Course Descriptions

SPAN 212 - Spanish-American Civilization and Culture

SPAN 214 - Contemporary Spain in Context: Spanish Culture through Social Interaction

SPAN 220 - Introducción a la literatura española

SPAN 240 - Introducción a la literature hispanoamericana

SPAN 270 - The Contemporary Latin American Press: Journalistic Writing & Analysis

SPAN 275 - Introducción al análisis literario

SPAN 290 - Topics in Latin American Culture and Literature

FDR: HL
Credits: 4
Planned Offering: Spring

Topic for Spring 2012:

SPAN 290: El universo literario de Jorge Luis Borges (4). This course is an introduction to the complex literary world of Jorge Luis Borges (1899-1986), and offers students the opportunity to read and analyze some of his most representative works. The course centers on Borges’s short stories, but students also read works by other authors, as well as a selection of Borges’s poetry and essays. These additional readings contextualize Borges’s fictional production and help students understand his poetics and worldview. Additionally, the class analyzes two movies relevant to Borges’s work. The readings and class discussions highlight some of the most important thematic aspects of Borges’s oeuvre, such as the labyrinth, the double. and the gaucho, as well as his use of literary genres like the fantastic, the detective genre, and the short story-essay, a narrative genre whose emergence can be credited to Borges himself. (HL) Pinto-Bailey.

SPAN 292 - Tutorial in Foreign Language Teaching, Translation, and Interpretation

SPAN 295 - Special Topics in Conversation

SPAN 309 - History of the Spanish Language

SPAN 312 - Culture in Context in Medieval Spain

SPAN 320 - Don Quijote

SPAN 322 - Spanish Golden-Age Drama

SPAN 324 - Visions of the Nation: Romanticism and the Generation of 1898

SPAN 326 - Modern Spanish Prose Fiction

SPAN 328 - Contemporary Spanish Poetry

SPAN 333 - El Cid in History and Legend

SPAN 340 - Spanish-American Short Story

SPAN 342 - Spanish-American Narrative: The Boom Generation

SPAN 343 - Spanish-American Colonial Literature

SPAN 344 - Spanish-American Poetry

SPAN 345 - Spanish-American Modernist Poetry

SPAN 346 - Spanish-American Essay

SPAN 348 - Spanish-American Women Writers

SPAN 350 - The Cuban Story

SPAN 352 - Voces caribeñas

SPAN 354 - Spanish-American Theater: 20th Century to the Present

SPAN 392 - Spanish Language Theory and Practice

Credits: 3
Planned Offering: Winter

Topic for Winter 2012:

SPAN 392-01: Spanish Language Theory and Practice. Power and Ideology: (Critical) Discourse Perspectives (3). Prerequisite: SPAN 215 or 275. This course explores different theoretical approaches to account for language use and, in particular, for the analysis of meaning and the way it is constructed and reconstructed in discourse, especially by the dominant classes with access to public discourse. This course observes how social actors achieve social and political goals by employing specific linguistic choices, therefore relating language use with social processes. Reyes.

SPAN 393 - Workshop in Literary Translation

SPAN 397 - Peninsular Seminar

FDR: HL
Credits: 3
Planned Offering: Offered when interest is expressed and departmental resources permit.

Topic for Fall 2011:

SPAN 397: Las dos Españas: 1898-1936 (3).  The concept of the “two Spains” is closely identified with the national crisis of 1898 and the subsequent political polarization that resulted in the Spanish Civil War. This course examines its manifestation as a literary and cultural theme and traces its evolution through a variety of literary genre and some of the principal artistic expressions of the period, including film. Boetsch.

SPAN 398 - Spanish-American Seminar

FDR: HL
Credits: 3
Planned Offering: Winter

Topic for Winter 2012:

SPAN 398-01: Spanish-American Seminar: Fictions of Self-Representation (3) Prerequisites: SPAN 240 and either SPAN 215 or 275. The course examines forms of self-representation through the reading of literary and non-literary works. In addition to conceptual discussions of how artists use fictionalized forms of self portraiture in diverse Latin-American contexts, special attention is paid to issues of subjectivity, self-empowerment, authority, and reader recognition, among others. Primary texts focus mainly on the 19th and 20th centuries. (HL) Botta. Staff.

