of early twentieth-century suffrage reform, and into the twenty-first century. Range of method and concerns is the key, then, and it's that range we'll explore in this class.

    Assignments Three 6-8 page essays. 90% of final grade. Attendance and participation in discussion and in-class activities. 10% of the final grade.

    NOTE: The novels are listed in the order in which we will read them. The novels by Franzen, Goodman, Jones, and Ware are all lengthy, and I recommend that you read some or all of them over the summer. Books are available at Boxcar Books, 408 E. Sixth Street, Bloomington, IN 47408.


    HON-H 234 16217 Anne Frank and Hitler: Studies in the Representation of Good & Evil
    Alvin Rosenfeld TuTh 2:30-3:45 p.m. BH 305
    This class meets with JSTU-J 203.

    Well known as historical figures, both Hitler and Anne Frank long ago began to take on symbolic dimensions &emdash; he as the twentieth century's leading personification of evil, and she as girlhood innocence despoiled by unspeakable anguish and condemned to an early death. In novels, stories, poems, plays, films, and other media, their images have evolved in interesting ways over time and in different cultures.

    This course encourages students to critically examine these changes and, in so doing, to learn how history is penetrated by the shaping powers of imagination and transfigured into something like a modern mythology. Students in this course will learn how to become critically engaged with a range of literary and other artistic genres and to see how complex a phenomenon the representation of the past can be. Given the two figures we will be focusing on?the first, a major perpetrator of genocidal crimes, the second, the most celebrated and cherished of teenage victims &emdash; tudents will be encouraged to think hard about questions of good and evil.

    Readings for the course will include historical materials on Hitler and Anne Frank; fictional treatments of both figures, such as George Steiner's novel about Hitler, THE PORTAGE TO SAN CRISTOBAL OF A.H., and Philip Roth's novel about Anne Frank, THE GHOST WRITER; Anne Frank's famous diary, THE DIARY OF A YOUNG GIRL, as well as dramatic and cinematic versions of the same; at least one movie about Hitler; and more.

    Writing assignments will include a mix of medium-length papers written outside of class and in-class examinations.


    HON-H234 (17744) 1963-1974: From Assassination to Impeachment: American Culture in an Age of Tumult
    Edward Gubar TuTh 4:00-5:30 p.m. HU 111 and Th 7:15 p.m. SB 150

    Lee Harvey Oswald assassinated John F. Kennedy in Dallas on November 22, 1963. James Earl Ray shot Martin Luther King, Jr. in Memphis on May 5, 1968. Sirhan Sirhan killed Robert Kennedy in Los Angeles on June 1968. President Richard Nixon left office on August 9, 1974. Much else happened in America between 1963 and 1974 that strained and stretched American politics and culture during this period: the civil rights movement, the counterculture, the women’s movement, and the Vietnam War and the antiwar movement. We will survey these significant events, mainly through works of nonfiction, journalism, fiction, poetry, music, and film. Required work will include a few short papers, a long paper, and a final. Since this is an honors seminar, class participation will be expected and valued.

    Possible Texts: Tim O'Brien, The Things They Carried; Michael Herr, Dispatches; Norman Mailer, The Armies of the Night; Tom Wolfe, The Electric Kool-Aid Acid Test; Sara Davidson, Loose Change: Three Women of the Sixties; Peter Coyote, Sleeping Where I Fall: A Chronicle; Rita Mae Brown, Rubyfruit Jungle; Malcolm X, The Autobiography of Malcolm X; James Baldwin, Blues for Mister Charlie; Toni Morrison, The Bluest Eye; Hunter S. Thompson, Fear and Loathing in Las Vegas; Margaret Atwood, Surfacing; et alia.

