Class Schedules

Shakespeare has been called the “star of poets” and “wonder of the stage.” How do his plays delight, puzzle, and instil “wonder”? How did he transform Renaissance poetry? In this course, we will focus on some of Shakespeare’s most enduring works, including the Sonnets, A Midsummer Night’s Dream, Twelfth Night, Richard II, Henry IV, Part 1, Macbeth, Hamlet, King Lear, and The Tempest. Our study comprises class discussion, essays, presentations, and performances (watching professional productions and performing scenes from the plays). We will analyze Shakespeare’s formal and stylistic technique. We will examine issues of character, action, and plot. For centuries, Shakespeare has inspired writers to perfect their craft and pursue their creative ambitions. You are invited to participate in this exciting and evolving literary tradition.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

It’s entirely possible for one to analyze the meanings of most texts—their themes, morals, historical significances, and so on—without paying much attention to the formal and linguistic elements that produce such meanings. Fortunately, poems make this difficult and ask us to attend more closely to how language does the things that it does. How, for example, can a single word generate multiple, even conflicting, interpretations concerning its significance? How do the rhetorical devices foregrounded in poetry—such as metaphor, metonymy, apostrophe, and personification—structure the modes of relation through which we organize our lives? How do various arrangements of words move us to tears, open new worlds, instigate actions, and even make nothing happen (as W. H. Auden famously figures the power of poetry)? This introductory course will take up such questions as we develop our abilities to read, write, and think as students of literature. While our primary focus will be on learning how to engage with the subtleties of poetic language, this engagement will lead us to consider the broader philosophical, political, and cultural issues that our readings raise, concerning, for example, the place of poetry in modern life, the use and uselessness of poetry, and the very question of what poetry is. This course counts as a foundation course toward the English major, but all students are welcome and no prior knowledge or experience is expected.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

What relationships exist between theater, current events, and the public? People throughout the history of theater will say theater has always been political. It has been a means of offering public commentary, challenging or upholding norms, voicing a protest, or offering an alternative view that presents a world the writers would prefer to live in. In ENGL 136, we will read plays--both classic and modern--as literary texts and talk about the craft that went into their writing. But we will also take field trips to see several plays at different theaters in Minneapolis and St. Paul; we will study theater reviews and write some of our own; we will meet people who work on technical aspects of productions (like lighting and costumes) and learn about the craft of building productions; and we will think, talk, and write about the relationship between the dramatic arts and current events. As part of our larger goal of putting theater in context, the "current" events we study will cover topics as diverse as science vs religion, processes of nation building, personal identities put on trial, class politics and accents, and historical notions of property, and the work we read will range from Shakespeare to the present.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

This course explores the concept of beauty in its many forms, from feelings associated with beautiful places and people to the history of visual attraction and attention. Reading novels from the nineteenth century to the present, we will learn to see beauty from different perspectives and to ask how the visible world intersects with larger social issues. For example, can the beautiful be political? What happens to nature's beauty in an era of environmental crisis? And how are shifting gender norms redefining beauty in today's world? The novels we will study critique and analyze these issues even as they revel in the complexity of beauty across time, space, artistic forms, media, and cultures. Students will read works by Jane Austen, Oscar Wilde, Elaine Scarry, Amitav Ghosh, and Zadie Smith, among others.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

The focus of this course is on the development of skills for writing poetry and short fiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

This course will focus on basic elements of creative writing. Students will be asked to read and discuss work by major writers, to critique each other’s work, and to write multiple drafts of original works of short fiction, poetry, and creative nonfiction.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

The focus of this course is on the development of skills for writing poetry and short fiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

The focus of this course is on the development of skills for writing poetry and short fiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

