Succeeding on the UNM College CAMPus is a course designed to assist students participating in the College Assistance Migrant Program (CAMP) in their transition into college. The objectives in this course are:

Knowledge

• To connect students with resources including libraries, tutoring centers, and recreation.

• To foster academic success with strategies essential for the workload of higher learning.

Skills

• To develop or strengthen critical thinking skills.

• To improve students’ public speaking and collaboration skills.

Attitudes and Values

• To encourage student reflection on their own personal backgrounds and life experiences.

• To foster understanding of how backgrounds and experiences positively impact success.

• To cultivate and enhance responsible citizenship beyond campus.

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This course covers topics such as budgeting, loans, credit, investing, interest, banking, and taxes.

Wednesdays @ 1200pm-1250pm CRN: 73785

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This course covers topics such as budgeting, loans, credit, investing, interest, banking, and taxes.

Mondays @ 1200pm-1250pm CRN: 74353

FYEX 1110 for AISB is designed for incoming first-year, first-semester Native American students participating in the 2021 American Indian Summer Bridge Fall Experience. The course helps prepare students with the necessary skills to be successful at The University of New Mexico. The curriculum is designed to enhance scholarship searching, scholarship preparation skills, budgeting, study skills, and will introduce participants to various campus resources. The course also incorporates team-building activities, discussions on identity as Indigenous scholars, and navigating social justice issues as a college student.

Advisors - Please contact Daniel Begay for appropriate overrides. 

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“We know what makes people laugh. We do not know why they laugh.” W. C. Fields 
The Legacy of Comedy explores the complex, varied, and rich history of theatrical comedy. A fundamental question of the class is “how has humor changed over time?” We begin our search for the answers with the Greek and Roman comedies of Aristophanes and Plautus, followed by “A Midsummer Night’s Dream,” one of Shakespeare’s classic romantic comedies. We then explore the scandalous social critique underlying the satire in both Molière’s seventeenth-century French plays and Wycherley’s English Restoration plays, which we will compare to Congreve’s gentle eighteenth-century humor. Next, we investigate why Oscar Wilde was one of the Victorian Era’s best-loved wits, and why his humor still delights audiences today. Our exploration into twentieth-century theatre includes a vast array of talented comedic playwrights from around the world, such as French writer Yasmina Reza, Irishmen John Millington Synge and George Bernard Shaw, and one of the finest examples of American musical comedy from the 1950s, “Guys and Dolls.” As we proceed through the history of theatrical comedy, the class will explore the evolution and definitions of specific types of comedy, such as vaudeville, high comedy, low comedy, comedy of humors, comedy of manners, puns, theatrical pantomime, satire, farce, black comedy, stand-up comedy, and improvisation. Finally, we will contemplate the true meaning and purpose behind comedy. Does most comedy, as Arthur Koestler says, “contain elements of aggression and hostility, even savagery”? Or is comedy, as Paul Johnson and Shakespeare insist, “jolly and forgiving,” ultimately showing us the better aspects of being human? Or is comedy’s main function, in the words of theatre critic Ben Brantley, “to defuse bombs that in real life often explode and destroy”? Consider taking this Legacy to help us find out!

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Course Description:

We often look at the heroes of a period to define what is important to that age; what they hope to accomplish and the means by which they accomplish it. Heroes, however, are reactive creatures; a great hero only rises in the face of great villainy. So, what really sets things into motion is the villain--the creature who sees the world as it is and wants to bend it to their own selfish design. Who are these catalysts? What do they want? And to what lengths will they go to achieve it? Finally, if one person’s villain is another’s hero, what makes a villain bad? What can Thanos, Loki, The Joker, Kylo Ren, Hela, Cersei Lannister, Vizzini and others tell us about their worlds and how the literary construct of villainy relates to modern reality?

Reading/Texts:

Medea, Beowulf, Othello, The Strange Case of Dr. Jekyll and Mr. Hyde, The Lion the Witch and the Wardrobe, Coraline, Peter Pan, Selected fairy tales, a short selection of the Iliad,  Thor: Ragnarok, and others.

Student Requirements:

Attendance, Participation, Short Response Papers, Group Project, 2 analytic essays, Final Creative Project

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