    Possible Films: Four Days in November, I Have a Dream, Soundtrack for a Revolution, Let Freedom Sing, 4 Little Girls, A Ripple of Hope, Monterey Pop, A Hard Day’s Night, The War at Home, Berkeley in the Sixties, Apocalypse Now, Medium Cool, LBJ Goes to War, Tet 1968, Homefront USA, All the President’s Men, Hippies, Stonewall Uprising, Woodstock,


    HON-H234 31419 World War I: Issues and Legacies for the Global World of Today
    Andrea Ciccarelli TuTh 1:00-2:15 p.m. BH 319

    The shots that killed the Archduke Franz Ferdinand of Austria and his wife Sophie in Sarajevo (Bosnia) on June 28, 1914 resonated well into the rest of the century. The assassination was supposed to be a political gesture in favor of Serbian nationalism against the Hapsburg domination of the Balkans, but it resulted in the first of the two world wars that marked and transformed the geographical and political scene of the 20th-century. WWI (1914-1918) was called the Great War as it saw the intervention of countries far removed from Europe (the United States, Australia, Canada, South Africa…), but also because it was supposed to be a war that –in the intentions of many of the participants— would redress old problems and put an end to any further conflict. This was, naturally, a grand illusion. The war caused the collapse of the Austrian empire (1918), which, together with the downfall of the Russian empire (1917) and the Ottoman rule (1923), triggered a series of geographical and political decisions that, in good measure, were responsible for the clashes that led to the second world war, and its long-term consequences: the Cold War, the anti-colonial struggles, the fall of the Soviet Union, the 1990’s ethnic wars in the former Yugoslavia, that is, in those exact lands that ignited the escalation that prompted WWI.

    Many of today’s conflicts that inflame some of the former Soviet territories as well as the Middle and Near East are also, indirectly, a consequence of poorly thought or unwisely conceived geo-political agreements that go back to the end of WWI. But the Great War was also a remarkable turning point for the modern development of the arts: Drama, figurative arts, cinema, literature, and music -- they have all been marked by the experience of the Great War. WWI was also the first moment in modern history that brought into the public debate many issues that are still very much discussed. Scientific and ethical concerns related to weapon of mass destruction, the ethical treatment of prisoners, the effect of humankind on the environment, the psychological health of the veterans, gender and race equality -- these are all themes that originate from the cultural aftermath of WWI. In this class we will examine the historical aspects that surrounded WWI and its many factors, as well as the myriad of topics that were motivated by its


    GLLC-G210 17621 The Vampire in European and American Culture
    Jeff Holdeman TuTh 1:00-2:15 p.m. FQ 012B

    The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries.

    This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). We will examine how the vampire first manifested itself in European literature and how it "shape-shifted" its way into the entertainment (and commercial) media of today, through numerous and various readings of fictional, ethnographic, and scholarly works, the analysis of folklore materials, as well as the viewing of movies, television shows, and Internet sites, not only from the U.S. and Europe but from around the world.

    By the end of the course, students will be able to discuss the origins, classifications, functions, natures, and evolution of the vampire and what that can tell us about historical periods and our own contemporary cultures.


    HON-H238 30741 Politics & Communication: Storytelling and Community
    Donna Eder Th 12:45-2:15 p.m. (Students must also have time available Tu 12:45-2:15 p.m.) HU 217

    This course is designed to examine how knowledge and community are intertwined in many cultures. The course is also designed around a community service project at a local elementary school, providing an opportunity for a “hands on” learning experience. This project will help to extend your understanding of cross-cultural knowledge as well as show first-hand how oral traditions, like storytelling, help strengthen a sense of what it means to be a community member. (See H228 home page on In short, storytelling will be the vehicle through which we will be learning about a variety of themes including ethical explorations, holistic teaching, and cross-cultural values.

    We will begin by contrasting a mainstream approach to learning with models of local knowledge. We will then examine models of learning from specific non-Western cultures including Mexican, Native American, and African cultures. This will be followed by a focus on the role of storytelling as a means of teaching both ethical and social beliefs, emphasizing the role of oral practices. We will then look at how children can learn about different cultures through storytelling. This section will end by considering how START (Storytelling as Reflecting Time) provides a vehicle for strengthening communities and the cross-cultural lessons to be gained.

