Summer Classics 2014 program brochure for St. John's College

1964 2014

SUMMER CLASSICS 2014 | ST. JOHN’S COLLEGE | SANTA FE | ANNAPOLIS

COVER: Black Mesa Landscape, New Mexico/Out of Back of Marie’s II, 1930, Georgia O’Keeffe, Oil on canvas, 24 ¼ x 36 ¼ (61.6 x 92.1), Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation 1997.06.015), © Georgia O’Keeffe Museum

SUMMER CLASSICS AT ST. JOHN’S COLLEGE For more than 20 years, Summer Classics at St. John’s College has hosted participants from around the world for week-long seminars in the best literature, science, history, philosophy, and opera that the East and West have to offer. Summer Classics is an opportunity to experience lively, in-depth, and highly participatory discussions modeled after those of the St. John’s Great Books program.

1964 2014 Gustave Baumann (1881–1971), Spring Blossoms, 1950, color woodcut, 12 x 12 3/4 in. Collection of the New Mexico Museum of Art. Museum purchase with funds raised by the School of American Research, 1952 (986.23G), © New Mexico Museum of Art, Photograph by Blair Clark.

Held on campus in both Santa Fe and Annapolis, Summer Classics is an unrivalled intellectual experience. Seminar discussions begin with an opening question presented by a faculty member. Participants around the seminar table, each with varying life experiences and perspectives, contribute to the discussion by presenting ideas and interpretations. The act of listening is just as important as speaking and making connections among ideas.

No previous knowledge of the author, text, or subject is required. In fact, participants should refer only to works the group studies together.

The week-long seminars are limited to groups of 18 participants, each led by two members of the St. John’s College faculty, who act as guides, rather than experts. Tuition covers one seminar (either one morning or one afternoon topic) in a given week. Participants may register for both a morning seminar and an afternoon seminar; in Santa Fe, they are welcome to register for more than one week of seminars.

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are invited to join a community of learners in Annapolis, Maryland and Santa Fe, New Mexico who are curious and passionate about the ideas that have shaped the world in which they live. They graduate with the ability to think boldly, collaborate effectively, and explore fearlessly, ready for any path they choose.

FIFTY YEARS OF ST. JOHN’S COLLEGE IN SANTA FE As experienced through the original works of the world’s great thinkers, artists, and scientists, a St. John’s education is founded on radical and innovative inquiry into questions that are fundamental to human life. Students pursue this education through thoughtful, lively, and participant-driven conversations unconfined within the limits of specialized fields. They confront important ideas for themselves—ponder, discuss, critique, and think beyond them. Students

In addition to the undergraduate program, St. John’s College offers graduate degree programs based on these same principles: the Master of Arts in Liberal Arts, on both campuses, and the Master of Arts in Eastern Classics, on the Santa Fe campus.

St. John’s College is celebrating the 50th anniversary of the founding of the Santa Fe campus. It was a bold and visionary move to establish a campus in Santa Fe, offering our distinctive, and in many ways radical

• The Board of Visitors and Governors of

St. John’s College, Santa Fe celebrates its first commencement ceremony.

St. John’s College approves plans to expand its liberal arts program with the establishment of a second campus.

• Ground is broken in April for the Santa Fe Campus. Seventeen months later in September 1964, the College welcomes the first class of 84 freshmen: 55 men and 33 women.

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SANTA FE CAMPUS SITE SELECTED

1963

GROUNDBREAKING

• Originally called the “Teachers Institute in Liberal Education,” the Graduate Institute officially opens.

1967

THE GRADUATE INSTITUTE ESTABLISHED

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FIRST GRADUATING CLASS

academic program to more students, and demonstrating conclusively that the St. John’s program has no geographic or cultural bounds.

The 50th Anniversary is an opportunity to celebrate this important step in the history of St. John’s College. It will serve as a reminder of the lives and communities changed by the college and its distinctive, integrated academic program. From June 2014 to June 2015, the Santa Fe campus will host special events and programs celebrating its 50th anniversary. For more information, visit www.sjc.edu.

1964 2014 • Originally called "The Institute for the Study of the Eastern Classics," the Eastern Classics Program begins through the Graduate Institute.

• A ribbon cutting ceremony takes place for the newly built administrative services building known as the “Tower Building” and later renamed Weigle Hall.

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WEIGLE HALL

Master of Arts in Eastern Classics St. John’s College

• Named after famed architect and campus founder John Gaw Meem, the Meem Library opens. Mr. Meem generously donated the land on which the College sits.

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MEEM LIBRARY

• The Summer Classics Program is established, bringing the St. John’s College experience to a wider community.

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EASTERN CLASSICS PROGRAM

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SUMMER CLASSICS

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SCHEDULE OF EVENTS ~ SANTA FE R E GI S TR ATION Sundays 2 – 4 p.m.

Peterson Student Center

OP EN HOUS ES Mondays Graduate Institute Open House 4 – 5 p.m.

