American experience at home and abroad from Pearl Harbor to the end of the Cold War. Topics include: America's role as global superpower, foreign and domestic anticommunism, social movements of left and right, suburbanization, and popular culture.

A comparative study of the grand strategies and military doctrines of the great powers in Europe (Britain, France, Germany, and Russia) from the late nineteenth to the mid-twentieth century. Examines strategic developments in the years preceding and during World Wars I and II. What factors have exerted the greatest influence on national strategies? How may the quality of a grand strategy be judged? Exploration of comparative case study methodology also plays a central role. What consequences seem to follow from grand strategies of different types? Open to undergraduates with permission of instructor.

In this course the conquest and colonization of the Americas is considered, with special attention to the struggles of native peoples in Guatemala, Canada, Brazil, Panama, and colonial New England. In two segments of the course-one devoted to the Jesuit missionization of the Huron in the 1630s, the other to struggles between the government of Panama and the Kuna between 1900 and 1925-students examine primary documents such as letters, reports, and court records, to draw their own conclusions. Attention focuses on how we know about and represent past eras and other peoples, as well as on the history of struggles between native Americans and Europeans.

Creative activity (isn't) the icing on the cake. Human creativity is the cake. (Jerry Hirschberg) Creativity - "The mastery of information and skills in the service of dreams" (Hirschberg) - is much prized in the arts, science, business and the classroom. What does the creative process look like? Under what conditions does it flourish - what ignites the creative spark? Attempting to answer these questions, this class explores ways creativity has been understood in Western culture: what we prize and fear about creativity and its wellsprings; how writers, artists, scientists and inventors have described their own creative processes; how psychologists and philosophers have theorized it; ways in which creativity has been represented in Western culture, particularly in 20th century films; and creativity in everyday life, including our own lives. Readings include portions of psychologist Rollo May's The Courage To Create, and essays by Joan Didion, John Updike, Alice Walker, Oliver Sacks, and others. In addition, we'll watch video profiles of choreographer Paul Taylor, architect Maya Lin, and jazz musician Dave Brubeck. We'll keep journals in which we note our own observations and reflections on creative process. We will also watch a film together as a class one evening early in the term.

This class will study some of the changing ideas within modern physics, ranging from relativity theory and quantum mechanics to solid-state physics, nuclear and elementary particles, and cosmology. These ideas will be situated within shifting institutional, cultural, and political contexts. The overall aim is to understand the changing roles of physics and of physicists over the course of the twentieth century.

Studies important twentieth-century texts from Spain and Latin America that represent the principal fictional genrespoetry, theatre, short story, and the novel. Includes works by Bombal, Lorca, Neruda, Vallejo, Machado, and Garca Mrquez. Taught in Spanish. Subject offered Spring 2003 and Fall 2004.

Subject studies important examples of the literary form that, between the beginning of the eighteenth century and the end of the nineteenth century, became an indispensable instrument for representing modern life, in the hands of such writers as Defoe, Richardson, Fielding, Sterne, Burney, Austen, Scott, Dickens, the Brontes, Eliot, Hardy, and Conrad. The class alternates between eighteenth and nineteenth century topics, and may be repeated for credit with instructor's permission.

Aims to develop a teaching knowledge of the field through extensive reading and discussion of major works. The reading covers a broad range of topics -- political, economic, social, and cultural -- and represents a variety of historical methods. Students make frequent oral presentations and prepare a 20-page review essay.

Examines the experiences of ordinary Chinese people as they lived through tumultous change in the twentieth-century. Class discussion focuses on personal memoirs and films. Includes comparisons of the People's Republic of China, Taiwan, Hong Kong, and Singapore. 21F.991 is for students pursuing a minor in Chinese; students complete assignments in Chinese.

Subject explores why people join mass political organizations and social movements; what accounts for the ultimate success or failure of these organizations; how social movements have altered political parties and institutions. Critically considers a range of theoretical treatments and a variety of national cases. Graduate students are expected to pursue the subject in greater depth through reading and individual research. This course seeks to provide students with a general understanding of the form of collective action known as the social movement. Our task will be guided by the close examination of several twentieth century social movements in the United States. We will read about the U.S. civil rights, the unemployed workers', welfare rights, pro-choice / pro-life and gay rights movements. We will compare and contrast certain of these movements with their counterparts in other countries. For all, we will identify the reasons for their successes and failures.

This course centers on the changing relationships between men, women, and technology in American history. Topics include theories of gender, technologies of production and consumption, the gendering of public and private space, men's and women's roles in science and technology, the effects of industrialization on sexual divisions of labor, gender and identity at home and at work.

21F.031 examines the terms "avant garde" and "Kulturindustrie" in French and German culture of the early twentieth century. Considering the origins of these concepts in surrealist and dadaist literature, art, and cinema, the course then expands to engage parallel formations across Europe, particularly in the former Soviet Union. Emphasis on the specific historical conditions that enabled these interventions. Guiding questions are these: What was original about the historical avant-garde? What connections between art and revolution did avant-garde writers and artists imagine? What strategies did they deploy to meet their modernist imperatives? To what extent did their projects maintain a critical stance towards the culture industry? Surveying key interventions in the fields of poetry, painting, sculpture, photography, film, and music, the readings also include signal moments in critical thought of the last century. Figures to be considered are: Adorno, Aragon, Bataille, Beckett, Brecht, Breton, Bürger, Duchamp, Eisenstein, Ernst, Jünger, Greenberg, Kandinsky, Malevich, Mayakovsky, and Tzara. Taught in English, but students are encouraged to consult original sources when possible.

Students will create a museum display illustrating life during the late nineteenth and early twentieth centuries.