    The second half of the course will focus on learning outside of the classroom. At this point all students will be actively engaged in START, either telling stories to young children or facilitating storytelling activities. During this half we will also be looking more closely at Bloomington as a source of local and cross-cultural knowledge as well as at learning practices that emphasize process drama as well as forming caring connections with others. By the end of the course you should understand the way oral traditions pass on life lessons and help children explore ethical issues. You should also have a conceptual and real-life understanding of the importance of storytelling for building community.

    Course Requirements:

    We will be using the city of Bloomington as a site for learning, service, and research throughout this course. All students will do a service learning project which will take an average of 1 ½ hours per week. Because of the service component, there will be fewer readings during the second half of the course and the main written assignments will be a series of journal reflections, culminating in a final report.

    The class will be divided into three groups, each of which will focus on two cultural traditions (e.g. Kenyan, Chinese, Indian, Southwestern American, etc.) After researching stories and storytelling practices of this tradition, students will either prepare to tell stories to elementary students or prepare to facilitate community-building activities based on the stories told. (See the START Project description and Students’ comments about the course and project - both on the web page.) Students write journal reflections (2-3 double-spaced pages per reflection), give a group class presentation, and write a final report (8-10 pages) on these projects. Students are also expected to attend all class sessions and do all reading prior to class. There will be one take-home essay covering the readings, discussions, and guest speakers.


    HON-H240 16218 Science & Society: Scientific Controversies
    Noretta Koertge TuTh 9:30-10:45 a.m. HU 108

    American citizens often need to rely on science in order to make informed decisions. But what are we to do when the media tell us that scientists disagree? Will this vaccine in fact increase the probability that my baby will be autistic? Should I really support public policy based on predictions of global warming? This course on Scientific Controversies begins with two classic controversies from the history of science, the so-called Galileo Affair and early debates about Darwinian Evolution. We will see how genuine differences of scientific opinion in the early stages of research continued to be exploited for political, religious and ideological purposes long after a scientific consensus had been achieved. The second half of the course will deal with current controversies where the balance of evidence is less clear cut -- or at least less easy to understand. We will treat all viewpoints critically, but with respect.

    Students will have the opportunity to make oral presentations, as well as write short essays and take exams over assigned readings.


    HON-H240 18631 Science & Society: Science and Public Engagement
    Jutta Schickore MW 2:30pm-3:45pm HU 111

    Modern science is a highly specialized activity, pursued by trained experts at research labs or universities. But of course, science is not confined to the laboratory or academy. The outcome of scientific research informs and shapes our society and culture at all levels. We encounter science in the media, in museums, or in the court room. Politicians, lawyers, and other professionals draw on, assess, and sometimes seek to restrict scientific activity. This course explores how science engages with the public, how the public engages with science, and how the relation between science and the public has changed over time. Beginning in the 19th century, we will focus on three related topics.

    The forms of engagement: How are complex scientific issues made palatable to wider audiences? We will survey different forms of science communication, such as popular books and magazines, museum displays, novels, and films. We will discuss how audiences’ responses shape the course of science, and whether basic scientific literacy is sufficient to understand and evaluate scientific activity.

    The sites of engagement: Where do the exchanges between scientists and public audiences occur? We will consider sites and spaces such as museums and science centers, court rooms, and mass media. How do these sites facilitate – or perhaps impede – the flow of information?

    The purposes and effects of engagement: What are the goals of science communication? Why do scientists, science educators, and science journalists care about what non-scientists think about science? What is the role of politicians and policy makers in the exchanges between scientists and the general public? Have these goals changed over the centuries? Why might lay audiences engage with science; what are their interests and expectations?