In this course we will dive right into the study of creative writing by reading and writing poetry, flash fiction, short stories, and personal essays. We will study how published authors craft their pieces, how they convey sensation and emotion, and how they artfully tell a story. Along the way, you’ll try your hand at each literary form we study. This is the basic template you can expect on a day-to-day basis. But, beyond this relatively simple pattern, what I hope will happen this semester is that you’ll lose yourself entirely to the daring act of creating literature. I hope you’ll disappear into what John Gardener calls the “vivid and continuous dream.” I hope you’ll use your growing knowledge of writing technique and literary history to say something fearless and artful about the world around you.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

The focus of this course is on the development of skills for writing poetry and short fiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

This course will familiarize students with traditional writing practices in U.S. academic contexts and advance students’ college level writing. We will specifically explore common writing challenges experienced by multilingual writers. Additionally, we will discuss cultural differences at the intersections of language, authority, knowledge, race, gender, and class. Students will read samples of academic writing from various disciplines in the sciences, social sciences, arts, and humanities. The course will include expert guest speakers to share their own professional and personal writing strategies. Students will frequently revise and edit their own academic written work and the work of their peers. Although this course is open to all students, first or second year students who identify as multilingual and/or international are especially encouraged to enroll.

General Education Requirements:
U.S. Identities and Differences
Writing WP

Distribution Requirements:

Course Materials

If you’ve taken courses in the humanities, then you’re probably aware of a field that goes by the nickname of “theory.” You may have heard of thinkers such as Judith Butler, Jacques Derrida, and Michel Foucault, though chances are you haven’t yet studied how their writings grew out of a common engagement with questions of language and textuality. This course offers you the opportunity to do so. Beginning with Ferdinand de Saussure’s influential Course in General Linguistics, we’ll trace the development of literary theory through structuralism, deconstruction, psychoanalysis, feminism, gender studies, queer theory, Black studies, postcolonial theory, trauma theory, affect theory, and ecocriticism. Since our approach will be to treat literary theory as a field of study in itself, we’ll be reading almost exclusively primary texts from this field—though, if you engage these texts seriously, they will most likely change the way you read just about everything, from poems and novels to television shows and text messages. This course will be of interest to students of all levels who are interested in learning about literary theory and are willing to be intellectually challenged. It counts as a core course in the Critical Theory Concentration. Authors include J. L. Austin, Roland Barthes, Lauren Berlant, Judith Butler, Cathy Caruth, Kimberlé Crenshaw, Hélène Cixous, Jacques Derrida, Lee Edelman, Michel Foucault, Sigmund Freud, bell hooks, Luce Irigaray, Roman Jakobson, Barbara Johnson, Julia Kristeva, Jacques Lacan, Claude Lévi-Strauss, Paul de Man, Timothy Morton, Ferdinand de Saussure, Eve Kosofsky Sedgwick, Gayatri Chakravorty Spivak, and Calvin Warren.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

The scandal surrounding Vladimir Nabokov's 1955 novel about the nymphet Lolita finally made him a hugely successful celebrity, allowing him to retire from teaching at Cornell University and move to Switzerland to devote himself to fiction, translation, criticism and lepidoptery. This was only one of the many metamorphoses Nabokov underwent while in exile, moving from Russia to the Crimea, Cambridge UK, Berlin, Paris, Cambridge MA, Ithaca, Hollywood, and finally Montreux. Members of the Russian nobility, the Nabokovs lost everything with the 1917 Revolution except for their immense cultural capital, which Nabokov transformed into a tremendously productive career as a writer, critic, translator and scholar in Russian, French, and English. This course examines both the Russian (in translation) and English novels. A merciful defier of national, linguistic, cultural and theoretical categories, Nabokov remains paradoxically elusive and monumental, a thrilling and exasperating genius.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