SPAN 401 - Directed Individual Study

SPAN 402 - Directed Individual Study

SPAN 403 - Directed Individual Study

SPAN 493 - Honors Thesis

THTR 100 - Introduction to Theater

THTR 109 - University Theater

THTR 121 - Introduction to Text and Performance

THTR 131 - Fundamentals of Theater Art

THTR 141 - Acting I

THTR 180 - FS: First-Year Seminar

THTR 202 - Supervised Study Abroad

THTR 203 - Preparation for Study Abroad; Swedish Theater

THTR 204 - Study Abroad in Swedish Theater

THTR 209 - University Theater II: Stage Management

THTR 210 - Theater History I

THTR 211 - Theater History II

THTR 215 - Modern Drama

THTR 216 - Contemporary Drama

THTR 220 - Playwriting

THTR 235 - Design and Performance

THTR 239 - Total Theater

THTR 240 - Community Performance

THTR 241 - Acting II

THTR 242 - Musical Theater

THTR 250 - Women in Contemporary Theater

THTR 251 - Introduction to Theatrical Design

THTR 253 - Digital Production

THTR 290 - Topics in Performing Arts

THTR 296 - Spring-Term Topics in Performing Arts

FDR: HA
Credits: 4
Planned Offering: Spring

Topics for Spring 2012:

THTR 296-01: Contemporary American Playwrights: Text and Performance (4).  This course leads students through some of the major plays written in the United States in the last thirty years. Plays by men, women, people of color, gay writers, immigrants, urban dwellers, rural playwrights, Southern playwrights, poets, political activists, screenwriters, experimental artists and solo performers, are selected with an eye toward demonstrating the diverse perspectives that mark American theater and drama today. Attention is paid to works that have achieved a level of popular success on stage as well as critical acclaim in the academy or mainstream theater, or at least have attracted political or artistic controversy. (HA) Jew. Spring 2012

THTR 309 - University Theater III

THTR 336 - Lighting Design

THTR 337 - Scenic Design

THTR 338 - Costume Design

THTR 361 - Directing

THTR 362 - Directing Practicum

THTR 397 - Seminar in Theater Topics

THTR 423 - Directed Individual Project

THTR 453 - Internship

THTR 471 - University Theater IV: Capstone

THTR 493 - Honors Thesis

WGS 120 - Introduction to Women’s and Gender Studies and Feminist Theory

WGS 150 - Women in Sport

WGS 295 - Humanities Topics in Women’s and Gender Studies

WGS 296 - Social Science Topics in Women’s and Gender Studies

WGS 396 - Advanced Seminar in Women’s and Gender Studies

Credits: 3
Planned Offering: Offered when interest is expressed and faculty re-sources permit.

Fall 2011 

WGS 397: Gender and The Law Seminar (3). This course introduces students to feminist legal theory and explores the ways in which gender equality theory has evolved over time, including the following schools of thought: liberal equality theory, difference feminism, dominance theory, anti-essentialism and the intersection of gender and racial equality, and post-modernism. Moving from theory to practice, the course then explores the application of feminist theory in various legal contexts, including domestic violence, sexual harassment, reproductive rights, marriage and family, education, and global women’s rights. Bond Staff.

WRIT 100 - Writing Seminar for First-Years

FDR: FW
Credits: 3
Planned Offering: Fall, Winter

Topics for Winter 2012:

WRIT 100-01: Writing Seminar for First Years: What We Eat (3). In this section, students develop their college-level writing skills through analysis of an often mundane yet deeply meaningful facet of human life: eating. Our study of “what we eat” imagines that “we” many different ways: the particular students and professor in this writing class, American consumers in general, global citizens, human beings, members of specific religious traditions, ethnic groups, and genders. From those many perspectives, we analyze the aesthetic, cultural, political, and ethical dimensions of our everyday food choices primarily by engaging with four recent books: We Are What We Ate, a collection of short food memoirs by a range of American writers; Eating Animals, by novelist Jonathan Safran Foer; and Michael Pollan’s The Omnivore’s Dilemma and Barbara Kingsolver’s Animal, Vegetable, Miracle, both of which have helped spur the current “locavore” movement. Writing assignments take a variety of forms, from personal reflection to research-based essay, but each assignment helps students improve their analytical writing skills as we focus on developing complex arguments in clear, precise, well-structured prose. (FW) Braunschneider.

