EDUC 490A Education Studies Senior Seminar Howlett Spring 2024

The capstone course in the major and a study experience that extends and advances the ideas that define the critical educator, transformative intellectual, and public pedagogue. Projects build upon a common set of core readings and are guided by the instructor and peer community. This course thus involves the development and completion of a significant and creative intervention in the field of education studies that is shared beyond the classroom, in this case with, at least, the rest of the department and interested members of the DPU community

COMM 211A Voice & Movement Good Spring 2024

This course is designed to provide a safe environment for creative risks, to help students develop and enhance their vocal, physical, and expressive skills for more effective communication, and to stimulate the creativity necessary for performance and presentation in a variety of venues and mediums. More specific student objectives include: To increase self-awareness of the human voice and body through organic instruction, self-teaching, and self-perception. To gain confidence, heightened awareness, and to develop a deeper sense of interpersonal communication and connection with others through various forms of expression and presentation. To gain the ability to lessen or relieve stress and anxiety through specific breathing and relaxation techniques. To broaden the versatility of the vocal/physical instrument for more creative character development and wider explorations of human behavior and expressiveness. To find and create new ways to vocally and physically express a text, pulling away from patterning. To learn to incorporate economy, precision, purpose, and the use of metaphor into stage movement. To revisit the basic techniques and principles of acting through application. To explore and appreciate various movement styles and vocal expression, the creative process, and collaborative efforts of theatrical performance. To develop the skills of critically observing, analyzing, and applying techniques and principles related to voice and movement and effectively articulating them through reflection

COMM 228 Foundations of Leadership Menzel Spring 2024

This course establishes a conceptual foundation for the study of leadership. From this foundation, students will be equipped to further build their knowledge of leadership through both coursework and applied experience. Students will examine case studies, engage with guest speakers, and study the key theoretical concepts of modern leadership study. Conceptual areas covered include inclusive leadership, leader member exchange theory, transformational leadership, authentic leadership, servant leadership, adaptive leadership, and team leadership. Contexts considered cross disciplinary boundaries and will include corporate, community, political, and education leadership

FREN 102B Elementary French II Klaus Spring 2024

What is Global French Studies? DePauw’s program in Global French Studies (GFS) brings contemporary approaches to the study of the languages, cultures, literatures, and histories of French-speaking countries and regions throughout the world. While building the linguistic skills necessary to communicate confidently and effectively in French, students also consider such topics as post-colonial and urban identities, gender and sexuality, and politics

MUS HRP-A Applied Harp Thompson Moore Spring 2024

Students will meet with the instructor once a week for ½ hour (.25 credit) or 1 hour (.5 credit), depending on the amount of registered credit. As soon as possible, the student should give instructor a copy of his/her class schedule, so that she can find a time slot that works for both the teacher and student

MUS CLO Applied Cello Gaskins Spring 2024

Weekly lessons should consist of: 1. Assigned scales (3 and 4 octaves, where appropriate) 2. Assigned etudes 3. Assigned solo works (sonatas, concertos, solo works, short pieces, etc...) 4. Each lesson will be graded on the basis of: a) Preparation & Progress b) Technical accuracy (i.e. intonation, articulation, rhythm, etc...

MUS VOC-B Applied Voice Martin Spring 2024

Individual training in vocal technique and its application to diverse vocal literature styles

MUS TBN-A Applied Trombone Aumann Spring 2024

Students will meet weekly with instructor in a private lesson context. At each lesson, you will receive an assignment for the following week in your notebook. You must prepare the assignment for the following week. Students are responsible for purchasing music to be performed in lessons

