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Larry D. Carver, Director CLA 2.104, Mailcode G6210, Austin, TX 78712 • 512-471-3458

Course Descriptions

HMN 350 • Drama In The Archives

40130 • Lang, Elon
Meets MWF 100pm-200pm CLA 0.122
(also listed as LAH 350)
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Have you ever wondered how a play or film might have turned out differently? Dramatic performance is by nature ephemeral—years of planning and preparation culminate in just short hours of activity shared between actors and audience. Even when the performance results in a film that can be replayed, its production process is hidden from the audience’s view.  Yet it leaves significant traces: scripts, drafts, notes, drawings, photos, playbills, reviews, correspondence, recordings, costumes, criticism, editions, and more. For some of the greatest dramatists and filmmakers in history, tracing such material leads to our very own Harry Ransom Center on the UT campus.

 In this class, students will explore related questions: What can we learn about a drama from its archival record? What changes have occurred in the course of a drama’s development and through its production history? Students will study samples from the Ransom Center’s strong holdings in modern and contemporary Anglophone drama, plus some Shakespeare. (We might include different versions of King Lear in the first seventeenth-century editions of the text; Modern/Contemporary works might include those of Arthur Miller, David Mamet, Tennessee Williams, George Bernard Shaw, Samuel Beckett, Tom Stoppard, David O. Selznick, and Robert DeNiro.) While learning archival research methods, students will train their analytical senses to notice plays’ character development ambiguities and implicit nuances of plot and cultural commentary. They will explore further complexities by examining records of playwrights, actors, producers, costume companies, designers, film directors, etc. in the archives at the Ransom Center.


Beyond gaining familiarity with several significant examples of Anglophone drama and the cultural contexts in which their creators were situated, students will learn about the impact the study of textual variation, publication history,production history, and archival research can have on literary, theater, or film history arguments. Students will work to sharpen their analytical writing and scholarly research skills through several targeted close reading exercises describing and comparing primary sources and surveys of published secondary critical and historical research material. Students will gain skills in the study of Shakespeare and modern/contemporary English-language playwrights, screenwriters, actors, and participants in productions. They will also gain familiarity with how to go about pursuing archival research through practical examples presented in class and at the HRC, and through an independent final research project focused on an item or small group of items held there.

 Class Format and Selected Readings:

 For the first 4 weeks, students will become oriented toward scholarly research in the Harry Ransom Center and University Libraries, while reading examples of archival research and essays on topics related to archival research practices and goals in theater, literature, and film. The first subject we’ll analyze will be Shakespeare, since his works transcend boundaries between humanities disciplines. Students will become familiar with the range of materials the HRC houses and all sorts of drama by viewing examples of seventeenth-century printed editions of plays, costume designs from the 19th and 20th centuries and adaptations by other writers (both published and unpublished). The first two essays will be due during this period.

 In the next 6-8 weeks readings will be from the works of modern and contemporary dramatists who are featured prominently in the Ransom Center. Each 3-4 class periods, the class will read one play, learn about the author and its production history, and peruse materials at the Ransom Center as selected by the instructor. Students will sign up to develop and present their third and fourth essays on some of these materials.

 During the final 3-5 weeks of the course, students will develop and write their final research projects. Full class meetings will be reduced to once-per-week or fewer to allow students more time to work in the HRC and set up meetings with the instructor.

Readings and viewings of modern/contemporary works may be drawn from:

David Mamet, e.g. Oleanna, which underwent significant changes after its initial performances to make its social criticism more ambiguous)

Arthur Miller, e.g. The Crucible, Death of a Salesman

Tennessee Williams, e.g. Cat on a Hot Tin Roof, Glass Menagerie, Streetcar Named Desire (which all started off with really terrible titles)

Samuel Beckett, e.g. Waiting for Godot

Tom Stoppard, e.g. Rosencrantz and Guildenstern are Dead

G.B. Shaw, e.g. Pygmalion

Robert DeNiro, e.g. A Bronx Tale, Goodfellas, The Deer Hunter

 Essays/Chapters in:

Cambridge Companion to Shakespeare on Stage

Performing Shakespeare’s Tragedies Today

Research Methods in Theatre and Performance, ed. Baz Kershaw, 2011

Understanding Archives and Manuscripts, by James M. O’Toole and Richard J. Cox, 2006

Documentation, Disappearance, and the Representation of Live Performance, by Matthew Reason, 2006

Online resources:  HRC sites

  Archival Research Methods:

 Assignments and Grading:

 Class participation, regular meetings with instructor, presentation of work to class         5%

Essay #1: Comparative close reading of two versions of a Shakespeare text                  15%

Essay #2: Study of an historical production (or film) of a Shakespeare play                      15%

Essay #3: Response to a scholarly essay on a modern/contemporary play/film                15%

Essay #4: Analysis of potential vs. made choices in a performance or production           15%

Research Project:                                                                                                                      35%

Discovery and description of an item(s) in the HRC that allow you to make a claim about the interpretation of the work in the context of its production and/or documentary history and why it is significant for the analysis of the work, its dramatists, actors, and history.