WRIT 100-02: Writing Seminar for First Years: The 1960s (3). This section focuses upon active reading, argumentation, the appropriate presentation of evidence, various methods of critical analysis, and clarity of style.Students examine a variety of texts (short stories, novels, nonfiction, plays, songs, speeches) produced during and in response to the most turbulent decade in recent American history. We consider the several competing versions of the 1960s suggested by these works and how such attempts to define the period enable us to see the present more clearly. Assignments take inspiration from the experimental vibe that characterized the times. Writers represented are likely to include Allen Ginsberg, Flannery O’Connor, John Updike, Thomas Pynchon, August Wilson and others. Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. (FW) Crowley.

WRIT 100-03: Writing Seminar for First Years: Insiders & Outsiders (3). Many a tale begins like this: You are a stranger in a small town, and soon you begin to learn that the town has secrets – a veiled past, a horrible crime, some undisclosed undertaking you must either join in or resist. The dramatic tensions between insiders and outsiders, the initiated and the uninitiated, those with private knowledge and others with new perspectives, have been richly explored in American culture, in everything from sophisticated political allegories to good old horror movies. In this section, we study novels, memoirs, and poems that make use of this classic division and consider what such texts propose about a number of issues: the individual’s relationship to community, for instance, or the costs of conformity, or the destructive power of inflexible ideologies. As we consider such questions, our ultimate goal is to cultivate and practice active reading and precise argumentation in written analysis. Requirements include intensive writing (multiple essays and revisions), regular evaluation of fellow students’ writing, and active class participation. (FW) Matthews.

WRIT 100-04: Writing Seminar for First Years: The 1960s (3). This section focuses upon active reading, argumentation, the appropriate presentation of evidence, various methods of critical analysis, and clarity of style.Students examine a variety of texts (short stories, novels, nonfiction, plays, songs, speeches) produced during and in response to the most turbulent decade in recent American history. We consider the several competing versions of the 1960s suggested by these works and how such attempts to define the period enable us to see the present more clearly. Assignments take inspiration from the experimental vibe that characterized the times. Writers represented are likely to include Allen Ginsberg, Flannery O’Connor, John Updike, Thomas Pynchon, August Wilson and others. Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. (FW) Crowley.

WRIT 100-05: Writing Seminar for First Years: Wicked Women (3). This section begins with Chaucer’s Wife of Bath and ends with recent essays on Hillary Clinton. We look at witchcraft, femme fatales and prostitutes as a way of considering literary approaches towards women and men’s power and sexuality. The course is not for women only – for instance, our discussion of witchcraft and wizardry runs from Miller’s The Crucible through excerpts from Harry Potter. (FW) Brodie.

WRIT 100-06: Writing Seminar for First Years: Mysteries, Puzzles, and Conundrums (3). We concern ourselves with mysteries, not in the generic sense of stories about crime and detection, but mysteries of character, morality, religion, and art. Central to each of the works we study is some puzzle, secret, riddle, enigma, or complexity. Sometimes the work itself is the mystery, a kind of hieroglyph. Each work, in its own way, raises questions about the methods and limitations of human discovery. We approach the student’s writing as a means of investigation and discovery as well, with an emphasis on developing the skills necessary to build convincing “cases” (i.e., arguments) when evidence is incomplete, ambiguous, or contradictory. (FW) Oliver 

WRIT 100-07: Writing Seminar for First Years: The Nature of Nature: Environmental Thought and Literature (3). This section is an exploration of the human relationship to nature. How have writers, poets, and thinkers understood their relationships to “the natural world”? What is nature? How are we able and unable to define it? We read widely within environmental literature. Emerson, Whitman, William Cronon, Annie Dillard, and Wendell Berry, among others, frame our discussion of “nature,” “truth,” and the relationship of these ideas to one another. We explore the implications of such understandings for the individual life, as well as for a modern world in which ecological concern is a matter of daily news and attention. (FW) Green.

WRIT 100-08: Writing Seminar for First Years: The Nature of Nature: Environmental Thought and Literature (3). This section is an exploration of the human relationship to nature. How have writers, poets, and thinkers understood their relationships to “the natural world”? What is nature? How are we able and unable to define it? We read widely within environmental literature. Emerson, Whitman, William Cronon, Annie Dillard, and Wendell Berry, among others, frame our discussion of “nature,” “truth,” and the relationship of these ideas to one another. We explore the implications of such understandings for the individual life, as well as for a modern world in which ecological concern is a matter of daily news and attention. (FW) Green.
 

