Additional Honors Seminars may count toward your Honors Experience credits, as long as you have not reached the maximum of 9 credits for the Honors Seminar category. You may enroll in these courses on your own using Schedule Builder. Exceptions for enrollment are noted below.
The following Honors Seminars are being offered for the spring 2019 semester:
Mondays 3:00-5:50 p.m. | 134C Greiner Hall
Throughout the service-learning course you'll serve as a mentor, tutor middle school students, and support teachers in the Buffalo Public Schools. The work for this course allows you to put your love of your own academic background and commitment to community engagement to work.
Tuesdays and Thursdays 9:30-10:50 a.m. | 902 Clemens
Relations between literature and the arts can go far beyond illustration, commentary, and adaptation. Can a work of art read a work of literature? How do “non-verbal” art forms invite us to interrogate language when they incorporate literary texts? How, in turn, can literature transform the other arts? Can literature and the arts transform language? And what about space, time, and reality itself?
The French writer Stephane Mallarmé, the Impressionist painters, and composers such as Debussy and Ravel, for example, had conversations across different media that resulted in fascinating possibilities of creating new meanings, images, spaces, perceptions and temporalities. We will discover unexpected interactions by reading modern experimental texts about painting, music, photography, and other forms of modern art, and by experiencing artworks in these media that incorporate and expand radical literature starting in the late 19th century. Emily Dickinson’s poetry and American artist Roni Horn’s recent White Dickinson sculptures (2006) creatively interpret each other. Mexican artist Damián Ortega’s video-recorded action piece Moby Dick (2004) gives Herman Melville’s mysterious white whale a new context in a post-industrial Latin American setting, where a Volkswagen Beetle embodies the whale.
The artists and writers we study propose different modes of viewing, sensing, feeling, and thinking, which introduces to our own investigations the heightened mode of awareness known as aesthetic experience. What does this experience reveal to us? We get a stunning answer through Macabea, the female Brazilian protagonist living an urban life in poverty in Clarice Lispector’s The Hour of the Star, a 1977 novel that Suzana Amaral turned into a film. Yet you may find out even more about aesthetic experience in this course by undertaking a creative photographic and textual experiment of your own throughout the semester, as you read Camera Lucida, Roland Barthes’ essay on photography, love, and loss. By exposing yourself to unconventional ideas about writing and creation in the classroom, at art exhibits, and in everyday life, you will expand your close reading skills in a variety of media, develop a critical vocabulary to discuss literature, music, and the visual arts, and see how your investigations can change your way of understanding, shaping, and sharing the present world. These skills will offer you a more meaningful engagement in the professional undertaking of your choice, and beyond.
Wednesdays 4:00-6:40 p.m. | 108 Capen
In this applied course, students will play a key role in a major university/public history initiative: an exhibit spotlighting national/international figures in civil rights and related movements who spoke at UB during the 1960s and 1970s. Accompanying programs during the run of the exhibit will explore the exciting and often turbulent history of Buffalo and UB during those years—the local context for those, often students, who invited these speakers, and for the audiences drawn to meet and hear them.
Through the course, students will conduct oral histories with people across the university and community, in a range of specific areas keyed to the planned programs. Program planners will identify a broad range of interview subjects. Students will then, both individually and in teams, research, plan, conduct, and process archival quality oral histories, and prepare them for flexible public use. Class time will ground this work in background readings and thorough training in oral history technique and methodology. But the major work of the course will be “out there”— crucial oral histories that will become a valuable archive and add immediate value to the university and public reflection on this crucial era.
Last updated: February 05, 2019 4:53 pm EST