THE COMPLEAT GARGOYLE - Graham School of General Studies ...
THE COMPLEAT GARGOYLE - Graham School of General Studies ... THE COMPLEAT GARGOYLE - Graham School of General Studies ...
long fascinated moviegoers. This new course examines what screen depictions of gangsters reveal about mainstream cultural, economic, and political climates. Why have filmmakers like Francis Ford Coppola and Martin Scorsese been drawn to this genre repeatedly? How did a hit TV series like The Sopranos add to conventions of the form? This course will explore these questions and analyze the allure of organized crime. Think of it as an offer you can’t refuse. Andrea Gronvall Ms. Gronvall contributes to the Chicago Reader and Time Out Chicago, and websites Movie City News and Stop Smiling. A multiple- Emmy nominee for producing Siskel & Ebert, she holds a BS in film studies from Northwestern University. Course Code FSPVAG Section 12S1 Spring 2012 Gleacher Center $320 Early registration ends March 21 $350 Regular registration Wednesdays March 28–May 16 6–9:30 pm Teacher Recertification CPDUs: 28 Point of View with Adam Kempenaar: Cinéma Vérité, the Documentary, and the Problem of Truth This course counts as a Point of View course toward the Language of Film Certificate Program. We are surrounded by the cinema of the real, from news and reality shows to documentaries and YouTube videos. Images are often presented as the truth, although the interaction between reality and film is complex. This course traces the evolution of the documentary form and examines the relationship between cinema and truth. We will pay particular attention to the movement in the 1960s and 70s known as cinéma vérité, or direct cinema, in which new technology allowed filmmakers to work unobtrusively. Films to be screened include Nanook of the North, Don’t Look Back, The Thin Blue Line, and Hoop Dreams. 22 Adam Kempenaar Mr. Kempenaar cohosts the film discussion podcast Filmspotting, which also broadcasts weekly on WBEZ (91.5 FM). He holds an MA in journalism from the University of Iowa and BAs in film studies (Iowa) and English (Grinnell College). Course Code FSPVAK Section 12U1 Summer 2012 Gleacher Center $320 Early registration ends June 13 $350 Regular registration Wednesdays June 20–August 15 (no class July 4) 6–9:30 pm Teacher Recertification CPDUs: 28 Ecstasy, Eccentricity, Cruelty, and Obsession: The Cinema of Extremes Twentieth-century directors and cinematographers frequently sought to examine the “self” in its most extreme manifestations. We will discuss pairs of films made by cinematographers such as Sven Nykvist, Conrad Hall, Haskell Wexler, Vilmos Zsigmond, and Vittorio Storaro, and consider the relationships between life at full tilt and the fear of impending death; the pleasures and anxieties surrounding sexual obsession; and the links between memory and the need to unpack significant puzzles. Films discussed will include Last Tango in Paris, Who’s Afraid of Virginia Woolf?, Memento, Chinatown, Death in Venice, and Fatal Attraction. Elliott Krick Mr. Krick holds an MA in English from the University of Chicago and has been teaching in the Basic Program since 1965, specializing in film courses. Course Code BPUEEC Summer 2012 Gleacher Center $335 Early registration ends June 13 $365 Regular registration Section 12U1 Tuesdays June 19–August 7 10 am–1:15 pm Humanities Arts Section 12U2 Wednesdays June 20–August 15 (no class July 4) 10 am–1:15 pm Teacher Recertification CPDUs: 24 MUSIC Certificate in the Language of Music Graham School music students have the opportunity to earn a University of Chicago credential through this six-course certificate program. A mix of one-day introductory seminars and eight-week courses, the Language of Music Certificate Program is designed for students seeking understanding of music beyond mere appreciation. Find more information at grahamschool. uchicago.edu/music. The Life and Works of Mozart This course counts as a Focused Music Study course for the Language of Music Certificate Program. This course will examine Mozart’s precociousness, his impressive assimilation of Italianate