    HON-H241 18226 Scientific Uncertainty & Discovery: The Self-Organizing Planet
    Peter Ortoleva TuTh 1:15-2:30 p.m. CH 203

    This course considers self-organization as a powerful, overarching principle in science. A wide range of seemingly unrelated phenomena are placed within the unifying framework of the laws of chemistry and physics. The role of quantum physics in the development of molecular and crystal structure, and their implications for living and whole-planet structure and dynamics are identified. Systems displaying self-organization range from viruses undergoing structural transitions on millisecond time scales to planet-wide reorganization of the Earth’s crust on the 100 million year scale. The variety of snowflake patterns are contrasted with that of human socio-economic or ecological systems. Stem cell division and 100 kilometer-scale convection patterns deep within the earth are placed within a common vision of symmetry-breaking instability. Through these and many other examples, students will become acquainted with the universal principles of self-organization that lead to an understanding of the great richness of phenomena supported by a special planet like Earth. Conditions supporting this complexity are elucidated and implications for the emergence and sustainment of life on Earth are drawn.


    HON-H241 16219 Scientific Uncertainty & Discovery: Quick and Dirty Mental Operations
    Leah Savion MW 11:15-12:30 p.m. HU 111

    Our survival (and the good life) depends on effective gathering of huge amounts of information, adequate processing, fast learning, and controlling the environment to secure predictability and adjustment. Our brain selects what to attend to, categorize and integrate perceptual input, makes inferences, establishes emotional and physical reactions to environmental cues, and activating all other systems (affective, behavioral, and physiological) with staggering speed and efficiency. These cognitive feats are executed extremely quickly and accurately with the help of mental short-cuts called heuristics'. The concept of cognitive heuristics has caught on fire recently, infiltrating areas such as economics, music, ethics, social behavior, perception, problem solving, legal reasoning, categorization, rationality, mental health, attention and learning, and even some self-help literature. This course presents students with an opportunity to investigate this relatively new and highly useful theoretical construct, from its conceptual analysis to theoretical and pragmatic applications of its models to self- awareness as a cognitive agent.

    The reading materials for the honors version of this course consist of four sources:
    i.The course packet, written by the instructor (see table of contents attached)
    ii. Several original papers by philosophers, cognitive scientists, and social scientists, will be made available on "Oncourse"
    iii.Guided research material assembled by students for their team projects
    iv.Selected focused material for each student's treasure-hunt and final thesis Micro-thematic team presentation: in-depth analysis of some aspect of the material covered in the course packet or in the original papers.

    Treasure Hunt and final research paper: individual presentation of issues not (sufficiently) covered in class; paper with an original thesis or synthesis is due in the last week of classes. Team project/presentation of researched topic in cognitive science, sociology, philosophy, animal cognition, legal reasoning, economics, or linguistic. Team papers are due a week after class presentation. Educational videos on belief perseverance, scientific frameworks, development, fallibility of eyewitness testimony, and cognitive gender differences. Experiments and interviews to illuminate and analyze misconceptions, biases, and the sources of belief perseverance. International folk dancing, outdoor tennis, racket-ball, and kickboxing.


    HON-H241 17084 Scientific Uncertainty & Discovery: Food for Thought: The Cognitive Science of Eating
    Peter M. Todd TuTh 9:30-10:45 a.m. HU 111

    People spend a lot of time thinking about food—by some estimates, we make dozens to hundreds of food-related decisions per day. But how do we think about food? What are the ways we make these decisions, and how are they influenced by what we’ve learned and remember and by what we’ve evolved to like or avoid? These are the types of questions that cognitive scientists, including psychologists, anthropologists, and behavioral biologists, ask about people’s thinking, and in this course we will apply the ideas and methods of cognitive science to the domain of eating behavior. We will look at how people learn about different foods and come to have particular preferences (psychology); how we look for food and remember where and what we’ve eaten (behavioral biology); how cultural and social influences affect our food choices (anthropology, network science); how we talk about food (linguistics); how our brain responds to food (neuroscience); what factors make us eat more or less and how we can change them to influence our own decision making about food in healthy directions (health applications).