In the past fifty years, science fiction has emerged as the primary cultural form for thinking about human extinction: climate catastrophe and natural disasters, plagues that empty continents, and species suicide through war. But science fiction has also emerged as the primary cultural form for imagining a near boundless future through technological progress: artificial superintelligence, cybernetic enhancement of the human, and the possibility of utopian political order. Facing such disorienting and unfathomable changes, science fiction seeks with frantic energy to understand what it means to be a human and to live a meaningful life. Why are we here? What are we to become? How will the promises of technology, or the lethal threats of scarcity, change what it means to be a thinking, feeling human? In this course we will examine works of science fiction as complex aesthetic achievements, as philosophical inquiries into the nature of being and time, and as theoretical examinations of the nature of human cognition. We will engage in intensive readings of contemporary texts, including works by Ted Chiang, Lidia Yuknavitch, Philip K. Dick, Margaret Atwood, Octavia Bulter, Stanislaw Lem, Kazuo Ishiguro, and others. A companion film series will include the Matrix and other films in the genre

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

In this survey course, we will trace an African American literary tradition from 1900 to the present. We will read a wide range of genres, including drama, jazz poetry, prose poems, short stories, and novels. Our journey across this rich tradition will be shaped by concepts of place, performance, and protest. Our exploration of literary, along with some musical and photographic, texts will thus extend to their geographic, temporal, and political contexts. Our study will also be informed by activisms both past and present; we will at the same time carefully attend to our texts’ status as art. Among the authors we will study are: W. E. B. Du Bois, Nella Larsen, Langston Hughes, Richard Wright, Amiri Baraka, Sonia Sanchez, James Baldwin, Toni Morrison, Claudia Rankine, Octavia Butler, and Reginald Dwayne Betts. Requirements include: two 7-10 page essays, an in-class presentation, brief written responses to the readings, engagement with relevant social media, and a final exam. This course fulfills the college’s U.S. Identities and Differences and Writing general education requirements. It also fulfills the English major requirement of a course focused on literature by U.S. writers of color.

General Education Requirements:
U.S. Identities and Differences
Writing WA

Distribution Requirements:
Humanities

Course Materials

As the United states lurched toward murderous civil war, a group of passionate, visionary, and bizarre artists set out to discover the soul of America. From 1850 to 1855, in one of the most astonishing creative convergences in literary history, the artists of what would come to be known as the American Renaissance wrote stories and poems that would enlighten, thrill, and terrify generations of readers. With aesthetic wonder and philosophical insight, they revealed both the angels and demons of human nature, inventing a uniquely American spiritual movement of unprecedented optimism at the same time that they damned it all to hell. Their works were spiritual and blasphemous, elegant and profance, beatific and pornographic, irreverently comic and heart-wrenchingly sentimental. Everything that was written in America after this period would, in one way or another, have to come to terms with the brilliant and disturbing achievements of this small cluster of artists. In this course we will read texts by Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, Herman Melville, Frederick Douglass, Walt Whitman, and Emily Dickinson.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

Poetry likely predates written language, and yet each poem reinvents this long tradition, discovering new things that language can be or do. In this course, we will approach verse writing as both craftspeople and mad scientists, shamans and technicians. We’ll study process and product, expanding our writerly toolkits through imitation and practice with fundamentals like line, stanza, genre and inherited form. But we’ll also search for our own wild poetic genius, wading deep into the forests of language. We’ll write odes and elegies, walking poems and list poems, sonnets and collages, erasures and manifestos. Coursework will include reading and discussion, in-class writing exercises, workshops, and a final portfolio. Verse-o-phobes and verse-o-philes both enthusiastically welcomed.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

In this course we will study fiction writing through the process of reading and writing flash fiction, fairy tales, a diverse array of short stories, and novel openings. We will study a range of published work, discussing elements of craft like: voice, point of view, narrative time, plot, description as emotion, and the unreliable narrator. Everyone will write a series of stories and exercises to put up for workshop. I will lecture each week on an element of craft, but there are no hard and fast rules here. The principles of writing are, at best, valuable hints accrued from centuries of literature, and, at worst, limits to a writer’s developing sensibility. Ideally, by the end of the semester, you will have a firm understanding of the basic tenets of fiction writing and an equally strong understanding of how you might completely dismantle them to seek new ground.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

Taught by writer and journalist Stephen Smith (Executive Editor and Host of American RadioWorks, the national documentary series from American Public Media). This course will focus on creating vivid, economical prose as a foundation for many types of expository writing. The fundamental elements of narrative journalism will be explored. Students will do research and interviews for print journalism pieces. Students will write frequently, will edit each other, and will receive detailed suggestions on their writing from the instructor.