Levan Hall

OP ENING R E CEP T I ONS Sundays 4 – 5:30 p.m.

Peterson Student Center

S E MINARS Monday – Friday 10 a.m. – noon and/or 2 – 4 p.m.

MOR NING MINGLES Mondays and Thursdays 9 – 10 a.m.

Schepps Garden

MUS I C Wednesdays Music on the Hill 6 – 8 p.m.

Athletic Field

CLOSING LUNCHES Fridays 12 – 1:30 p.m.

Coffee Shop

OP ER AS (by advance purchase) Wednesdays and Fridays 8:30 p.m.

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Paul Lantz (1908 – 1991), Snow in Santa Fe, circa 1935,oil on Masonite, 30 x 48 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (2834.23P)

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SEMINAR SCHEDULE ~ SANTA FE

WEEK I: JULY 7 – 11

Morning Dante and Beatrice Tom May and David Townsend Augustine’s Confessions Eva Brann and Patricia Greer Descartes’ Discourse on Method James Carey and Janet Dougherty Clash of Civilizations Mike Peters and Steve Isenberg

Five Stories by Flannery O’Connor Cary Stickney and Eric Salem

Plutarch’s Lives Mike Peters and Victoria Mora

WEEK II: JULY 14 - 18

Teachings of the Buddha Krishnan Venkatesh and Patricia Greer

Morning Milton’s Paradise Lost Richard McCombs and David Carl The Two Fundamental Problems of Ethics: An Introduction to Schopenhauer Topi Heikkerö and John Cornell

The Soul of the White Ant Linda Wiener and John Cornell

Montesquieu’s The Persian Letters Janet Dougherty and Eva Brann

Afternoon

Shakespeare’s Romeo and Juliet and Sonnets Judith Adam and Warren Winiarski

Afternoon Short Stories by Alice Munro Jessica Jerome and Christine Chen Conrad’s Lord Jim Cary Stickney and Eric Salem

WEEK III: JULY 21 - 25

Faulkner’s The Hamlet Frank Pagano and James Carey

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Morning Plato’s Early Dialogues Topi Heikkerö and Jacques Duvoisin

Ibn al-Arabi’s The Bezels of Wisdom Michael Wolfe and Patricia Greer Nietzsche’s Will to Power Raoni Padui and Richard McCombs Eliot’s Middlemarch David McDonald and Marsaura Shukla Proust’s The Guermantes Way (morning session) Victoria Mora and Peter Pesic

Afternoon Whitman’s Leaves of Grass Jessica Jerome and Christine Chen Proust’s The Guermantes Way (afternoon session) Victoria Mora and Peter Pesic Will Shuster (1893 – 1969), Trees at Canyoncito, circa 1930, oil on canvas, 24 1/4 x 30 1/4 in.

On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (2815.23P) Photograph by Blair Clark

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WEEK I: JULY 7 –11

Morning: 10 a.m. to noon Dante and Beatrice Tom May and David Townsend Dante’s La Vita Nuova and Purgatorio sing and reflect upon one of the most celebrated love stories in all of literature. La Vita Nuova recounts in verse and prose two stations of Dante’s encounter with Beatrice Portinari: first, on a bridge in their native Florence when both are in their ninth year and, second, when she first greets him, it ends with her early death and Dante’s resolve to write of her “that which has never been written of any woman.” Purgatorio realizes the poet’s desire to sing of Beatrice “in a more noble way,” culminating with their visionary third meeting in the Earthly Paradise. Beatrice rewards Dante’s arduous ascent of Mount Purgatory with the gift of joy, the elevated feeling that he is prepared for by the conversations he has had with Virgil and the penitent souls encountered along his pilgrimage. We will accompany Dante on his ascent and share his liberation and illumination. Please read the first five cantos of Inferno before reading the Purgatorio.

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She had become deeply, tenderly acquainted with Rome; it interfused and moderated her passion.

But she had grown to think of it chiefly as the place where people had suffered. This was what came to her in the starved churches, where the marble columns, transferred from pagan ruins, seemed to offer her a companionship in endurance and the musty incense to be a compound of long-unanswered prayers. ~ Henry James, The Portrait of a Lady

Augustine’s Confessions Eva Brann and Patricia Greer

Descartes’ Discourse on Method James Carey and Janet Dougherty

Augustine’s Confessions is a work of intentional shamelessness, an account to God, but before us, of his soul’s journey toward faith. It is parent to a not always worthy progeny, such as all “True Confessions.”

It tells of his guilty loves, ardent friendships, a really formidable mother, of his philosophical experiments, beloved teachers and his sins of obtuse omission and willful commission. Our readings end with the most accurate description of the space of imagination and the most original analysis of time in the Western Canon.