    We will have a special emphasis this year on the campus-wide Themester topic, “Eat, Drink, Think: Food from art to science.” We will talk about how thinking about food influences what and how much we eat and whether we enjoy it; we will also talk about how eating food affects our thinking (and not just through our brain—also through the bacterial “microbiome” in our gut!). We will hear from IU experts in food studies and food science about their own thinking on topics from “moral balancing” regarding food (if you eat a good diet all week, does that give you the moral freedom to “pig out” on the weekend?) to “flavor networks” in the dishes of different cultures (can we predict what ingredients go together in Asian vs. European cuisine?). And we will explore how people think about food through the art and artifacts they make, by watching food films at the IU Cinema and taking the food-themed tour at the IU Art Museum.

    The course will include weekly readings and discussions, participation in experiments related to food choice, writing short critical essays about these as well as a longer final research paper, and guest lectures and visits to local institutions related to thinking about food, showcasing the world-leading cognitive science and food studies programs we have here at IU.

    Logue, A.W. (2004). The psychology of eating and drinking (3rd ed.). New York: BrunnerRoutledge.
    Wansink, B. (2006). Mindless eating: Why we eat more than we think. New York: Bantam Books.
    Other readings will be distributed each week in class or online.


    HON-H299 33622 Politics of What’s for Dinner, Honors Discussion
    Christine Barbour Tu 5:45-6:35 p.m. WH 218

    HON-BN 299 consists of the following two classes: POLS-Y 200 (3 cr.) and HON-H 299 (1 cr.). To receive honors credit for this course, you MUST enroll in HON-BN 299. During the first week of classes, you will be dropped from HON-BN 299 and placed automatically into POLS-Y 200 and HON-H 299. Please note that the 1-credit HON-H 299 discussion section does NOT fulfill the HON-H course requirement for the General Honors Notation (GHN). For more information about the GHN, please visit the HHC web site.

    Although our daily lives are organized around food, most of us, especially the fortunate few getting college educations in advanced western democracies, probably never think of it in political terms except in the narrowest of senses -- food stamp policy, perhaps, or farm subsidies. In truth, for human beings, food -- the control of our food supply and its distribution is power, and power is the essential stuff of politics. This course focuses on several aspects of the politics of food in contemporary America, including food and political identity (if we are what we eat -- who are we?); politics and the American food industry (who designed that food pyramid, and why is government telling us what to eat anyway?); fast food culture and the Slow Food alternative (you want fries with that global controversy?), and the political implications of where our food comes from (what does what’s on your plate say about what’s in your future?). Class work will range from the creative (the keeping of individual food journals and the creation of a class cookbook) to the mundane (short papers, quizzes and exams) and will be appropriate for freshmen though seniors. There will be a substantial amount of reading, including fun stuff like Fast Food Nation and Michael Pollan’s excellent work, as well as academic studies by political scientists, anthropologists and sociologists. No pre-requisites except for a healthy appetite for learning about a familiar subject in an unfamiliar way. Students taking the class for Honors credit must register for H299. They will attend the regular Y200 class plus an additional hour of discussion section weekly led by the professor. H299 does not include any additional written work, but it does involve a 2 hour/week service learning component.


    HON-H299 19429 Intro to Psych & Brain Sciences, Honors Discussion
    Ben Motz W 3:35pm-4:25pm PY 228

    HHON-H 299 is not a stand-alone course. To receive honors credit for this course, you MUST enroll in HON-BT 299, class number 32928. HON-BT 299 consists of PSY-P 155 (3 cr.) and HON-H 299 (1 cr.). At the end of the first week of classes, students will be dropped from HON-BT 299 and placed automatically into PSY-P 155 and HON-H 299. Please note that the 1-credit HON-H 299 discussion section does NOT fulfill the HON-H course requirement for the General Honors Notation (GHN). For more information about the GHN, please visit the HHC web site.