General Education Requirements:
Writing WC

Distribution Requirements:
Fine arts

Course Materials

A historically small area of Ireland—called the Pale—was held under British rule in the late-medieval period. To be “beyond the pale” is to cross over some invisible, often arbitrary, boundary, to be inconveniently and antisocially out of line. Many postcolonial Irish and Caribbean writers have been forced to exist beyond the pale politically and in terms of their access (or lack of it) to the literary establishment. This idiomatic connection to Ireland has a more concrete resonance in Jamaica, where the Irish are the second largest ethnic group after people of African descent, and many of Jamaica’s placenames derive from Irish locations. Taking up these fascinating links, this course will explore the significance of Irish-Caribbean literary and cultural connections in art, dance (live Irish musicians and a céilí dance instructor will visit our class!), poetry, theatre, and fiction. We will ask what it means to be from a small island in a globalizing world by reading authors such as Claude McKay, W.B. Yeats, James Joyce, Marlon James, Derek Walcott, Seamus Heaney, Lorna Goodison, Frank McCourt, Eavan Boland, Grace Nichols, Nicole Dennis-Benn, and Sara Baume.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

In her recent article “If Fiction Changes the World, It’s Going to Be YA,” journalist Emily Temple states that young adult books are primed to do work for the social good because of their timeliness, their willingness to take on big political issues, and their wide readership. In the last few decades, the young adult genre has been growing in scope and in ambition, and much of it is being written by exciting new authors, closer to the age of their protagonists. In this class we will study some new and foundational texts of the genre, discussing subjects like depiction of mental illness, the political implications of fantasy novels, and the “We Need Diverse Books” campaign. Meanwhile, you will be working on your own YA projects, learning for yourself what makes these books tick. This course serves as a creative writing elective on the English major.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

Tiring of heroism, modern prose fiction invented a new kind of figure beginning in the late 18th century: the mediocre protagonist whose distinguishing characteristic was not prowess or virtue but eccentricity, both real and imagined. What in Germany is called "the middle hero," in France "le bovarysme," and in Russia "poshlost'" (trivial bourgeois ordinariness) all designate aspects of this new literary space of the mediocre in which individuality depends increasingly on forms of deviance. The course traces this development from the dawn of romanticism to high modernism in German, French, and Russian fiction with the goal of understanding the way literature negotiates the tension between the need to be "different" and the injunction to be "normal." Readings from Goethe ("The Sorrows of Young Werther"), Flaubert ("Madame Bovary"), Gogol ("The Nose," "The Overcoat"), Goncharov (“Oblomov’s Dream”), Huysmans (“Against the Grain”), Musil (excerpts from "The Man without Qualities"), Nietzsche (excerpts from “The Gay Science”), Kafka ("Letter to his Father," "The Cares of a Family Man," "The Metamorphosis"); theory and criticism by Erich Auerbach and Foucault. Requirements: regular reading reactions, three mid-length essays.

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

Against the swirling backdrop of political discourses about women in the Islamic world, this course will engage with feminist and postcolonial debates through literary works by Muslim women writers. The course will begin with an exploration of key debates about women’s agency and freedom, the Islamic headscarf, and Qur’anic hermeneutics. With this in mind, we will turn to the fine details of literature and poetry by Muslim women. How do these authors constitute their worlds? How are gendered subjectivities constructed? And how do the gender politics of literary texts relate to the broader political and historical contexts from which they emerge? Themes will include an introduction to Muslim poetesses and Arabic poetic genres, the rise of the novel in the Arabic speaking world, and Muslim women’s literary production outside of the Middle East: from Senegal to South Asia, and beyond.

