Our Institute was chartered by Wesleyan University in 2009 to provide educational opportunities to members of the community outside of formal

degree-granting programs. Our objective is to employ the talents of retired and current members of the Wesleyan faculty, plus a few others who are similarly qualified, to present a series of short, intellectually stimulating, and lively courses to area residents. These courses are offered at minimal cost, are not part of a degree program, and are designed to cover areas of particular interest to people in our community. Special one-day courses on particular topics are offered once each semester. Enrolled students have access to the academic resources of Wesleyan University, including Olin Library. Classes are conveniently scheduled in the afternoon and early evenings. Parking is available and classrooms are accessible. Classes are, in general, quite small, allowing close interaction between instructors and students.

ASSOCIATE DIRECTORS

■ HERBERT A. ARNOLD Professor of German and Letters Emeritus

■ RICHARD J. FRISWELL Editor, ARTES magazine

ADVISORY BOARD

■ DAVID BEVERIDGE Professor of Chemistry, Emeritus, Wasch Center Co-Director

■ JENNIFER CURRAN Director, Continuing Studies and Graduate Liberal Studies Program

■ ALEX DUPUY Professor of Sociology, Emeritus, Wasch Center Co-Director

■ ANDY SZEGEDY-MASZAK Professor of Classical and Environmental Studies

■ DUFFY WHITE Professor of Russian Language and Literature, Emeritus

ADMINISTRATIVE ASSISTANT

■ JESSIE STEELE

ENROLLMENT INFORMATION

■ WESLEYAN INSTITUTE FOR LIFELONG LEARNING 51 Lawn Avenue Middletown, CT 06459 (860) 685-3005 | will@wesleyan.edu | wesleyan.edu/will

~ CURIOSITY IS AGELESS ~WESLEYAN INSTITUTE for LIFELONG LEARNING51 Lawn Avenue

Wesleyan UniversityMiddletown, CT 06459

(860) 685-3005 | will@wesleyan.edu

wesleyan .edu/will

T H E WE S L EYAN I N S T I T U T E F O R

LIFELONG LEARNING

FALL 2017

T H E WE S L EYAN I N S T I T U T E F O R

LIFELONG LEARNING

Rise of the Right: Hitler, Mussolini, Stalin, and the

Age of ExtremismIn the years following the Armistice and Treaty of Versailles in 1918, the nations of Europe descended into political and economic turmoil. From that period of post-war social unrest arose a series of events and leaders that fed on dis-sention, forces that furthered certain national agendas. Dictators rose to prominence in Italy, Germany, and the Soviet Union, as vast popula-tions fell prey to their divisive interests—with millions more paying with their lives. This semi-nar will explore some of the key themes that defined the decades of the 1920s and ’30s, lead-ing inexorably to yet another devastating global conflict. Prospects for a repetition of these occurrences in the near term will be considered.

SPEAKERS:

ERIK GRIMMER-SOLEM, associate professor of history, “Cauldron of Fascism: World War I, the Paris Peace, and the Emergence of the Radical Right in Italy and Germany.”KARL E. SCHEIBE, professor emeritus, social psychology, “Utopias and Total Institutions as Analogs to Dictatorships.”

LUNCH BREAK

RICHARD J. FRISWELL, associate director, Wesleyan Institute for Lifelong Learning, “Creative Repression: The Visual Arts as Social Commentary in Interbellum Europe.”

SCREENING:

Selections from the Nazi-era documentary Triumph of the Will (Triumph des Willens) (1935), directed by Leni Riefenstahl.

AFTERNOON ROUNDTABLE:

Joined by GIULIO M. GALLAROTTI, professor of government, and other conference faculty, in conversation: “Climate and Conditions for Fortress Nationalism: Can It Happen Again?”

SATURDAY, OCTOBER 14 | 9 A.M.–4:30 P.M.ALLBRITTON 311 | $125

— COFFEE AND LUNCH WILL BE PROVIDED —

THE SATURDAY INSTITUTE for LIFELONG LEARNING

Diego Rivera, Frida Kahlo, and Edsel Ford: Two Communists and a Titan of Capitalism

Confront the Realities of the Modern Industrial Workplace and Make Great Art

In 1932, Diego Rivera and his wife, Frida Kahlo, both Mexican artists and committed communists, traveled to Detroit at the invitation of the Detroit Institute of Arts, so that Rivera could paint murals on the walls of the museum’s great atrium. The commission was funded by Edsel Ford, president of the Ford Motor Company and son of Henry Ford. The unlikely partnership of the artists and Ford ultimately produced the Detroit Industry Murals—one of the great works of art in America. How did the personal histories of Rivera, Kahlo, and Ford intersect? How were the colossal murals produced? What happened to Rivera, Kahlo, and Ford after the project was completed, and what was the social and artistic impact of the murals?