HMN 350 • Leadership And Ethics

40133 • Drumwright, Minette E
Meets TTH 1230pm-200pm CMA 3.116
(also listed as LAH 350)
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The central purpose of the course is to examine business and the professions in the larger context of society.  Such an examination requires consideration of a multitude of issues ranging from normative philosophical positions to practical day-to-day decision making by managers, professionals, and leaders.  The goal is to raise important questions and issues and to help students think about how to think about them.  The course is neither a course in ethics nor a course in management per se, but it prompts students to approach the issues of business and society in a more integrative and systematic way.  The course should be of interest to a wide range of students, and it does not presume previous courses in ethics or business.

Drumwright, Business Professionals & Society  (these are cases and readings in a course packet)

Class Participation 30%

Two 8-page case write-ups

One 15-page paper (group project)

(papers comprise 70% of final grade)

HMN 350 • Money In Politics

40140 • Roberts, Brian
Meets T 330pm-630pm CLA 0.122
(also listed as GOV 379S, LAH 350)
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Course Description


This course explores the nature and consequences of money in American politics and why, at this point in history, we find ourselves embroiled in the most significant debate over campaign finance reform in over thirty years. The debate goes to the heart of the U.S. Constitution, pitting the First Amendment rights of speech and assembly against the perceived fairness and efficacy of a republican government awash, some claim, in increasingly unaccountable money. 

Campaign finance issues lie at the crossroads of a bewildering number of analytical perspectives. We (must) examine the work of historians, social scientists, legal scholars, and interested parties on all sides of the debate in an effort not only to assess current policy debates but also to understand how we got here.

The objective of the course is not to persuade you of any particular point of view but, rather, to arm you with the substantive knowledge, theoretical foundation and analytical tools needed to be resolute in whatever conclusions you draw from this experience.

Course Requirements


This course is an honors seminar.  As such, there is a premium on preparation and participation.  Final grades are based on class participation, two tests and two class projects:


Participation:   10%

1st Project:     15%

2nd Project:   20%

First Test:      25%

Second Test: 30%


Grades will be based on the +/- scale.




La Raja, Raymond. Small Change: Money, Political Parties and Campaign Finance Reform. Ann Arbor: University of Michigan Press. 2008.

Lessig, Lawrence. Republic, Lost: How Money Corrupts Congress--and a Plan to Stop It. New York: Twelve. 2011.

Samples, John. The Fallacy of Campaign Finance Reform. Chicago: University of Chicago Press. 2006.

HMN 358Q • Supervised Research

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Supervised Research. Individual instruction. Prerequisite: A
University grade point average of at least 3.50 and consent of the
liberal arts honors program adviser. Only one HMN 358Q may be applied towards college honors. Course may be repeated.

HMN 370 • Senior Tutorial Course

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A tutorial program of supervised reading and writing, including an individual paper or papers in which the student draws together the central directions and discoveries of his or her studies in the humanities. Humanities 370 and 679HB may not both be counted.

Prerequisite: Consent of the humanities adviser.

HMN 379 • Conference Course

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Individual instruction in a topic approved by the instructor and the humanities adviser.

Prerequisite: Upper-division standing and consent of the humanities adviser.

Hour(s) to be arranged. May be repeated for credit.

HMN 679HA • Honors Thesis

(also listed as LAH 679TA, LAH 679TB)
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Directed reading and research, followed by the writing of a report or the creation of a project. Humanities 370 and 679HB may not both be counted.

Prerequisite: For 679HA, admission to the Humanities Honors Program and consent of the humanities adviser; for 679HB, Humanities 679HA.

Class meets Thursdays 3-4p in PAR 214.

HMN 679HB • Honors Thesis

(also listed as LAH 679TA, LAH 679TB)
show description

Directed reading and research, followed by the writing of a report or the creation of a project. Humanities 370 and 679HB may not both be counted.

Prerequisite: For 679HA, admission to the Humanities Honors Program and consent of the humanities adviser; for 679HB, Humanities 679HA.

Class meets Thursdays 3-4p in PAR 214.

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