and Germanic styles, and his relationship to the turbulent social transitions of his time. Divided between biographic study and music analysis, the course will discuss seminal masterworks, including operas, piano concertos, and symphonies. John Gibbons Mr. Gibbons holds a PhD from the University of Chicago Department of Music. His works have been performed at the Rockefeller Music Competition and by the Minnesota Chamber Symphony. He received the 2005 Graham School Excellence in Teaching Award for the Humanities, Arts, and Sciences. Course Code LAMUMO Section 12S1 Spring 2012 Gleacher Center $345 Early registration ends March 21 $375 Regular registration Tuesdays March 27–May 15 10 am–12:30 pm Teacher Recertification CPDUs: 20
20th-Century Music This course counts as a Music Genre course for the Language of Music Certificate Program. Twentieth-century music is no longer “contemporary” music; it is becoming possible to put this complex and multifaceted century into context. We can now examine with reasonable objectiveness the influence and permanence of a diverse range of composers, from the once-radical (Schoenberg, Varese) to the once-reactionary (Rachmaninov, Copland) to the various “isms”: primitivism (Prokiviev, Orff), neoclassicism (Stravinsky, Les Six), minimalism, postminimalism, and neospirituality (Reich, Adams, Gorecki). Also included will be those figures defying classification, such as Shostakovich, Britten, Bartok, and Hindemith. John Gibbons See bio under The Life and Works of Mozart. Course Code LAMUTC Section 12S1 Spring 2012 Gleacher Center $345 Early registration ends March 21 $375 Regular registration Thursdays March 29–May 17 10 am–12:30 pm Teacher Recertification CPDUs: 20 Beethoven This course counts as a Focused Music Study course for the Language of Music Certificate Program. This course will examine the evolution of Beethoven’s music; in addition to the music itself, we will focus on the sociological, political, and philosophical interactions between Beethoven’s work and the turbulent events of his era, such as the French Revolution and the Napoleonic wars. Ultimately, the course aims to foster the acquisition of a deep sense of context for the listener, and to provide students with the skills and strategies needed for a deeper understanding of serious music. John Gibbons See bio under The Life and Works of Mozart. Course Code LAMUBV Section 12S1 Spring 2012 Gleacher Center $115 Saturday April 28 10 am–4 pm (one-hour lunch break) Teacher Recertification CPDUs: 5 Wagner’s Ring, Part Two Wagner’s Ring of the Nibelungen is unparalleled in the history of musical art, in terms of length, complexity, grandeur of design, and sheer intensity of emotional expression. To understand, appreciate, and reflect upon the significance of Wagner’s grand epic opera, this second of two courses (which can be taken on its own) will examine how the Ring cycle influenced Verdi, Debussy, Rimsky-Korsakov, Mahler, Richard Strauss, and Philip Glass, to name a few. The emphasis will be on how the great conductors have succeeded in realizing these beneficiaries of Wagner’s genius. Raymond Ciacci Mr. Ciacci is the dean of students and director of the MLA program, as well as a lecturer in the Humanities Collegiate Division in the College at the University of Chicago. He holds a PhD from the University of Chicago. Course Code BPOWRT Spring 2012 Gleacher Center $415 Early registration ends March 21 $445 Regular registration Section 12S1 Mondays April 2–June 18 (no class May 28) 6–9:15 pm Section 12S2 Wednesdays March 28–June 6 10 am–1:15 pm Teacher Recertification CPDUs: 33 Humanities Arts Brahms and the Passing of the Romantic Era This course counts as a Focused Music Study course for the Language of Music Certificate Program. Brahms’s traditional approach to harmony, rhythm, and melody concealed an acutely progressive and enduring reconciliation of classic and modernist perspectives—no surprise for a figure who lived in both Napoleonic and Freudian times. Our musical studies will include the haunting and comforting Requiem, the celebrated ungainliness of the piano works, the