General Education Requirements:
Internationalism
Writing WP

Distribution Requirements:
Humanities

Course Materials

In Shakespeare’s England, whipping, branding, mutilation (of the hand, nose, ears, or face), pillorying, hanging, burning, and beheading were common forms of legal punishment. The rigors of early modern law may seem strange or “barbaric” to us, yet we may recognize the intentions behind the laws: to restore order, to keep the peace, and to stabilize social relations. To grasp what justice meant to the early moderns and, in turn, what it means to us today, we will examine some of Shakespeare’s most challenging plays through the lens of legal and political philosophy. Plays such as Titus Andronicus, The Merchant of Venice, Measure for Measure, King Lear, and Othello stage a spectrum of responses to insult, injury, and violence. At the same time, the texts trouble the division between good and evil, justice and revenge. Our agenda is two-fold: to deepen our reading of Shakespearean drama and to use our knowledge to investigate difficult and still unresolved questions about the problem of evil, the dialectic between law and justice, and the meaning of the “good life.”

General Education Requirements:
Writing WA

Distribution Requirements:
Humanities

Course Materials

Traces the development of theoretical accounts of culture, politics and identity in Africa, South Asia, the Caribbean and related lands since the 1947-1991 decolonizations. Readings include Fanon, Said, Walcott, Ngugi and many others, and extend to gender, literature, the U.S., and the post-Soviet sphere. The course bridges cultural representational, and political theory. Prior internationalist and/or theoretical coursework strongly recommended.

General Education Requirements:
Internationalism
Writing WA

Distribution Requirements:
Humanities

Course Materials

Jane Austen is still very much with us today. The mid-1990s saw an explosion of cinematic and televised adaptions of her novels. A flurry of Austenian mash-ups followed, merging zombies, vampires, and sea monsters with the trappings of the Regency era. Austen erotica, meanwhile, has not only emerged but boomed in recent years: in addition to Pride and Prejudice and Zombies, we now have works such as Pride and Promiscuity and Spank Me, Mr. Darcy. Just what makes Austen so lastingly compelling and yet so open to diverse modes of adaptation and appropriation? This course approaches this question through an in-depth study of her novels and of some of their prominent film adaptations. We’ll attend to Austen’s particular narrative and rhetorical techniques (such as free-indirect discourse and irony), consider how these techniques do or do not lend themselves to adaptation, and explore how the formal innovations of cinema foreground other, less noted elements of her writing. We’ll also pay particular attention to how Austen registers the social and political issues of her time (e.g. gender inequities, the marriage imperative, the abolition of the slave trade, the Napoleonic wars), and query why most adaptations tend to simplify or simply occlude such issues. Finally, we’ll be interested in examining what Austen’s novels have to say about our own political present, particularly with regard to issues of race, gender, and class. Readings include Austen’s major novels, a number of their adaptations, and works of theory and criticism by Mary Favret, Frances Ferguson, William Galperin, Claudia Johnson, Deirdre Lynch, D. A. Miller, Mary Poovey, Edward Said, Eve Kosofsky Sedgwick, Ian Watt, and others. No prior knowledge of Austen or of film studies is required.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

Travel, globalization, capitalism, class politics, feminism, liberalism, and the spread of democracy are typically associated with contemporary political moments. But they all have their roots in the nineteenth century, when they gained strength in part through their intersections with rhetorics of race. This course will interrogate notions of race as they were being invented—exploring how they were popularized and used to dominate, how they failed, and how they were resisted in 19th-century Britain. We will read canonical and non-canonical texts, including works by writers of color, visual images, scientific theories, fiction, and non-fiction. Considering locations throughout the British empire, we will explore intersections of race with the history of British slavery, colonial settlement, gender politics, enfranchisement, war, and religion. Working together with students at Michigan State University and the University of Detroit-Mercy who are taking the co-developed parallel course, students will produce a digital final project: a full scholarly edition—including appendices, annotations, and a scholarly introduction—of a nineteenth-century memoir written by a person of color.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