Topics for Fall 2011:

WRIT 100A-01: Writing Seminar for First Years: International Issues (3). This section is designed for non-native speakers of English and provides extensive group and individual help with reading, writing, listening, and speaking skills. We study some international issues and compare life in other countries with contemporary life in the United States. The course also involves students teaching us about their native countries. (FW) Smout 

WRIT 100-01: Writing Seminar for First Years: Coming of Age (3). This course studies the literature of coming-of-age, the fundamental human movement from youth to adulthood, immaturity to maturity, ignorance to knowledge, innocence to experience. Through class discussions, informal writings, and formal essays, we study the tensions, aspirations, pains, joys, myths, and realities of this transition. Using a range of writing assignments and exercises, we work hard at the interpretive essay, developing students’ critical thinking and writing skills. (FW) Conner.

WRIT 100-02: Writing Seminar for First Years: Hardboiled and Film Noir (3). An exploration of the 20th century’s fascination with crime fiction through a study of short stories and novels by three of its finest American practitioners—Dashiell Hammett, Raymond Chandler, and Patricia Highsmith—along with several classic film versions of their novels by such major directors as John Huston, Billy Wilder, and Alfred Hitchcock. The course begins with close study of the hardening in the 1920s of the high culture vs. mass culture dichotomy through a careful juxtaposition of T.S. Eliot’s modernist poetry and Dorothy Sayers’s popular crime fiction. We then turn to the American noir novels and films of the 1920s, ‘30s, and ‘40s and their self-conscious effort to challenge this opposition of high and mass culture with popular narratives marked by high artistic ambition. (FW) Adams.

WRIT 100-03: Writing Seminar for First Years: Otherworld Journeys (3). This course surveys medieval and Victorian narratives about encounters with the “otherworld”—an extraordinary realm parallel to that of normal human experience and inhabited by supernatural creatures much like ourselves. The course considers how this otherworld shapes normal reality and what its presence reveals about medieval conceptions of the “ordinary.” Readings include the 12th-century Lais of Marie de France, Chrétien de Troyes’ Lancelot, and revisions of these otherworld encounters by 19th-century poets such as Keats and Browning. Short response papers and critical essays encourage close reading and help students develop analytical writing skills. All medieval texts are read in modern English translation. (FW) Jirsa.

WRIT 100-04: Writing Seminar for First Years: Insiders & Outsiders (3). Many a tale begins like this: You are a stranger in a small town, and soon you begin to learn that the town has secrets—a veiled past, a horrible crime, some undisclosed undertaking you must either join in or resist. The dramatic tensions between insiders and outsiders, the initiated and the uninitiated, those with private knowledge and others with new perspectives, have been richly explored in American culture, in everything from sophisticated political allegories to good old horror movies. In this class we study stories, novels, plays, and poems that make use of this classic division and consider what such texts propose about a number of issues: the individual’s relationship to community, for instance, or the costs of conformity, or the destructive power of inflexible ideologies. As we consider such questions, our ultimate goal is to cultivate and practice active reading and precise argumentation in written analysis. Requirements include intensive writing (multiple essays and revisions), regular evaluation of fellow students’ writing, and active class participation. (FW) Matthews.

WRIT 100-05: Writing Seminar for First Years: What We Eat (3). In this class, students develop their college-level writing skills through analysis of an often mundane yet deeply meaningful facet of human life: eating. Our study of “what we eat” imagines that “we” many different ways: the particular students and professor in this writing class, American consumers in general, global citizens, human beings, members of specific religious traditions, ethnic groups, and genders. From those many perspectives, we analyze the aesthetic, cultural, political, and ethical dimensions of our everyday food choices primarily by engaging with four recent books: We Are What We Ate, a collection of short food memoirs by a range of American writers; Eating Animals, by novelist Jonathan Safran Foer; and Michael Pollan’s The Omnivore’s Dilemma, and Barbara Kingsolver’s Animal, Vegetable, Miracle, both of which have helped spur the current “locavore” movement. Writing assignments take a variety of forms, from personal reflection to research-based essay, but each assignment helps students improve their analytical writing skills as we focus on developing complex arguments in clear, precise, well-structured prose. (FW) Braunschneider.