    Students in this honors discussion will explore introductory psychology from an exceptionally exploratory, hands-on perspective. Early in the semester, students will be guided thru the assembly of their very own physiological recording device (for measuring skin conductance; cost of materials to student approximately $50), enabling cutting-edge real-life experiments on perception, awareness, and everything in between. No prerequisite knowledge of electronics, programming, or experimentation will be assumed or expected—students will be taught everything they need to know. As the semester progresses, honors students will identify and replicate psychological experiments using their homemade devices, and in turn, we will collaboratively deconstruct the false dichotomy between mind and body, making explicit connections between abstract psychological phenomena and measurable behavior.


    HON-H299 19433 Music for the Listener, Honors Discussion
    Constance Glen Th 11:15-12:05pm MC 036
    HON-H299 is not a stand-alone course. To receive honors credit for this course, you MUST enroll in HON-BU 299 class number 32947. HON-BU 299 consists of MUS-Z 101 (3 cr.) and HON-H 299 (1 cr.). At the end of the first week of classes, students will be dropped from HONBU 299 and placed automatically into MUS-Z 101 and HON-H 299. Please note that the 1-credit HON-H 299 discussion section does NOT fulfill the HON-H course requirement for the General Honors Notation (GHN). For more information about the GHN, please visit the HHC web site.

    Find out what performance caused a riot in 1913, the identity of a 19th century "rock star," and the composer of the most popular piece for two hundred years! In this course, the listener is exposed to diverse types of music through exploration of European and American classics. After initial units on the elements of music and world music, the course flows from the Middle Ages to contemporary times. You do not need a musical background to be in this class, but it is important that you have a love for music. Through focused listening, discussion, and reading, the objective is to deepen your experience of music. By the end of the semester, many iconic works and composers will be familiar to you, and you will have discovered some indescribably beautiful music.


    HON-H299 19434 History of Rock ‘n’ Roll Music III
    Andrew Hollinden Lecture: MW 4:40pm-6:10pm (19593), BH 013 Honors Discussion: Th 1:25pm-2:15pm (19434), MA 404

    This classes takes up where Z202 - The History of Rock ‘n’ Roll II leaves off, the splintering of rock music into categories including Art Rock, Glam Rock, Singer-Songwriters, Hard Rock & Heavy Metal, Southern Rock, Country Rock, Heartland Rock, AOR Top 40 Rock, Jazz Fusion, Funk, The Philadelphia Sound, Disco, Electro Funk, Rap, Reggae, Dub, Alternative, Punk, New Wave, Hardcore, Grunge, Techno, Industrial, and variations within each. Extensive listening and video show how changing sounds, technologies, and attitudes affected the landscape of rock music over the course of the 70s and 80s. In addition to learning more about your favorite artists, you will undoubtedly find some new likes among the unfamiliar or misunderstood.


    HON-H300 17091 Negotiation, Managing Conflict & Change
    Stephen Hayford Lecture: MW 1:00pm-2:15pm, HU 111 Honors Discussion: M 11:15am-12:05pm, PY 286

    This course will blend a rigorous scholarly treatment of the topics of negotiation, conflict resolution and leading change with an exploration of how that body of knowledge can be brought to ground and applied in the dynamic, diverse, and globalized environments students will encounter when they leave Indiana University. They will become wiser and more thoughtful decision makers; more competent problem solvers; bolder, less risk averse leaders of people; and more effective, persuasive communicators. They will also be more mindful, more aware of the effect that their personality and style of negotiating and resolving conflict has on their ability to relate to and work successfully with a diverse array of people and organizations.

    Stephen L. Hayford is Professor of Business Law, Ethics and Dispute Resolution in the Kelley School of Business at Indiana University-Bloomington. He is also Visiting Professor of Dispute Resolution at the Straus Institute for Dispute Resolution at Pepperdine University School of Law in Malibu, California. He teaches negotiation and conflict management, ethics and leadership and is a leading scholar in the commercial arbitration law field.