■ RICHARD VOIGTFIVE TUESDAYS: SEPTEMBER 19, 26; OCTOBER 3, 10, 17 | 6–8 P.M.WASCH CENTER, BUTTERFIELD ROOM | $170

New York City in the 1940sThis course looks at the cultural life of New York City in a decade of extraordinary transformation. The 1940s were the years when New York became a dominant center of global power and widely regarded as the capi-tal of the world. It was also an era when the city was at the leading edge of deep transformations in social geography, urban form, and political and cultural life that would soon come to characterize much of the United States. We will discuss the way these and other factors made New York in the 1940s a seedbed of the great artistic and intellectual movements of the latter half of the 20th century. Our main focus will be on the era’s literary culture, but we will also touch on drama, philosophy and criticism, painting (including surrealism and abstract expressionism), photography, classical music and jazz, and dance.

■ SEAN McCANNTHREE THURSDAYS: NOVEMBER 2, 9, 16 | 6–7:30 P.M.ALLBRITTON 103 | $80

From Saint-Domingue to Haiti: The Revolution that Shook the Atlantic

World, 1791–1804By all measures, the Saint-Domingue Revolution of 1791–1804, also known as the Haitian Revolution, transformed the modern world. The American Revolution (1776), and the French Revolution (1789) were fought for the principles of self-determination, liberty, equality, and fraternity, but applied them to white men only—while maintaining a system of chattel slavery in the New World. The Saint-Domingue/Haitian Revolution, fought by black slaves and free people of color, challenged the premises of colonialism, slavery, and white supremacy, declaring that the ideals of equality, liberty, and self-determination belonged to all human-ity, thereby making it the first truly modern revolution. If, by definition, modernity includes a belief in the universal equality of the human race, then the Saint-Domingue/Haitian Revolution was the first of the modern epoch—associated with the rise of global capitalism in the 16th century—to have been fought for that purpose.

This short course will examine the characteristics of the French colony of Saint-Domingue in the 18th century: its class and racial order; the system of chattel slavery and plantation production; and other factors that led to the revolution that culminated in Saint-Domingue declaring its indepen-dence from France in 1804 and renaming itself the Republic of Haiti. PRINCIPAL READING: C. L. R. James, The Black Jacobins: Toussaint Louverture and the San Domingo Revolution (Vintage Books Edition, 1963/1989).

■ ALEX DUPUYTHREE WEDNESDAYS: OCTOBER 11, 18, 25 | 5:30-7:30 P.M.WASCH CENTER, BUTTERFIELD ROOM | $100 | CLASS LIMIT: 15

American Material CultureThis lecture-and-discussion course will explore American material culture from colonial times through the early 20th cen-tury. What did objects mean to their mak-ers as well as to their users, and to us today? While art history generally focuses on the fine arts—paintings, sculpture, and graphic arts—“material culture” covers a wider range of expression, encompassing architecture, folk, and vernacular art, as well as ephemera, textiles, pottery, glass, metalwork, wood, and plastic.

How can objects tell stories about the American experience—the American Revolution, the history of slavery, childhood in 18th- and 19th-century America, and the changing lives of women, for example? We will examine topics such as food culture, death and mourning, war, politics, and industrialization. We will also consider how our understand-ing of the past has been shaped by previous efforts at preserving memory, such as the colonial revival of the late 19th/early 20th century.

■ TANYA POHRT FIVE THURSDAYS: OCTOBER 19, 26; NOVEMBER 2, 9, 16 | 6:30–8:30 P.M.WASCH CENTER, BUTTERFIELD ROOM | $170

Exploring the Experience of Commoners through the Lens of Woodblock Prints

in the Edo Period of JapanIn the 19th century, Edo—now Tokyo—was one of the largest cities in the world, with a population of more than one million. Wesleyan’s Davison Art Center collections contain over 600 prints from 17th- to 19th-century Edo. Using these great art works, this course will explore and examine the social, political, and cultural circumstances of common citizens through the lens of woodblock prints. Students will watch selected videos about art-ist Katsushika Hokusai (1760–1849) and explore the streets of Edo from the artist’s perspective. Students will also have a chance to gain hands-on experience by making a woodblock print.

■ KEIJI SHINOHARA FIVE MONDAYS: SEPTEMBER 18, 25; OCTOBER 2, 9, 16 | 5:30–7:30 P.M.WASCH CENTER, BUTTERFIELD ROOM | $170

Ukulele Workshop with Jumpin’ Jim BeloffIn the first of three classes, there will be an introduction to the basics of playing the ukulele: holding, tuning, strumming, and making chords. A dozen or so well-known songs will be played, along with learning new chords, strums, tips, and techniques along the way. The second class rein-forces the techniques of the first with a whole new set of songs drawn from our Daily Ukulele songbooks. The final class takes skills to a whole new level. Another dozen or so well-known songs will be played while learning more chords, new fingerings, new strums, a picking pattern, reading ukulele tablature, transposing on the fly, and performance tips and techniques.COURSE REQUIREMENTS: A GCEA-tuned ukulele and a copy of the Daily Ukulele songbook, which is easy to find at music stores, on Amazon, or online at fleamarketmusic.com.

