ART1201 Introduction to Digital Arts and Design

4 Free Elective Credits

Students develop technical, conceptual, and aesthetic experience pertaining to the creation of two-dimensional digital artworks as well as artworks that engage with the fourth dimension of art: space and time. Students gain an introductory knowledge of several art and design software programs. Included topics in the course are digital drawing, designing digital collages, and time-based digital media. Note: Babson Photography program has digital and lenses to check out but only a limited number of digital fully manual cameras are on reserve.

Prerequisites: None

CSP2013 Introduction to Sustainability
4 CreditsThis case-based course introduces students to the basic concepts and tools that the liberal arts (science, social science, and the humanities) bring to a consideration of sustainability. Students develop the cross-disciplinary awareness and collaboration skills needed to approach environmental issues holistically.

Prerequisites: (RHT and AHS) or (FCI and WRT 1001)

JPN2200 Japanese I
4 CreditsAn introduction to a practical and functional knowledge of Japanese as it is used in contemporary society. Students will learn the fundamental use of the Japanese language by exercising all four language skills: listening, speaking, reading, and writing. Two basic writing systems, hiragana and katakana and some kanji, are taught to promote literacy in Japanese environments. An introduction to Japanese culture, which is inseparable from learning the language, is provided through demonstrations, videos, and films. Students are required to do at least two projects which introduce some aspect of Japanese culture.

Prerequisites: None

JPN4610 Elementary Japanese II
4 Advanced Liberal Arts CreditsA continuation of the Fall semester, this course develops more advanced language skills as well as explores social and culture aspect of Japanese society. The course includes visits to local places, such as Japan Society of Boston, where students try their language skills in real-world settings. Students will engage in hands-on participation in Japanese cultural activities. They will also explore some Japanese business protocol. In addition, they will learn approximately 150 Kanji writing symbols and use hiragana and katakana extensively in the classroom and with computer word processing.

HSS2003 Latin American History
4 Intermediate Liberal Arts CreditsThis course will be an introduction to the main themes, processes, and ideas in Latin American history since 1810. The central focus will be on Mexico, the Caribbean, and the ABC countries (Argentina, Brazil, and Chile), without neglecting the main thinkers and major historical events from other countries. It will develop familiarity with critical developments in modern Latin American history such as slavery, modernization, neocolonialism, racism, and migratory flows. At times it will take a global perspective to situate Latin America in its proper international context, paying close attention to US-Latin American relations. In other words, the main goals of the course will be to cultivate an understanding of key concepts, developments, and issues in the region's history, while offering a sense of Latin America's human and cultural diversity.

Prerequisites: (FCI1000 or AHS1000) and (WRT1001or RHT1000)

LTA2050 LIT & VIS ART INTRM

4 Credits

Prerequisites: (FCI1000 or AHS1000) and (WRT1001or RHT1000)

LVA2050 LIT & VIS ART INTRM

4 Credits

Prerequisites: (FCI1000 or AHS1000) and (WRT1001or RHT1000)

LIT4620 Literature and Philosophy of Madness
4 Advanced Liberal Arts CreditsThis course engages the question of madness from a variety of angles. On the one hand, it considers the major theorists of insanity (Sigmund Freud, Michel Foucault, Gilles Deleuze); and on the other, it considers the equally crucial works of supposedly "insane" writers themselves (Antonin Artaud, Unica Zurn, Vaslav Nijinsky). In doing so, we will trouble the many definitions and assumptions surrounding the category of madness and its problematic history of oppression. Ultimately, through this remarkable exchange across literary-philosophical frontiers, we will explore an immense world of visions and symptoms, including those of mania, schizophrenia, delusion, paranoia, melancholia, and obsession.

Prerequisites: Any combination of 2 ILA (HSS, LTA, CSP, LVA, CVA)

LVA2446 Joy, Beauty, Justice: Literature of the Black Atlantic
Intermediate Liberal Arts_The Black Atlantic_ is a term used to describe the deep cultural and artistic connections among people of African descent relocated by the slave trade throughout the Americas and Europe. While it often evokes the horrors of the Middle Passage, slavery, and ongoing racist legacies, literature produced by African peoples in Africa, Europe, and the Americas also constitutes an archive of strength, resistance, and even joy in the face of injustice and oppression. We will read literature from the Black Atlantic with this transformative potential in mind. Beginning with the slave narrative, the course will sample literary production from the three continents, noting shared formal and imaginative characteristics, and ending with the most vibrant work by contemporary literary artists of the African diaspora.

Prerequisites: (FCI1000 or AHS1000) and (WRT1000 or RHT1000)

LTA2074 Literature of Witness
4 Intermediate Liberal Arts CreditsThe film Ararat, by Atom Egoyan, contains testimony from a woman who has witnessed a massacre of young brides. She asks, "Now that I have seen this event, how shall I dig out these eyes of mine?"

This woman occupies the most direct position-the eyewitness-in relation to an extreme event; however, the question of witnessing also extends to all of us who encounter images and stories of atrocities in our everyday lives. We will trace the concept of witnessing in philosophical, legal, and human rights contexts before turning to novels and other literature of witness by international writers such as Pat Barker, Nadine Gordimer, Gunter Grass, Primo Levi, Gabriel Garcia Marquez, Rigoberta Menchu, Toni Morrison, and Virginia Woolf in order to investigate the following questions: What kinds of events generate or require witnesses, and how does witnessing differ from simply seeing? What effects does the event have upon the witness, and vice versa? What does it mean for literature to act as a kind of witness? How can literature ethically represent or "witness" extreme events? What responsibilities do we have to serve as witnesses to extreme global events, and what do we do with the energy created by our witnessing of such events?

Prerequisites: (FCI1000 or AHS1000) and (WRT1001or RHT1000)