    HON-H300 19422 Statistical Techniques, Honors Discussion
    Rick Hullinger M 11:15am-12:05pm PY 286
    HON-H300 is not a stand-alone course. To receive honors credit for this course, you MUST enroll in HON-BF 300, class number 32738. HON-BF 300 consists of PSY-K 300 (3 cr.) and HON-H 300 (1 cr.). At the end of the first week of classes, students will be dropped from HON-BF 300 and placed automatically into PSY-K 300 and HON-H 300. Please note that the 1-credit HON-H 300 discussion section does NOT fulfill the HON-H course requirement for the General Honors Notation (GHN). For more information about the GHN, please visit the HHC website.

    Introduction to statistics with a focus on conceptual understanding of the statistical methods. Topics include: nature of statistical data; ordering and manipulation of data; measures of central tendency and dispersion; elementary probability; concepts of statistical inference and decision including estimation and hypothesis testing; regression and correlation; analysis of variance; and non-parametric tests.” The HHC section only should also include this sentence at the end: “Lab sections will be devoted to learning how to use and interpret the output from statistical software (SPSS) and performing analysis of real-world data sets.


    HON-H303 17638 Education Across Time and Culture
    Bradley Levinson TuTh 9:30am-10:45am SY 001

    This course is designed for students to explore the nature of education as a perennial human endeavor, in its myriad historical and cultural forms. Two fundamental sets of questions animate the course:

    • Why do human beings educate? How did education evolve along with learning and culture as humanity’s unique adaptive quality? What range of purposes does education seem to serve, and how do those purposes vary according to historical and social context?

    • How and where do human beings educate? What are the variety of educational forms and practices that have been developed by human societies, including modern schools, and how might these change in the future? Beginning with considerations about human evolution and broad changes in forms of human sociality, this course explores the ways that the purposes of education relate to their unique cultural conceptions and contexts, as well as to social and environmental challenges that societies have faced historically. The course ends with an exploration of the most salient and pressing challenges facing societies across the globe, and the kinds of educational responses such challenges may require. At the end of the course, students will engage in group or individual projects to propose and design educational programs (or schools!) for the present and future.


    HON-H303 34778 Watching
    Eyal Peretz
    TuTh 2:30pm-3:45pm BH 141

    This class meets with CMLT-C 310 and CMLT-C 790.
    What exactly are we doing when we watch, be it a painting, a film, passerby people on a crowded street, a deer in the forest, a profile on Facebook, or an item through the window of a shop? In distinction from our activity of SEEING, which seems to imply a capacity for recognizing or identifying something - for example when we say we see a cat we mean that we recognize a cat in our field of vision, that we know that a cat is right there - when we are busy watching it seems that we are LOOKING FOR, that we are on a search after, something we do not yet know or recognize, something that we possibly cannot yet even give a name to. What is it that we are looking for when we watch? What is it that, at a certain moment in our experience, seems to transform our vision from everyday seeing into exploratory watching? This course will examine these questions through films, paintings, photographs, and YouTube clips, as well as though literary, philosophical, and psychoanalytic texts. We will be following a double thesis: First, it is in the work of art that the question of watching finds its most elaborate and profound articulation, and second, a historical thesis, that one of the main phenomena of the age that we have come to understand as modern is the fact that the question of watching has been increasingly implicated in it with the development of new technologies of watching, technologies that not only make us watch differently (through binoculars, microscopes, cameras etc.) but that turns us into those who are increasingly BEING WATCHED, through surveillance cameras, GPS devices, etc.


    HON-H303 33914 Romantic Revolutions
    Herbert Marks TuTh 5:30pm-6:45pm BH 241

    “Bliss was it in that dawn to be alive” (Wordsworth, The Prelude). The years following and immediately preceding the French Revolution witnessed a radical transformation--beginning in France, Germany, and England, but soon spreading to the entire Western world--in the way people understood their relationship to nature, to one another, and most fundamentally to themselves. Together with rapid changes in economic conditions, revolutionary developments in philosophy, theology, aesthetics, and political theory, which collectively go under the label “Romanticism,” created the basic system of values and beliefs with which we still live today. Among writers in particular, a new emphasis on subjectivity and self-consciousness, on inwardness and intuition, encouraged genres such as lyric and autobiography and modes such as the fantastic that privileged self-expression over imitation, sentiment over satire, and imagination over reason. Even when the optimism and energy unleashed by the Revolution withered before a resurgence of political conservatism, writers continued to draw inspiration from the memory of that dawn which this course will try to recapture.