WRIT 100-06: Writing Seminar for First Years: Wicked Women (3). This section begins with Chaucer’s Wife of Bath and ends with recent essays on Hillary Clinton. We look at witchcraft, femme fatales and prostitutes as a way of considering literary approaches towards women and men’s power and sexuality. The course is not for women only—for instance, our discussion of witchcraft and wizardry runs from Miller’s The Crucible through excerpts from Harry Potter. (FW) Brodie.

WRIT 100-07: Writing Seminar for First Years: Indian Country: Reading America Through Native American Eyes (3). In his film Smoke Signals, one of Sherman Alexie’s characters asks two other Indians about to leave the reservation, “Hey, do you guys got your passports? [The United States] is as foreign as it gets. Hope you two got your vaccinations!” What does this country’s landscape, history, literature, and culture look like from an Indigenous perspective? Who is telling the contemporary Indian’s story? How does this contribute to our understanding of American identity and destiny? Concentrated work in English composition with readings from contemporary Native American authors such as Linda Hogan, LeAnne Howe, Carter Revard, Janet McAdams, Joy Harjo, Sherman Alexie, Leslie Marmon Silko in a mixture of genres, such as drama, poetry, nonfiction prose, and narrative fiction. (FW) Miranda.

WRIT 100-08: Writing Seminar for First Years: The Sacred and the Daily: Environmental Literature (3). This course is an exploration of the human understanding of nature. How have writers, poets, and thinkers understood their relationships to “the natural world”? What is nature? How are we able and unable to define it? We read widely within environmental literature. Emerson, Whitman, Darwin, Annie Dillard, and Wendell Berry, among others, frame our discussion of “nature,” “truth” and the relationship of these ideas to one another. We explore the implications of such understandings for a modern world in which ecological concern is a matter of daily news and attention. (FW) Green.

WRIT 100-09: Writing Seminar for First Years: I See Dead People (3). The course focuses on literary representations of spirits and the afterlife. Texts may include: Henry James, The Turn of the Screw; A. S. Byatt, The Conjugal Angel; W. P. Kinsella, Shoeless Joe; Jean-Paul Sartre, No Exit; Thornton Wilder, Our Town; Toni Morrison, Beloved. (FW) Gavaler.

WRIT 100-10: Writing Seminar for First Years: The 1960s (3). The course focuses upon active reading, argumentation, the appropriate presentation of evidence, various methods of critical analysis, and clarity of style. In this section, students examine a variety of texts (short stories, novels, nonfiction, plays, songs, speeches) produced during and in response to the most turbulent decade in recent American history. We consider the several competing versions of the 1960s suggested by these works and how such attempts to define the period enable us to see the present more clearly. Assignments take inspiration from the experimental vibe that characterized the times. Writers represented are likely to include Allen Ginsberg, Flannery O’Connor, John Updike, Thomas Pynchon, August Wilson, and others. Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. (FW) Crowley.

WRIT 100-11: Writing Seminar for First Years: Love, Death, and Other Passions (3). This course explores understandings of love, death, and other passions in some or all of the following forms: fiction, philosophy, science, and art. Are passions like these something you do or something that happens to you? Would we and the world be better off without them? Is there a scientific explanation of love and the passions? What would it mean for human experience to think so? (FW) Kosky.

WRIT 100-12: Writing Seminar for First Years: Mysteries, Puzzles, and Conundrums (3). We concern ourselves with mysteries, not in the generic sense of stories about crime and detection, but mysteries of character, morality, religion, and art. Central to each of the works we study is some puzzle, secret, riddle, enigma, or complexity. Sometimes the work itself is the mystery, a kind of hieroglyph. Each work, in its own way, raises questions about the methods and limitations of human discovery. We approach the student’s writing as a means of investigation and discovery as well, with an emphasis on developing the skills necessary to build convincing “cases” (i.e., arguments) when evidence is incomplete, ambiguous, or contradictory. (FW) Oliver.

WRIT 100-13: Writing Seminar for First Years: Trees, People, and Cyborgs (3). This course examines the relationships of human beings to nature and technology. The title of the course is serious: What kinds of relationships do we have with trees, especially forests? Where do we draw the boundary between humans and machines? Does humanity occupy a (privileged) middle ground between other kinds of being? Our readings come from a mix of science, environmental literature, and science fiction. We also watch the Terminator tetralogy. (FW) Warren.