The Discourse on Method is one of the founding documents of modern philosophy. In this short work, Descartes argues that philosophy must begin with as few presuppositions as possible. The foundation of philosophical reasoning, and of all proper scientific inquiry, must be absolutely certain. For Descartes, this foundation is consciousness itself. That we think is something we cannot doubt, since doubting is itself a kind of thinking. Upon this foundation, and in conjunction with specified rules of inquiry that constitute a method, Descartes argues both for the existence of God and for a science that will render us the masters and possessors of nature.

Clash of Civilizations Mike Peters and Steve Isenberg This term has been used to define and explain our current era, but it is not new. Our seminar will explore the issues that arise when different or unfamiliar cultures and civilizations come into intimate contact.

We shall do so through two timeless and yet, well-timed, novels, E.M. Forster’s A Passage to India and Brian Moore’s Black Robe. Forster’s work focuses on British officials and their families in colonial India and Moore’s with Norman priests in 17th century French Canada. The dramas are of collision and clash between outsider and insider and even among insiders—beliefs, sensibilities, and behavior run against each other in ways that expose and alter the character of individuals and the groups to which they belong.

The Soul of the White Ant Linda Wiener and John Cornell Eugene Marais, a South African journalist, philosopher, and naturalist, spent years observing and experimenting with the animals in his native South Africa. This book, an early 20th century classic of nature observation, combines all his strengths as he tells of the life of a termite colony, gleaned from many years of his own observations and struggles to understand. It raises important fundamental questions about the nature of life from insect to human. This class will combine reading and discussion of The Soul of the White Ant with our own observations of insect and termite colonies near the college.

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WEEK I: JULY 7 –11

Afternoon: 2 – 4 p.m.

Gustave Baumann (1881 – 1971), Old Santa Fe, 1924, color woodcut, 6 x 7 in.

Collection of the New Mexico Museum of Art. Museum purchase with funds raised by the School of American Research, 1952 (943.23G) © New Mexico Museum of Art, Photograph by Blair Clark

Faulkner’s The Hamlet Frank Pagano and James Carey The Hamlet is the first novel of the “Snopes trilogy.” It portrays the ascendancy of the Snopes clan in the hamlet of Frenchman’s Bend.

The Snopes represent a new class in the south of what might best be called “snortherners”— southerners who act like northern carpetbaggers. Led by Flem Snopes (pronounced like phlegm), they replace the southern gentleman and make money the master of the south.

The new south is sometimes soulless, sometimes insane, and often comical. The Hamlet is Faulkner’s ironic masterpiece.

Five Stories by Flannery O’Connor Cary Stickney and Eric Salem Flannery O’Connor’s short stories are a seamless mixture of technical mastery and unashamed engagement with a beloved enemy: the selfish, vulgar, comic, and horrifying side of mortality. She never laughs at any but the flaws she knows are also her own but she never pretends that they are less than lethally serious flaws, if not recognized, nor that they are in any simple sense separable from whatever makes human beings most worthy of love. We will read five of the pieces of her Divine Comedy: portraits of souls falling to rise.

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“Then wilt thou not be loath To leave this Paradise, but shalt possess A Paradise within thee, happier far.” ~ John Milton, Paradise Lost

Howard Behling Schleeter (1903 – 1976), Fall Pattern, 1938, oil on canvas, 23 1/2 x 18 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (1991.6.1) Photograph by Blair Clark

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WEEK II: July 14–18

Morning: 10 a.m. to noon Milton’s Paradise Lost Richard McCombs and David Carl Milton’s Paradise Lost is the great English-language epic which rivals Homer in Greek, Virgil in Latin, and Dante in Italian. This cosmic epic is an acute psychological study of human nature and a deep theological inquiry into the nature of good and evil. It also is magnificent poetry. More than simply a revisioning of the events in Genesis, it is the story of the tension between divine love and human love, of faith and passion, of temptation, fall, and redemption. Through the characters of Adam, Eve, Satan, and God himself, Milton creates a poetic universe that weaves together vivid poetry with narrative suspense and profound philosophic inquiry.

The Two Fundamental Problems of Ethics: An Introduction to Schopenhauer Topi Heikkerö and John Cornell In hopes of winning a wider audience, Schopenhauer published two short works on morality in a single volume: his prize essay on freedom of the will and an essay on the ethics of compassion. The book was a spectacular success and remains today the best introduction to his teachings. The two moral treatises are not merely accessible. They show Schopenhauer to be a brilliant critic of the Kantian doctrine, a supreme craftsman of the philosophical essay, and a true visionary, one of the first writers to recognize the convergence between Eastern and Western thought. As for his famously dark worldview, readers will not find a more charming presentation of pessimism, certainly none so likely to leave them in a positive and cheerful mood. How does he do it? We will explore the paradoxes of pessimism through careful reading and discussion of these masterpieces of philosophical prose.