    Readings are likely to include texts by Rousseau, Chateaubriand, Goethe, August and Friedrich Schlegel, Kleist, Hoffmann, and the English poets. About half the course will be devoted to close reading of major poets (above all, Blake, Wordsworth, and Shelley). Written work: two medium-length papers and a final exam.


    HON-H 304 33235 Comparative Foreign Policy: Why Nations Go To War
    Dina Spechler TuTh 1:00pm-2:15pm WH 121

    Why did the United States get involved in Vietnam, and why did it stay in the war long after U.S. leaders knew we could not win? Why did the Soviets invade Afghanistan when they well knew that others' attempts to conquer that country had repeatedly failed? Why did Hitler attack the Soviet Union despite the fact that no outside power since the 15th century had succeeded in subduing Russia?

    History and contemporary international relations are replete with examples of the risks, costs and difficulties of attacking and invading other states and intervening militarily in the politics and conflicts of others. This course will explore the question of why nations go to war when survival is not at stake. There will be many case studies, but the focus will be on theories that help us understand this puzzling behavior on the part of states and those who determine or influence national policy. We will be examining the impact of individual leaders, their personal characteristics, beliefs, perceptions and misperceptions, as well as decision-making groups, government bureaucracies, national values and belief systems, and the nature and functioning of various kinds of political systems. A role-playing exercise at the end of the semester will give students an opportunity to simulate national decision-makers confronting the question of whether or not to use force.

    The course requirements will be two exams (short answer and essay questions), two short papers and participation in class. No textbook will be used. All readings will be available on Oncourse and possibly in the form of a course packet.


    HON-H 304 19898 Intelligence and National Security
    Gene Coyle TuTh 2:30-3:45 p.m. FQ 012B

    With the growth of asymmetrical threats from non-state actors in the 21st century, the role of intelligence has become even more important than it was during the twentieth. The combination of the shifting threats primarily from nation states to small groups or individuals and the growing availability of small, portable WMD weapons has forced the U.S. Government to realign its concept of national security and the major intelligence services of the world to change their methodologies to confront today’s dangers.

    This course will begin with a look at the traditional and little studied role of intelligence during wartime and peacetime throughout the history of America’s foreign policy, both successes and failures. We will also look at how England, Germany, Japan and the Soviet Union/Russia made use of intelligence during key events of the 20th century, especially in the contest between West and East during the Cold War struggle in the Third World. We will then compare those intelligence priorities and methodologies to the post September 11, 2001 world and see how the U.S. and other major intelligence powers have had to shift their tactics and emphasis to counter non-state terrorist threats. During the Cold War, the threat of massive retaliation against a nation that attacked another served as a deterrent to most, but when the attacker today may be only a handful of people motivated by religious, political or even ecological reasons and willing to be suicide martyrs, this is no longer a practical strategy. The changed threat requires a greater emphasis on Human Intelligence (HUMINT) and we will examine how a real intelligence officer goes about recruiting another person to become a spy. We will finish with a look at civil liberty issues in democracies as the line between foreign and domestic intelligence activities has blurred in order to counter terrorist threats that have no distinction of borders.

    While the course is best suited for students with an interest in international affairs, there are no prerequisites and is open to students of all majors who would like to learn something about the real world of international espionage, its role in important world events and current threats to American national security. (However, freshmen MUST obtain permission from the professor to register, so as to ensure that they have a good background in American and world affairs.) The course is taught by a retired 30-year veteran of the CIA.


    Cross-Listed Honors Course Descriptions Fall 2014
    Schools Honors Course Descriptions FAll 2014