One of the best ways to become a stronger writer is to spend an extensive period of time closely reading multiple works by the same author. In this intermediate creative writing workshop, we will study the Chippewa novelist and poet Louise Erdrich, carefully interrogating how she handles plot structure, characterization, descriptive imagery, and Native American folklore. Students will be expected to write multiple drafts of two original works of creative writing—no direct connection to Erdrich required—and to critique the works of their peers. Texts may include Love Medicine, The Round House, Original Fire: Selected and New Poems, Books and Islands in Ojibwe Country, and Zitkala-Sa's American Indian Stories, Legends, and Other Writings. Pre-reqs; any 100-level ENGL course or instructor approval.

General Education Requirements:

Distribution Requirements:
Fine arts

Course Materials

In this topics course, we will investigate how contemporary literature, mostly American, represents extreme human experiences and feelings. As we read a wide range of texts, we will ask ourselves aesthetic, as well as political and ethical, questions: Must literary form stretch itself to represent an individual's or a group’s joy or misery? How can literature and art help us to understand the end of a world or of a people? Must writers invent new forms when faced with unprecedented traumas? Can apparently opposed extremes, such as joy and misery, have common sources or take common aesthetic forms? How might the current political climate in the U.S. contribute to our concern with the extreme and its representation? We will read fiction, poetry, and creative nonfiction to investigate how various literary genres may work differently at the extreme. We will also view films and listen to music to discover if other media or art forms may offer alternative, possibly better, ways of representing ecstasy and apocalypse, joy and misery. Authors may include: Cormac McCarthy, Margaret Atwood, Charlotte Perkins Gilman, Rachel Carson, Tracy K. Smith, and Samuel Delany, among others. Course requirements include: an in-class presentation, a short essay of about 5 pages, and a substantial final project.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

This capstone course for the Literature Path will focus on the development and production of individual student projects using advanced research methods. Students, in consultation with the professor, will determine the topic and form for their capstone projects, all of which will include a written research component, even if they otherwise take some other form, such as the digital or visual/material. We will begin the semester with a shared exploration of Afrofuturism, a flourishing contemporary movement of writers, artists, musicians, and scholars who imagine, theorize, and represent other times (often, but not always, the future) and alternative forms of the human, along with outer spaces and other places wherein black people are always centered. We will read, listen to, and view a few key Afrofuturist texts, such as Octavia Butler’s novel Parable of the Talents and Janelle Monáe’s Archandroid album. For each of these texts, we will read relevant theory and scholarship, including queer and posthuman theory by Edelman, Ferguson, Hayles and others, as well as theorizations of Afrofuturism by Kodwo Eshun, Alondra Nelson and others. This combination of primary text with theory/scholarship will provide a model for students’ own projects. Course requirements include: two presentations, discussion questions on each major reading, an annotated bibliography, a research proposal, work with peers, and a substantial final capstone project and presentation of that project.

General Education Requirements:

Distribution Requirements:
Humanities

Course Materials

This seminar will provide a workshop environment for advanced students with clearly defined projects in poetry, fiction, creative nonfiction, drama or a combination of genres. The seminar will center initially on a group of shared readings about the creative process and then turn to the work produced by class members. Through the presentation of new and revised work, and the critiquing of work-in-progress, each student will develop a significant body of writing as well as the critical skills necessary to analyze the work of others. Course may be repeated for credit if the topic is different. Prerequisite(s): Permission of instructor.

General Education Requirements:
U.S. Identities and Differences

Distribution Requirements:
Fine arts

Course Materials