Montesquieu’s The Persian Letters Janet Dougherty and Eva Brann Montesquieu’s The Persian Letters is a ‘kind of novel’ in the form of correspondence between two Persian travelers to France, Usbek and Rica. To seek knowledge of the West they have left behind a seraglio populated by Usbek’s many wives and their guards. The letters describe the vanity and posturing that characterizes French society; they offer serious reflections upon the benefits of the way of life the Persians have left behind. The book culminates in a feminist revolution in the seraglio. Montesquieu elsewhere acknowledges that in this book he has mixed philosophy, politics, and ethics into a whole bound together by “a secret chain.” In the attempt to reveal the chain that binds the letters, we will also read a portion of Montesquieu’s The Spirit of the Laws, a book that had great influence upon the founders of the American republic.

Blue Black and Grey, 1960, Georgia O’Keeffe oil on canvas, 40 x 30 (101.6 x 76.2), Georgia O’Keeffe Museum Gift of The Burnett Foundation (2007.01.029) © Georgia O’Keeffe Museum

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WEEK II: July 14–18

Morning: 10 a.m. to noon Shakespeare’s Romeo and Juliet and Sonnets Judith Adam and Warren Winiarski The story of the lovers Romeo and Juliet has become, in English literature, the version of young love in its most passionate and iconic form. Yet also, according to the play, “there never was a story of more woe than this of Juliet and her Romeo.” These young lovers belong to families whose hatred for each other is old and enduring, which leads to murderous civil disorder and finally to the tragic death of both lovers. What is the connection between this love and the woe which surrounds it? Is the connection an accidental or necessary one? In addition to reading this sometimes beautiful and sometimes disturbing play, we will also read some of Shakespeare’s classic sonnets on love.

Quill Pen Santero El Santo Ecce Homo / Behold the Man, early 19th c, NM, wood, gesso, water-based paint, 1952.49.

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Plutarch’s Lives Mike Peters and Victoria Mora One of the greatest works to emerge from the ancient world, Plutarch’s Lives is difficult to categorize. A combination of biography, political science, history, and philosophy, his descriptions of the leading figures of ancient Greece and Rome, whose lives he presents in parallel, have formed the basis of many subsequent works of fiction and nonfiction. Most powerful is his penetrating insight into character and its impact on the lives and destinies of human beings and the societies and histories they shape. Plutarch shows, perhaps better than any other author, ancient or modern, that the deepest insights into political and moral leadership stem from a deep understanding of human virtue and vice.

Unknown Artist, Santiago / St James early-mid 19th c, NM Wood, gesso, waterbased paint, horsehair, leather, fabric, metal, recycled daguerrotype frame (saddle), and rosary (reins), Gift of Mrs. Cornelia G. Thompson to the Spanish Colonial Arts Society Collection of the Spanish Colonial Arts Society, Inc, at the Museum of Spanish Colonial Art, Santa Fe 1959.34

Teachings of the Buddha Krishnan Venkatesh and Patricia Greer Like Socrates and Jesus, the Buddha left nothing in writing. Our most - Canon, a proximate access to his teachings is via the texts of the Pali collection of orally transmitted scriptures in the Pali language first written down in the first century BCE, about 450 years after the Buddha’s death. In this seminar we will read and grapple with a selec- Canon. Our aim will be to tion of central texts (Sutras) from the Pali gain insight into the life and teachings of the Buddha.

Midway upon the journey of our life, I found myself within a forest dark, for the straightforward pathway had been lost.” ~ Dante Alighieri, The Divine Comedy 15

WEEK II: July 14–18

Afternoon: 2 – 4 p.m.

Short Stories by Alice Munro Jessica Jerome and Christine Chen Alice Munro, winner of the 2013 Nobel Prize in Literature, writes with subtlety and beauty about life’s ordinary dilemmas: coming of age and coming to terms with family, work, friendship, and love in small towns and big cities. In this seminar, we will read five of Munro’s short stories and discuss what they reveal about the passage of time, memory, and what is universal about the experience of being human.

Conrad’s Lord Jim Cary Stickney and Eric Salem Lord Jim is the story of a young British sailor with heroic aspirations, who fails utterly the first real test of his courage, and then spends the rest of his short life trying to redeem himself. Whether he does, and what we are to think of the life—and death—he fashions for himself in the jungles of Malaysia, are questions that the novel itself invites us to ask. For Lord Jim is equally the story of Marlow, an older sailor—and also the narrator in Conrad’s great short story, The Heart of Darkness, who is deeply moved by Jim’s story, arranges for his post-disaster employments, and tells his tale before a variety of audiences, all the while reflecting on the meaning of Jim’s life and death.

Black Mesa Landscape, New Mexico/Out of Back of Marie’s II, 1930, Georgia O’Keeffe, oil on canvas, 24 ¼ x 36 ¼ (61.6 x 92.1), Georgia O’Keeffe Museum, Gift of The Georgia O’Keeffe Foundation (1997.06.015), © Georgia O’Keeffe Museum

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WEEK III: July 21 - 25

Morning: 10 a.m. to noon Plato’s Early Dialogues Topi Heikkerö and Jacques Duvoisin We will read five short dialogues: Laches, Ion, Hippias minor, Theages, and Hippias major. These dialogues are, for the most part, Plato’s early work. As they are short, they allow us to read them carefully.