attenuated grandeur of the symphonies, and the autumnal melancholia of the chamber works. We will also discuss the lively Viennese atmosphere, including Brahm’s celebrated feuds with musical peers. John Gibbons See bio under The Life and Works of Mozart. Course Code LAMUBP Section 12U1 Summer 2012 Gleacher Center $345 Early registration ends June 13 $375 Regular registration Tuesdays June 19–August 7 10 am–12:30 pm Teacher Recertification CPDUs: 20 Great Conductors This course counts as a Music Genre course for the Language of Music Certificate Program. This course offers an overview of some of the great and frequently notorious conductors of the historical and modern eras. Especially useful for those who collect recordings, this course will educate participants in perceiving the essential characteristics that distinguish different interpreters of symphonic and operatic repertory. The richly anecdotal and highly eccentric nature of the subject will not be ignored, but the enormous difficulties of producing meaningful performances will be examined as well. John Gibbons See bio under The Life and Works of Mozart. 23
- Page 1 and 2: Spring and Summer 2012 THE COMPLEAT
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- Page 7 and 8: 5 IDEAS & BELIEFS GREAT CONVERSATIO
- Page 9 and 10: poetry, and peace studies at Shenzh
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- Page 13 and 14: James Joyce’s Dubliners James Joy
- Page 15 and 16: Course Code BPULDF Section 12U1 Sum
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- Page 19 and 20: Summer 2012 Continuing Arabic, Part
- Page 21 and 22: Empires and Art of the Ancient Silk
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- Page 31 and 32: WRITER’S 29 STUDIO TAKE YOUR DREA
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- Page 37 and 38: 35 ASIAN CLASSICS EXPLORE THE EAST
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long fascinated moviegoers. This<br />
new course examines what screen<br />
depictions <strong>of</strong> gangsters reveal about<br />
mainstream cultural, economic, and<br />
political climates. Why have filmmakers<br />
like Francis Ford Coppola<br />
and Martin Scorsese been drawn<br />
to this genre repeatedly? How did a<br />
hit TV series like The Sopranos add<br />
to conventions <strong>of</strong> the form? This<br />
course will explore these questions<br />
and analyze the allure <strong>of</strong> organized<br />
crime. Think <strong>of</strong> it as an <strong>of</strong>fer you<br />
can’t refuse.<br />
Andrea Gronvall<br />
Ms. Gronvall contributes to the<br />
Chicago Reader and Time Out<br />
Chicago, and websites Movie City<br />
News and Stop Smiling. A multiple-<br />
Emmy nominee for producing<br />
Siskel & Ebert, she holds a BS in<br />
film studies from Northwestern<br />
University.<br />
Course Code FSPVAG<br />
Section 12S1<br />
Spring 2012<br />
Gleacher Center<br />
$320 Early registration ends<br />
March 21<br />
$350 Regular registration<br />
Wednesdays<br />
March 28–May 16<br />
6–9:30 pm<br />
Teacher Recertification CPDUs: 28<br />
Point <strong>of</strong> View with Adam<br />
Kempenaar: Cinéma Vérité,<br />
the Documentary, and the<br />
Problem <strong>of</strong> Truth<br />
This course counts as a Point <strong>of</strong> View<br />
course toward the Language <strong>of</strong> Film<br />
Certificate Program.<br />
We are surrounded by the cinema<br />
<strong>of</strong> the real, from news and reality<br />
shows to documentaries and<br />
YouTube videos. Images are <strong>of</strong>ten<br />
presented as the truth, although<br />
the interaction between reality and<br />
film is complex. This course traces<br />
the evolution <strong>of</strong> the documentary<br />
form and examines the relationship<br />
between cinema and truth.<br />
We will pay particular attention to<br />
the movement in the 1960s and 70s<br />
known as cinéma vérité, or direct<br />
cinema, in which new technology<br />
allowed filmmakers to work unobtrusively.<br />
Films to be screened<br />
include Nanook <strong>of</strong> the North, Don’t<br />