■ JIM BELOFFTHREE THURSDAYS: SEPTEMBER 21, 28; OCTOBER 5 | 6–8 P.M.WASCH CENTER, BUTTERFIELD ROOM | $75

Understanding Islam: Introduction to a Misunderstood Faith

Islam is a religion of 1.7 billion people across 196 countries with 50 being Muslim majority countries. Approximately one-fourth of the world’s pop-ulation is Muslim. The word Islam comes from salaam (Hebrew: shalom), meaning peace, and Allah, the Muslim word for God. Humanity is linked by so many common ties through faith and language, yet strife, rather than our common humanity, is so often what captures our attention. Are you curious about the difference between Islam and Muslims? Or the gulf that separates ISIS followers, with their acts of terror and violence, from the rest of the Islamic community? Do you want to know why Muslim women wear the headscarf (hijab)? Or why Muslims place such value on a pilgrim-age to Mecca at least once in their lifetimes? This whirlwind course will touch on the highlights of the Muslim faith and promote active discussion.

■ SAMI A. AZIZTHREE TUESDAYS: NOVEMBER 14, 28; DECEMBER 5 | 6–8 P.M.WASCH CENTER, BUTTERFIELD ROOM | $100

FACULTY ■ SAMI A. AZIZ is a graduate of the Master’s in Islamic Chaplaincy

program at Hartford Seminary. He serves as Wesleyan University’s Muslim chaplain and is an Assistant Imam for the Bloomfield Muslim Community Center. He is founder of Common Ground Institute and Services (CommonGroundServices.org), a consulting organization dedicated to edu-cating the public in Islam and collaborating for peace. He is a founding mem-ber of the Interfaith Refugee Resettlement Committee and active in public education regarding the Muslim faith.

■ JIM BELOFF is the author of The Ukulele—A Visual History and arranger of the Jumpin’ Jim’s series of ukulele songbooks with well over 600,000 cop-ies sold. This series includes The Daily Ukulele, a best-selling ukulele song-book. His concerto for solo ukulele and symphony orchestra, “Uke Can’t Be Serious,” premiered in 1999. Jim and his wife, Liz Maihock Beloff, regularly perform together, playing their family’s Fluke, Flea, and Firefly ukuleles. They have toured Japan, Australia, and Canada, believing that “Uke Can Change the World.”

■ ALEX DUPUY came to Wesleyan in 1982 and is John E. Andrus Professor of Sociology Emeritus. He has published broadly on social, economic, and political developments in Haiti and the Caribbean. In addition to dozens of articles in professional journals and anthologies, his books include Haiti in the World Economy: Class, Race, and Underdevelopment Since 1700 (1989); Haiti in the New World Order: The Limits of the Democratic Revolution (1997); The Prophet and Power: Jean-Bertrand Aristide, the International Community, and Haiti (2007); and Haiti: From Revolutionary Slaves to Powerless Citizens: Essays on the Politics and Economics of Underdevelopment (2014).

■ RICHARD J. FRISWELL received his MPhil from Wesleyan in 2014, where he was awarded the Rulewater Prize for interdisciplinary scholarship. He is a cultural historian and associate director of the WILL program and managing editor of ARTES, a fine arts e-magazine. He is an elected member of the International Art Critics Association and author of a collection of auto-biographical short stories, Balancing Act: Postcards from the Edge of Risk and Reward. Friswell lectures and speaks widely on topics related to modernism, its art, literature, and history.

■ GIULIO M. GALLAROTTI is professor of government and tutor in the College of Social Studies and College of the Environment at Wesleyan. He was a visiting professor at the University of Rome. He is the author of several books, including The Power Curse: Influence and Illusion in World Politics (2010) and Cosmopolitan Power in International Relations: A Synthesis of Realism, Neoliberalism, and Constructivism (2010), as well as numerous articles in leading journals across five disciplines: economics, politics, law, his-tory, and business.

■ HON. DAVID GOLD has been a Connecticut Superior Court judge for over 17 years, having served as the presiding criminal judge in Hartford, New Haven, and Bridgeport, and, most recently, for the last 5 years, holding that position in Middletown. Prior to his appointment to the bench in 2000, he was a state court prosecutor in New Haven for 17 years and, for approxi-mately 5 years during that period, also served as a Special Assistant United States Attorney within the federal District Court of Connecticut.