The themes of the dialogues include reading of Homer, poetic inspiration, courage, beauty, lying, and Socrates’ daimonion.

Ibn al-Arabi’s The Bezels of Wisdom Michael Wolfe and Patricia Greer This is the best-known work by the 13th century Sufi master who has been called the most influential Muslim of the latter half of Islamic history. In it, Ibn al-‘Arabi explores the ways in which the human being is a mirror to God and God is a mirror to the human being—or, to cite another metaphor he employs, the ways in which “the water takes on the color of the cup” (sometimes taking God to be the water and the human to be the cup, and sometimes vice versa).

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Nietzsche’s Will to Power Raoni Padui and Richard McCombs One of Nietzsche’s most exciting and challenging ideas is his concept of a will to power, which is an active drive to affirm and to overcome oneself. Nietzsche never published his fullest exposition of this concept, which is contained in his late notebooks. The book translated into English as The Will to Power is a compilation by Nietzsche’s sister, who rearranged and edited his draft with considerable bias. In this seminar we will work closely with Nietzsche’s original notebooks in order to investigate what he meant by the will to power, and why he thought that vigorous self-affirmation requires a critique of nihilism and a revaluation of values.

Eliot’s Middlemarch David McDonald and Marsaura Shukla George Eliot’s Middlemarch is often named the greatest novel in the English language. Describing the intertwined lives of a large cast of characters in the fictional Midlands town of Middlemarch, Eliot explores the nature of human relationships, particularly in marriage, and raises fundamental questions about the meaning and shape of

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vocation in complex human lives. Virginia Woolf said that Middlemarch is “one of the few English novels written for grown-up people.” After working through its eight books, we may see what she meant.

Proust: The Guermantes Way Victoria Mora and Peter Pesic Marcel Proust’s monumental series of six novels, In Search of Lost Time, concerns love, desire, memory, jealousy, betrayal, and loss.

The Guermantes Way, the third volume in the series, explores the world of high society, its salons and amours, the grandeur and follies of its denizens. No less a master of social drama than of individual consciousness, Proust writes with great clarity, wit, and almost painful beauty. This seminar is intended to continue our seminars on the first two novels in the previous summers and accordingly offers priority choice to participants; others are welcome, if space allows, but they are expected to have read Swann’s Way and In the Shadow of Young Girls in Flower on their own so that they can participate fully in discussions that will doubtless reach back to those works.

Rio Grande Blanket, late 19th c, NM Natural handspun light and dark wool, synthetic orange, red, and turquoise dyes, Gift of Mr. and Mrs. John Gaw Meem to the Spanish Colonial Arts SocietyCollection of the Spanish Colonial Arts Society, Inc, at the Museum of Spanish Colonial Art, Santa Fe 1962.79

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WEEK III: July 21 - 25

Afternoon: 2 – 4 p.m.

Whitman’s Leaves of Grass Jessica Jerome and Christine Chen Walt Whitman’s Leaves of Grass was published in 1855 and, unlike much poetry of the era, delights in sensual pleasure, and elevates the human form and human mind. In this seminar we will read selections from his collection, including “I Sing the Body Electric,” “Out of the Cradle Endlessly Rocking,” and “Song of Myself,” discuss how the first person narrative is used to respond to social and personal dilemmas, and consider what might make the form and style of his poetry distinctly American.

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Proust’s The Guermantes Way (afternoon session) Victoria Mora and Peter Pesic Marcel Proust’s monumental series of six novels In Search of Lost Time concerns love, desire, memory, jealousy, betrayal, and loss.

The Guermantes Way, the third volume in the series, explores the world of high society, its salons and amours, the grandeur and follies of its denizens. No less a master of social drama than of individual consciousness, Proust writes with great clarity, wit, and almost painful beauty. The seminar is intended to continue our seminars on the first two novels in the previous summers and accordingly offers priority choice to prior participants; others are welcome, if space allows, but they are expected to have read Swann’s Way and In the Shadow of Young Girls in Flower on their own so that they can participate fully in discussions that will doubtless reach back to those works.

“Not I, nor anyone else can travel that road for you.

You must travel it by yourself.

It is not far. It is within reach.

Perhaps you have been on it since you were born, and did not know.

