This subject, cross-listed in Literature and Women’s Studies, examines a range of American women authors from the seventeenth century to the present. It aims to introduce a number of literary genres and styles- the captivity narrative, slave novel, sensational, sentimental, realistic, and postmodern fiction- and also to address significant historical events in American women’s history: Puritanism, the American Revolution, industrialization and urbanization in the nineteenth century, the Harlem Renaissance, World War II, the 60s civil rights movements. A primary focus will be themes studied and understood through the lens of gender: war, violence, and sexual exploitation (Keller, Rowlandson, Rowson); the relationship between women and religion (Rowlandson, Rowson, Stowe); labor, poverty, and working conditions for women (Fern, Davis, Wharton); captivity and slavery (Rowlandson, Jacobs); class struggle (Fern, Davis, Wharton, Larsen); race and identity (Keller, Jacobs, Larsen, Morrison); feminist revisions of history (Stowe, Morrison, Keller); and the myth of the fallen woman (take your pick). Essays and in-class reports will focus more particularly on specific writers and themes and will stress the skills of close reading, annotation, research, and uses of multimedia where appropriate.

This course studies the national literature of the United States since the early 19th century. It considers a range of texts - including, novels, essays, and poetry - and their efforts to define the notion of American identity. Readings usually include works by such authors as Nathaniel Hawthorne, Henry David Thoreau, Frederick Douglass, Emily Dickinson, and Toni Morrison.

Rosa Bonheur, Plowing in the Nivernais (or The First Dressing), oil on canvas, 1849 (Musée d'Orsay, Paris) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Rosa Bonheur, Sheep in the Highlands, 1857, oil on canvas, 46 x 65 cm (Wallace Collection, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker The Wallace Collection suggests that this painting is likely the result of a trip that the artist made to Scotland the previous year. Created by Beth Harris and Steven Zucker.

Jean-Baptiste Carpeaux​, Dance, 1865-69, marble, 420 x 298 cm. (Musée d'Orsay, Paris). Commissioned by Charles Garnier for the facade of L'Opéra. In 1964 it was replaced by a copy executed by Paul Belmondo. Created by Beth Harris and Steven Zucker.

The Compact Anthology of World Literature, Parts 4, 5, and 6 is designed as an e-book to be accessible on a variety of devices: smart phone, tablet, e-reader, laptop, or desktop computer. Students have reported ease of accessibility and readability on all these devices.

Charles Bargue Drawing Course introductionThe Charles Bargue Drawing Course was a highly influential guide to art instruction in the 19th century, which has recently returned to prominence in the Realist painting movement. This module introduces students to the fundamental drawing skills covered in the Charles Bargue Drawing Course, and leads them through the process of completing a Bargue plate copy. 

Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas, 315 x 668 cm (Musée d'Orsay). Speakers: Dr. Steven Zucker and Dr. Beth Harris.

Gustave Courbet, The Painter's Studio: A Real Allegory Summing Up Seven Years of My Life as an Artist, oil on canvas, 361 x 598 cm (Musée d'Orsay) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

Thomas Couture, Romans of the Decadence, 1847 (Musée d'Orsay, Paris) Speakers: Dr. Beth Harris & Dr. Steven Zucker For more art history videos visit smarthistory.org. Created by Beth Harris and Steven Zucker.

This course covers the history and aesthetics of French cinema from the advent of sound to present-day. It treats films in the context of technical processes, the art of narration, directorial style, role of the scriptwriter, the development of schools and movements, the impact of political events and ideologies, and the relation between French and other national cinemas.
Taught in English, the films are screened with English subtitles. Students may complete written assignments in French.

This course introduces students to the world of French photography from its invention in the 1820s to the present. It provides exposure to major photographers and images of the French tradition, and encourages students to explore the social and cultural roles and meanings of photographs. Designed to help students navigate their own photo-saturated worlds, it also provides opportunity to gain practical experience in photography. Taught in English.

Charles Garnier, The Paris Opéra, 1860-75. Created by Beth Harris and Steven Zucker.

A series of lectures delivered by Peter Millican to first-year philosophy students at the University of Oxford. The lectures comprise of the 8-week General Philosophy course, delivered to first year undergraduates. These lectures aim to provide a thorough introduction to many philosophical topics and to get students and others interested in thinking about key areas of philosophy. Taking a chronological view of the history of philosophy, each lecture is split into 3 or 4 sections which outline a particular philosophical problem and how different philosophers have attempted to resolve the issue. Individuals interested in the 'big' questions about life such as how we perceive the world, who we are in the world and whether we are free to act will find this series informative, comprehensive and accessible.

Met curator H. Barbara Weinberg on the power of nature in Winslow Homer’s Northeaster, 1895; reworked by 1901. Created by The Metropolitan Museum of Art.

Winslow Homer, The Fog Warning (Halibut Fishing), 1885, oil on canvas, 30-1/4 x 48-1/2 inches / 76.83 x 123.19 cm (Museum of Fine Arts, Boston). Created by Beth Harris and Steven Zucker.

Winslow Homer, The Life Line, 1884, oil on canvas, 28-5/8 x 44-3/4 inches / 72.7 x 113.7 cm (Philadelphia Museum of Art). Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

This course is designed to acquaint beginning students with some of the fundamental principles of international relations such as realism and idealism. Realism, for example is based on the assumption that the state constitutes the most important actor in the international system. The course will also explore the nature of idealism, which emphasizes the role of international norms and ethics, such as the preservation of human rights, as a means of realizing international justice. The course will also analyze international political economy and various theories ranging from mercantilism to dependency theory.

This book is designed as a foundational entry point to International Relations theory – structured to condense the most important information into the smallest space and present that information in an accessible manner. The first half of the book covers the theories that are most commonly taught in undergraduate programmes. The book then expands to present emerging approaches and offer wider perspectives. Each chapter sets out the basics of a theory whilst also applying it to a real-world event or issue, creating a lively, readable and relevant guide that will help students to see not only what theories are – but why they matter.

This course examines cyber dynamics and processes in international relations from different theoretical perspectives. It considers alternative theoretical and empirical frameworks consistent with characteristic features of cyberspace and emergent transformations at all levels of international interaction. Theories examined include realism and neorealism, institutionalism and liberalism, constructivism, and systems theory and lateral pressure. The course also highlights relevant features and proposes customized international relations theory for the cyber age.
Students taking the graduate version are expected to pursue the subject in greater depth through reading and individual research.