■ ERIK GRIMMER-SOLEM received his DPhil from Oxford University in 1999, joining Wesleyan’s history department in 2002. He is the author of

The Rise of Historical Economics and Social Reform in Germany, 1864–1894 (2003). His scholarly articles have appeared in numerous edited volumes. His work uncovering the war crimes of a Wehrmacht general honored after the war appeared in Germany’s Der Spiegel, prompting Bundestag debate and the renaming of a Luftwaffe base in 2015. He is the recipi-ent of several scholarships and teaching awards. A new book, Empire of Minds: Economists, Globalization and the Making of German World Policy, 1880–1914, will be published in 2017.

■ SEAN McCANN is professor of English at Wesleyan University where he studies late-nineteenth and twentieth-century American litera-ture and its relation to contemporaneous political developments. He is the author of A Pinnacle of Feeling: American Literature and Presidential Government (2008) and Gumshoe America: Hard-Boiled Crime Fiction and the Rise and Fall of New Deal Liberalism (2000), which received honorable mention for the America Studies Association’s John Hope Franklin Prize, for the best book in American Studies. His essays have appeared in several journals and edited volumes.

■ TANYA POHRT is a scholar of American art, with a PhD in art history from the University of Delaware (2013). She is the Project Curator of American Art at the Lyman Allyn Art Museum, New London, Connecticut, and has held curatorial positions at the Fairfield Museum and History Center and at the Yale University Art Gallery. She teaches art history at Connecticut College, and has taught and lectured elsewhere.

■ KARL E. SCHEIBE is professor of psychology emeritus at Wesleyan University, where he taught from 1963–2005. From 2004–2017 he was director or director emeritus of the Wasch Center for Retired Faculty at Wesleyan. He received his undergraduate degree at Trinity College and his PhD in psychology from the University of California. He was twice a Fulbright Professor at the Catholic University of São Paulo, Brazil. He is a social psychologist and licensed clinician, and author or editor of eight books and scores of journal articles. His recent books include Self-Studies, The Drama of Everyday Life, and Deep Drama: Explorations in Psychology and Theater.

■ KEIJI SHINOHARA has been teaching Japanese printmaking and sumi-e painting for more than 20 years at Wesleyan University. He stud-ied the traditional Ukiyo-e technique of Uesugi Studio in Kyoto, Japan, for over 10 years. He has received grants from the Japan Foundation and the National Endowment for the Arts, and his work is in many public collections, including the Cleveland Museum of Art, Fogg Art Museum, Milwaukee Art Museum, and The Library of Congress. He also lec-tured at numerous museums, including the Smithsonian Institution and Metropolitan Museum of Art. Shinohara has been a visiting artist at over 100 venues, with 40 solo shows.

■ RICHARD VOIGT ’68 graduated from the University of Virginia Law School. He served in the Office of the Solicitor, U.S. Department of Labor, before entering private practice in Connecticut, focusing on labor, employment, and other issues of the workplace. He is a partner in the firm of McCarter & English, LLC, and has often been recognized for this work, including in Best Lawyers in America. He lectures on American his-tory, with a particular emphasis on the American workplace.

Inside the Criminal Justice System: Law & Order and Your Constitutional Rights

This course asks: What does the public really know about our legal system and the fundamental principles that lie at its core? The public’s interest and attention seem largely defined by current headlines, concise newscasts, neatly packaged storytelling on TV crime dramas, and best-selling police novels. Using the latest episode of Law & Order: SVU as their source, people may have heard mention of concepts like “illegal police searches,” “Miranda” warnings, “proof beyond a reasonable doubt,” or of someone “getting off on a technicality,” but they likely would be hard-pressed to explain the meanings and origins of such concepts or to identify the role they play in our criminal justice system.

By employing original source materials (i.e., the Fourth, Fifth, and Sixth Amendments to the U.S. Constitution, and Connecticut crimi-nal statutes), as well as factual scenarios and hypotheticals, students will explore the application of these broad legal principles to real-world scenarios. Specifically, the class will move with a defendant from police investigation to arrest, and then to trial, verdict and sentencing, by explor-ing the constitutional, statutory, and common law principles that guide each of these stages in the process. We will discuss how criminal law has developed to date and continues to evolve over time, introducing students to the principle of stare decisis and the concepts of statutory and constitu-tional construction and interpretation. By the end of the course, students will be acquainted with the workings of the criminal justice process, particularly the competing rights and interests on which it is founded.

■ HON. DAVID GOLDFIVE MONDAYS: OCTOBER 23, 30, NOVEMBER 6, 13, 20 | 5–7 P.M.WASCH CENTER, BUTTERFIELD ROOM | $170