Perhaps it is everywhere - on water and land.” ~ Walt Whitman, Leaves of Grass

Manville Chapman (1903 – 1978), Drying 'Dobes, circa 1942, tempera on board, 10 x 8 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (751.23P)

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TICKETS ~ SANTA FE OPERA

WEEK I: JULY 7 – 11 Wednesday, July 9 Donizetti’s Don Pasquale Friday, July 11 Bizet’s Carmen

WEEK II: JULY 14 – 18 Wednesday, July 16 Beethoven’s Fidelio Friday, July 18 Bizet’s Carmen

WEEK III: JULY 21 – 25 Wednesday, July 23 Stravinsky’s Le Rossignol and Mozart’s The Impresario Friday, July 25 Beethoven’s Fidelio

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Transportation is available to and from the Santa Fe Opera performances.

The cost for van service is $10 per person per opera. If you wish to attend pre-opera talks, you must arrange for other transportation. Payment for opera tickets and van service is due at the time of registration.

Tickets are limited. For more information about the Santa Fe Opera, visit www.santafeopera.org.

William Penhallow Henderson (1877 – 1943), Landscape (Cerro Gordo Before the Sangre de Cristo Mountains), circa 1930, oil on board, 32 x 40 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (2831.23P)

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SCHEDULE OF EVENTS ~ ANNAPOLIS R E GI S TR ATION

L UNCH

Sunday, June 22 3-5 p.m.

McDowell Hall

Monday-Friday Noon-1:30 p.m.

OP ENING R E CEP T I ON Sunday 5-6:30 p.m

S E MINARS Monday-Friday 10 a.m. – noon and/or 2-4 p.m.

MOR NING MINGLES with continental breakfast Monday and Thursday 9-10 a.m.

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EVENTS Picnic, Tuesday 7 to 9 p.m.

Leadership and Strategy Seminar Hosted by the Graduate Institute Thursday 4:30 – 6 p .m.

The Hartle Room, Barr and Buchanan Center Reading: Xenophon’s Hiero

Stargazing (weather permitting) Tuesday 9 p.m.

Mellon Hall Observatory Wednesday Night Lecture and Question Period 7:30 p.m.

José Benito Ortega (1858-1941) La Virgen María / The Virgin Mary ca. 1875-1907, Buenavista, NM milled wood, gesso, water-based paint, Bequest of Alan and Ann Vedder to the Spanish Colonial Arts Society, Collection of the Spanish Colonial Arts Society, Inc, at the Museum of Spanish Colonial Art, Santa Fe 1990.15

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Lavender Hill with Green, 1952, Georgia O’Keeffe oil on canvas, 12 x 27 1/8 (30.5 x 68.9), Georgia O’Keeffe Museum Gift of The Burnett Foundation and The Georgia O’Keeffe Foundation (1997.05.010) © Georgia O’Keeffe Museum

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SEMINAR SCHEDULE ~ ANNAPOLIS

JUNE 23 – 27

Afternoon

“Behold! I am weary of my

Morning

James’ Portrait of a Lady Eric Salem and Cary Stickney

wisdom, like the bee that has

Chaucer’s Canterbury Tales Eva Brann and William Pastille Nietzsche’s Thus Spoke Zarathustra Louis Petrich and Robert Drueker

Mozart’s Don Giovanni and Two Preceding Plays David Townsend and Judith Seeger

gathered too much honey; I need hands outstretched to take it from me.

I wish to spread it and bestow it, until the wise have once more become joyous in their folly, and the poor happy in their riches.” ~ Friedrich Nietzsche, Thus Spake Zarathustra

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Mountains and Lake, 1961 Georgia O’Keeffe, oil on canvas 30 x 40 (76.2 x 101.6) Georgia O’Keeffe Museum Gift of The Georgia O’Keeffe Foundation (2006.05.365) © Georgia O’Keeffe Museum

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JUNE 23 –27

Morning: 10 a.m. – noon Chaucer’s Canterbury Tales Eva Brann and William Pastille We will be reading stories told to one another to pass the time by pilgrims on their way to Canterbury. They are all, even the boors, loveable characters. For acute charm, plain hijinks, and what you might call deep fun, there is nothing like it. Those who wish to may read a modern English text, but we’ll try our hand at reciting some Middle-High English passages.

Nietzsche’s Thus Spoke Zarathustra Louis Petrich and Robert Drueker Nietzsche’s Thus Spoke Zarathustra is considered to be his magnum opus. Much of the book deals with Nietzsche’s most difficult thought, the eternal recurrence of the same. However, that thought is conveyed not by philosophical argumentation. Rather, it is presented in the course of a philosophical novel, the only book Nietzsche wrote that has a narrative structure, in which plot, characters, events, and

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Untitled (Red and Yellow Cliffs), 1940, Georgia O’Keeffe, oil on canvas, 24 x 36 (61 x 91.4), Georgia O’Keeffe Museum, Gift of The Burnett Foundation (1997.06.036) © Georgia O’Keeffe Museum

settings are central. Moreover, at key points in the narrative, we encounter images, metaphors, and symbols rather than arguments. As is the case with Platonic dialogues, sensitivity to literary aspects of the text is essential for grasping what this work is showing us.