Look Back, The Thin Blue Line, and<br />
Hoop Dreams.<br />
22<br />
Adam Kempenaar<br />
Mr. Kempenaar cohosts the film<br />
discussion podcast Filmspotting,<br />
which also broadcasts weekly on<br />
WBEZ (91.5 FM). He holds an MA in<br />
journalism from the University <strong>of</strong><br />
Iowa and BAs in film studies (Iowa)<br />
and English (Grinnell College).<br />
Course Code FSPVAK<br />
Section 12U1<br />
Summer 2012<br />
Gleacher Center<br />
$320 Early registration ends June 13<br />
$350 Regular registration<br />
Wednesdays<br />
June 20–August 15 (no class July 4)<br />
6–9:30 pm<br />
Teacher Recertification CPDUs: 28<br />
Ecstasy, Eccentricity, Cruelty,<br />
and Obsession: The Cinema<br />
<strong>of</strong> Extremes<br />
Twentieth-century directors and<br />
cinematographers frequently<br />
sought to examine the “self” in its<br />
most extreme manifestations. We<br />
will discuss pairs <strong>of</strong> films made by<br />
cinematographers such as Sven<br />
Nykvist, Conrad Hall, Haskell<br />
Wexler, Vilmos Zsigmond, and<br />
Vittorio Storaro, and consider the<br />
relationships between life at full tilt<br />
and the fear <strong>of</strong> impending death; the<br />
pleasures and anxieties surrounding<br />
sexual obsession; and the links<br />
between memory and the need to<br />
unpack significant puzzles. Films<br />
discussed will include Last Tango<br />
in Paris, Who’s Afraid <strong>of</strong> Virginia<br />
Woolf?, Memento, Chinatown, Death<br />
in Venice, and Fatal Attraction.<br />
Elliott Krick<br />
Mr. Krick holds an MA in English<br />
from the University <strong>of</strong> Chicago<br />
and has been teaching in the Basic<br />
Program since 1965, specializing in<br />
film courses.<br />
Course Code BPUEEC<br />
Summer 2012<br />
Gleacher Center<br />
$335 Early registration ends June 13<br />
$365 Regular registration<br />
Section 12U1<br />
Tuesdays<br />
June 19–August 7<br />
10 am–1:15 pm<br />
Humanities Arts<br />
Section 12U2<br />
Wednesdays<br />
June 20–August 15 (no class July 4)<br />
10 am–1:15 pm<br />
Teacher Recertification CPDUs: 24<br />
MUSIC<br />
Certificate in the<br />
Language <strong>of</strong> Music<br />
<strong>Graham</strong> <strong>School</strong> music students have<br />
the opportunity to earn a University<br />
<strong>of</strong> Chicago credential through<br />
this six-course certificate program.<br />
A mix <strong>of</strong> one-day introductory<br />
seminars and eight-week courses,<br />
the Language <strong>of</strong> Music Certificate<br />
Program is designed for students<br />
seeking understanding <strong>of</strong> music<br />
beyond mere appreciation. Find<br />
more information at grahamschool.<br />
uchicago.edu/music.<br />
The Life and Works <strong>of</strong> Mozart<br />
This course counts as a Focused<br />
Music Study course for the<br />
Language <strong>of</strong> Music Certificate<br />
Program.<br />
This course will examine Mozart’s<br />
precociousness, his impressive<br />
assimilation <strong>of</strong> Italianate and<br />
Germanic styles, and his relationship<br />
to the turbulent social transitions<br />
<strong>of</strong> his time. Divided between<br />
biographic study and music analysis,<br />
the course will discuss seminal<br />
masterworks, including operas,<br />
piano concertos, and symphonies.<br />
John Gibbons<br />
Mr. Gibbons holds a PhD from the<br />
University <strong>of</strong> Chicago Department<br />
<strong>of</strong> Music. His works have been<br />
performed at the Rockefeller Music<br />
Competition and by the Minnesota<br />
Chamber Symphony. He received<br />
the 2005 <strong>Graham</strong> <strong>School</strong> Excellence<br />
in Teaching Award for the Humanities,<br />
Arts, and Sciences.<br />
Course Code LAMUMO<br />
Section 12S1<br />
Spring 2012<br />
Gleacher Center<br />
$345 Early registration ends March 21<br />
$375 Regular registration<br />
Tuesdays<br />
March 27–May 15<br />
10 am–12:30 pm<br />
Teacher Recertification CPDUs: 20
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