HONR 102A FYS Striking Unasked, Surging Past Sununu Spring 2024

Quoting Gerard Manley Hopkins, Gertrud Schackenberg\u27s poem Strike Into It Unasked (The Paris Review, Spring 2021) describes the miraculousness of poetic inspiration: The wonder of it, that the briefest touch / Can instigate a shock that\u27s mutual. Just as the windhover\u27s Headlong freefall culminates in A blowing-by / As rapturous as if creation / Were an end unto itself, Schnackenberg\u27s lines compel us to see, in poetry, a glimpse / Of the creation, surging past— : the final dash in a text punctuated only by commas and dashes is, in itself, a miraculous coda. The striking and surging imagery of this foundational poem will complement images from Virginia Woolf\u27s essay A Room of Ones\u27 Own (1929) as we explore works both artistic and literary in which dislocation or potential catastrophe turns into opportunity, loss into restoration, apathy or shock into awe. Schnackenberg alludes to lines from poems by Gerard Manley Hopkins and echoes a passage from a letter he wrote at age twenty (10 Sept. 1864) about an essay he planned to write: he describes what he considers three kinds of verse: The first and highest is poetry proper, the language of inspiration. The word inspiration need cause no difficulty. I mean by it a mood of great, abnormal in fact, mental acuteness, either energetic or receptive, according as the thought which arise in it seem generated by a stress and action of the brain, or to strike into unasked. He adds that inspired poetry can only be written in this mood of mind, even if it only last a minute, by poets themselves. Everybody of course has like moods, but not being poets what they then produce is not poetry. In Hopkins\u27s poem The Windhover about a type of common kestrel (falco tinnunculus), the speaker conveys his admiration of the way the bird succeeds in resisting a powerful gust of wind that tries to dash it to the ground; the octave ends with a striking exclamation, the achieve of, the mastery of the thing. By transforming the verb achieve into a noun and by using the vague noun thing, Hopkins conveys the impossibility of doing justice to the windhover\u27s prowess. (A blog by Schnackenberg\u27s publisher features her poem Strike Into It Unasked - - for which see https:blog.bestamericanpoetry.com/thebestamericanpoetry/ 2023/10/strike-into-it-unasked-poem-by-gertrud-schnackenberg.html. The photo on p. 2 of this syllabus comes from this blog.) In the final week of the semester we will return to Schnackenberg\u27s poem. By then we will have discussed poetry by such poets as Caedmon, John Keats, Henry Vaughan, and William Wordsworth; art by Van Gogh, Hokusai, and two Flemish painters, Pieter Bruegel the Elder (ca. 1525/30-1569) Jacob Pieter Gowy (ca. 1610-before 1664); Shakespeare\u27s comedy Twelfth Night; selections from Ovid\u27s Metamorphoses and from Cathy N. Davidson\u27s 36 Views of Mount Fuji: On Finding Myself ni Japan; Paul Kalanithi\u27s memoir, When Breath Becomes Ari (2016); and five novels: Jane Austen\u27s Sense and Sensibility (1811), James Joyce\u27s A Portrait of the Artist as a Young Man (1916), Octavia Butler\u27s Kindred (1979), Barbara Kingsolver\u27s Unsheltered (2018), and Celeste Ng\u27s Our Missing Hearts (2022). Although we are al mortal and therefore vulnerable, our post-pandemic, climate-changing world-and of course, most recently, the crisis in Gaza-have given age-old questions special urgency, so I hope that as we marvel at the gift of inspiration and probe the effects of xenophobia, racism, and systemic injustice on the world that we have inherited, we can try, both individually and collectively, to give meaning to our lives. On or about December 1910, human character changed. I am not saying that one went out, as one might into a garden, and there saw that a rose had flowered, or that a hen had laid an egg. The change was not sudden and definite like that. But a change there was, nevertheless; and, since one must be arbitrary, let us date ti about the year 1910. As I prepared this syllabus, I could not help thinking that we have undergone an equivalent experience in the 21st century: at DePauw I would date its beginning to March 12-13, 2020, the last two days of class before the Covid-19 pandemic sent students home for an early spring break. When classes resumed two weeks later, they took place online. It seems strange now to think that I had never heard of Zoom until my advisee Emma Houston \u2720 mentioned it at the last non-virtual class meeting of my senior seminar. You were four years away from college then, but you would have experienced your own share of disruption, confusion, anxiety, and isolation. Had you been my students, you would have received this paragraph from me in an email that March: As we face the great unknown, I have faith in our resilience and tenacity. This experience will have made us recognize the aptness of John Donne\u27s aphorism in Meditation 17 of his Devotions Upon Emergent Occasions when he asserted, No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend\u27s or of thine own were: any man\u27s death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee. If Donne were writing today rather than four centuries ago, he might well have used gender- neutral language, but his geographical metaphor still holds— and feels more relevant than ever in these days of huge ecological change when we can\u27t help realizing our interdependence and the fragility of our entire globe. When I mentioned this paragraph in an email to Schnackenberg, whose poem Strike Into It Unasked inspired the tile of our seminar, she replied, Isn\u27t it rather astonishing that it applies to our current circumstances in every way, even etymologically? \u27Island\u27 from Isola and \u27isolation,\u27 now commonly hyphenated with self—\u27 it\u27s uncanny and somehow comforting, as if Donne has written to tell us in 2020, \u27No human is isolated. Just as I took comfort from Donne\u27s and Schnackenberg\u27s words at a time when systemic injustices exacerbated by the pandemic called our attention to all sorts of social inequities in the U.S., including those that had launched the Black Lives Matter movement and raised awareness about the need to ensure diversity and inclusion in our society, I began to feel grateful for the knowledge that the pandemic had marked us forever: it had called us to take action by repairing our broken world. So now I draw on the Japanese term kintsugi, which means broken repair or broken joinery, a technique that repairs a broken object not by hiding the breaks but by highlighting them with a mixture of lacquer and gold. By confronting our losses and working together to keep one another safe during the Covid years, we realized that collective effort pays off. I hope that this spirit of collaboration and community will guide our semester together in HONR 102 and that each of you will feel that the texts you read and the writing you do will give meaning to your life. No matter what you eventually choose as your major, I hope that you will enjoy our discussion of ideas that will emerge from the texts in the course be they visual or verbal, old or contemporary—and that you will appreciate the way they respond to each other, either directly or indirectly. For instance, we will discuss an interactive article on Elizabeth Bishop\u27s villanelle One Art in conjunction with 19 Lines that Turn Anguish Into Art (New York Times, 2021), along with Megan Marshall\u27s essay Elizabeth and Alice: The Last Love Affair of Elizabeth, and the Losses Behind \u27One Art\u27 (The New Yorker; 27 Oct. 2016). Arecent stroke of serendipity has linked the Japanese artist Chiharu Shiota to forthcoming books of poems by a Jewish American poet, Jessica Jacobs, and an Arab American poet, Philip Metres (The Washington Post, 7 Jan. 2024, Section B). It\u27s fun to think about this coincidence in light of the link that came about when the Japanese artist Katsushika Hokusai (1760-1849) inspired the Dutch painter Vincent Van Gogh (1853-1890): Van Gogh\u27s painting The Starry Night owes its dramatic swirls in the sky to those of the sea in Hokusai\u27s woodblock print of The Great Wave Of Kanagawa. I hope that, throughout this semester, you will find that words matter—not only in the texts we will read, but also in your own writing, which I invite you to approach not as some people in the tech world do: they\u27re of a mind that once they\u27ve entered something online, they\u27re \u27done —and never want to see it again. So different from the very basic idea of rethinking, revising, editing, and multiple iterations! Can you tell that June Rugh, the editor friend I\u27m quoting here, who works in that world, majored in English literature? Accordingly, I trust that this course will help you to develop control over language, so that you may, by expressing your ideas clearly, concisely, and elegantly, take pleasure in your own creations