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“I will sleep no more but arise, You oceans that have been calm within me! how I feel you, fathomless, stirring, preparing unprecedented waves and storms.” ~ Walt Whitman, Leaves of Grass

Sheldon Parsons (1866 – 1943), Santa Fe Mountains in October, before 1919, oil on plywood panel, 36 1/4 x 23 7/8 in. Collection of the New Mexico Museum of Art. Museum acquisition, circa 1919 (59.23P) Photograph by Blair Clark

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JUNE 23 –27

Afternoon: 2 – 4 p.m.

James’ Portrait of a Lady Eric Salem and Cary Stickney Isabel Archer, one of the most beguiling and complex female characters in English literature, is the lady in question in Henry James’ seductive and accessible novel, The Portrait of a Lady. As the free-spirited and lovely Miss Archer travels through Europe, attracting and discarding various admirers in her path, James exposes the beauty and corruption of continental society and the tragic consequences for idealistic and naive Americans like Isabel.

Mozart’s Don Giovanni and Two Preceding Plays David Townsend and Judith Seeger Mozart’s opera of love, lust, intrigue, murder, hilarity, defiance, revenge, and punishment is preceded by two plays about this young, freedom-loving, faithless lover. Should we interpret the stories and music primarily on the way to justice, freedom, truth, or beauty? We will discuss and analyze Mozart’s score after reading Tirso de Molina’s The Trickster of Seville and Moliere’s Don Juan.

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Fritz Scholder (1937 – 2005), Snake Dancer, 1967, oil on board, 20 x 30 in. Collection of the New Mexico Museum of Art. Gift of Mr. John B.L. Goodwin, 1969 (2410.23P) © Fritz Scholder Estate, Photograph by Blair Clark

Sheldon Parsons (1866 – 1943), View Near Otowi, circa 1936, oil on masonite, 24 x 36 in.

On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (340.23P) Photograph

by Blair Clark

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GENERAL INFORMATION

Santa Fe Founded in 1610, ten years before the Pilgrims landed at Plymouth Rock, Santa Fe was the seat of power for the Spanish Empire north of the Rio Grande. It has remained a capital city ever since; four nations have flown their flags over the historic Plaza, claiming it as their own. Truly one of the world’s most unusual cities, Santa Fe is known as “The City Different.” Santa Fe was rated the third most popular travel city in Conde Nast’s Traveler magazine 2011 Readers’ Choice Awards.

At an elevation of 7,200 feet, Santa Fe is situated in the foothills of the Sangre de Cristo Mountains, the southern portion of the Rocky Mountains.

Home to a rich cultural heritage, a dynamic art and music scene, and spectacular archaeological sites, Santa Fe in July offers visitors such events as Spanish Market, the Eight Northern Indian Pueblos Arts and Crafts show, the International Folk Art Market, the Santa Fe Chamber Music Festival, and the world-renowned Santa Fe Opera.

St. John’s College is located only three miles from the historic downtown Plaza and within walking distance of four major museums and the famous Canyon Road art galleries.

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Annapolis Founded in 1649, Annapolis is an historic seaport city situated on the Chesapeake Bay. It is the capital of the state of Maryland and has more 18th century buildings than any other city in the United States; three of these buildings are on the St. John’s campus. Annapolis is known as America’s sailing capital and is home to the National Sailing Hall of Fame, the Annapolis Sailing School (the oldest in America), and the United States Naval Academy. It is a popular destination for aficionados of the visual and performing arts. Forbes Traveler named Annapolis one of the country’s Top 20 Prettiest Towns.

The college’s Annapolis campus is located in the heart of the historic district, with art galleries, shops, restaurants, music venues, hotels, and bed and breakfasts within walking distance. From City Dock, visitors can board a water taxi to area restaurants or the Woodwind Schooner for a cruise of the Chesapeake Bay. Annapolis is 26 miles south of Baltimore and 29 miles east of Washington, D.C.

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Registration, Fees, Policies, and Accommodations Registration To register for a Santa Fe seminar, please call 505-984-6105 or email santafe.classics@sjc.edu.

In Annapolis, call 410-295-5544, email alice.chambers@sjc.edu, or you may register online at www.sjc.edu/outreach/SF/SC/classics.shtml.

Annapolis: Balances are due by May 15, 2014. If payment is not received by this date, you will forfeit your space in the seminar. Those registering after May 1 must pay in full at the time of registration.

Minors Participants under the age of 18 must be accompanied by a parent or guardian and notify the Summer Classics office that he or she is a minor.

Tuition The tuition for Summer Classics is $1,250 per seminar, which includes registration, books and other course materials, lunches, and special events. A $250 non-refundable deposit for each seminar is required to hold your space(s) and in order for you to receive seminar materials.

Santa Fe: Balances must be paid in full by June 1, 2014. If payment is not received by this date, you will forfeit your space in the seminar.

Those registering after June 1 must pay in full at the time of registration. (Tickets to performances at the Santa Fe Opera are not included in the tuition.)