WRIT 100-14: Writing Seminar for First Years: Faith and Doubt (3). Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. The course focuses upon active reading, argumentation, the appropriate presentation of evidence, various methods of critical analysis, and clarity of style. In this section we explore the topic of belief and how it shapes a person’s selfhood. How does being a part of a religious community, or a variety of religious communities, shape one’s identity? How does identity change with the adoption of either belief, skepticism, or another culture? We ask these questions primarily through the genres of novels and short stories, examining lives of faith and doubt. Texts include Marilynne Robinson’s Pulitzer-prize winning novel Gilead, about a Congregationalist minister descended from abolitionists; James Wood’s The Book Against God, a novel on a philosophy student’s repudiation of his father’s Christianity; the Pulitzer-prize winning play, Doubt, by John Patrick Stanley; and selected short stories from Flannery O’Conner and Jhumpa Lahiri. (FW) Gertz.

WRIT 100-15: Writing Seminar for First Years: Schools of Magic (3). In this section, students read fiction and view films about schools for exceptional scholars: academies of magic, sorcery, and superheroism. Using the lens of these manifestly out-of-this-world fantasies, we focus on various theories of education with reference to students’ own experiences in liberal education. Primary texts include works by Lev Grossman, Diana Wynne Jones, Ursula LeGuin, John Milton, J. K. Rowling, and Caroline Stevemer; excerpted educational theorists range from William Cronon and John Dewey to C. S. Lewis and John Henry Cardinal Newman. Familiarity with the Narnia books is helpful but isn’t essential. (FW) Keen.

WRIT 100-16: Writing Seminar for First Years: The 1960s (3). Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. The course focuses upon active reading, argumentation, the appropriate presentation of evidence, various methods of critical analysis, and clarity of style. In this section, students examine a variety of texts (short stories, novels, nonfiction, plays, songs, speeches) produced during and in response to the most turbulent decade in recent American history. We consider the several competing versions of the 1960s suggested by these works and how such attempts to define the period enable us to see the present more clearly. Assignments take inspiration from the experimental vibe that characterized the times. Writers represented are likely to include Allen Ginsberg, Flannery O’Connor, John Updike, Thomas Pynchon, August Wilson, and others. Requirements include at least four revised essays in addition to several exercises emphasizing writing as a process. (FW) Crowley 

WRIT 100-18: Writing Seminar for First Years: I See Dead People (3). The course focuses on literary representations of spirits and the afterlife. Texts may include: Henry James, The Turn of the Screw; A. S. Byatt, The Conjugal Angel; W. P. Kinsella, Shoeless Joe; Jean-Paul Sartre, No Exit; Thornton Wilder, Our Town; Toni Morrison, Beloved. (FW) Gavaler. 

WRIT 100-19: Writing Seminar for First Years: Mysteries, Puzzles, and Conundrums (3). We concern ourselves with mysteries, not in the generic sense of stories about crime and detection, but mysteries of character, morality, religion, and art. Central to each of the works we study is some puzzle, secret, riddle, enigma, or complexity. Sometimes the work itself is the mystery, a kind of hieroglyph. Each work, in its own way, raises questions about the methods and limitations of human discovery. We approach the student’s writing as a means of investigation and discovery as well, with an emphasis on developing the skills necessary to build convincing “cases” (i.e., arguments) when evidence is incomplete, ambiguous, or contradictory. (FW) Oliver.

WRIT 100-20: Writing Seminar for First Years: American Gothic (3). What are Americans afraid of? Students in this class hone their skills as critical thinkers and writers by analyzing gothic tales from multiple genres. We focus on the American short story from Poe to King, but course texts also include film, poetry, and the graphic novel. (FW) Wheeler.

WRIT 100-21: Writing Seminar for First Years: Humans, Cyborgs, and Posthumans (3). What does it mean to be human? What does it mean to have a mind? Is there a soul? Will we merge with machines? Will there be Artificial Intelligence? Students in this class hone their skills as critical thinkers and writers by analyzing arguments from philosophy of mind, cognitive science, and the philosophy of human enhancement. (FW) Gregory.