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Multiple Seminar Discount Those registering for two seminars on the same campus will receive a $100 discount. Those who register for three or more seminars in Santa Fe will receive a $250 discount.

Seminar Selection Changes Participants may switch from one seminar to another, or add a seminar, should space be available, up to two weeks before the first session for which they are registered.

Teacher Tuition Assistance St. John’s College offers tuition assistance to a limited number of licensed teachers (K-12). With proof of current employment as an educator, participants will receive a 50% tuition discount. Discounts will be available to the first 30 teacher registrants. No additional discounts are offered for multiple seminars. In Annapolis, teacher discounts are limited to the first 10 teachers.

Cancellations Santa Fe: Cancellations made prior to June 1, 2014, will receive a full refund minus the $250 non-refundable deposit; cancellations thereafter forfeit the full payment. If you need to cancel your registration, contact the Advancement Office in writing (preferred), by phone: 505-984-6105, or via email: santafe.classics@sjc.edu.

Manville Chapman (1903 – 1978), Peonies and Indian Pot, 1938, block print and gouache on paper, 18 1/2 x 12 1/2 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (734.23G)

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Annapolis: Cancellations made prior to May 15, 2014, will receive a full refund minus the $250 non-refundable deposit; cancellations thereafter forfeit the full payment. If you need to cancel your registration, please contact the Community Programs Office in writing (preferred), by phone: 410-626-2530, or via email: kathy.dulisse@sjc.edu.

Santa Fe Accommodations The college offers limited housing in suites on campus. Accommodations are simple, yet comfortable, with five separate single-occupancy bedrooms arranged around a shared living room, and a double bathroom. Housing is located about a five-minute walk uphill from the classrooms and dining area. Due to the cool summer evenings, air conditioning is usually not needed in Santa Fe; therefore our accommodations are not fitted with air conditioners. An ethernet port is provided in every room as well as is a telephone for local or callingcard calls. Wireless service is available in most areas throughout campus. Cell phone service can be spotty in some areas of campus, and some service provider’s coverage is better than others.

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Room and board fees include accommodations, linens, and meals from Sunday evening through breakfast on Saturday. A linen exchange is offered to individuals staying more than one week. All rooms are single occupancy. Suite housing is available on a first-come, first-served basis. If suite housing is no longer available, the college will be happy to place you on a wait list, or simpler dorm space may be available.

Room and board fees are $510 per week per person. Payment for housing is due at the time of registration.

Should you have any special needs while staying on campus, please inform the Summer Classics office at the time of registration.

Due to limited space on campus we cannot accommodate early arrivals or late departures. You may check into your room at the time of registration on Sunday; keys will be available at registration. Checkout is by 10 a.m. on Saturday. We suggest you make travel arrangements to accommodate this schedule.

General tourist information is available from the Santa Fe Convention and Visitors Bureau on the web at www.santafe.org or by calling 1-800-777-2489.

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Annapolis Accommodations

Transportation to Santa Fe

The Annapolis campus offers simple accommodations in its Gilliam Hall dormitory, located on College Creek. Guests may reserve a double or single room. All beds are twin size, and bathrooms are shared among eight guests. There is no telephone service, and guests bringing computers must provide their own ethernet connection service (wi-fi is available at other locations on campus.). Rates are $38 per person per night, plus a $12 linen fee. No meals are available on campus other than the breakfasts and lunches that are included in the Summer Classics tuition, but there are many nice restaurants within walking distance of the college.

The closest major airport is in Albuquerque, a one-hour drive from Santa Fe. Travel reservations from the airport to Santa Fe may be made with an airport shuttle service or by visiting www.SantaFe.com (click on Hotels, Lodging, & Travel). The Santa Fe airport also operates a limited number of commercial flights to and from a few select airports.

For off-campus housing, please visit www.sjc.edu, click on “Friends,” then “Business Friends,” then “Accommodations.” General tourist information is available from the Annapolis and Anne Arundel County Conference and Visitors Bureau on the web at www.visitannapolis.org.

Limited public transportation is available within Santa Fe by bus.

For greater flexibility, renting a car is recommended.

Transportation to Annapolis The Baltimore-Washington International Airport (BWI) is 25 miles from the Annapolis campus. Car rental and shuttle service to Annapolis can be easily arranged on the BWI website. Washington National Airport (DCA) also serves the Annapolis area, but is not as convenient. Limited public transportation is available within Annapolis by bus and taxi. For greater flexibility, renting a car is recommended.

“She carried within herself a great fund of life, and her deepest enjoyment was to feel the continuity between the movement of her own heart and the agitations of the world.

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~ Henry James, The Portrait of a Lady

1964 2014

William Lumpkins (1909 – 2000), Spanish Village, 1934, watercolor and pencil on board with plaster, 48 x 72 1/2 x 1 in. On long term loan to the New Mexico Museum of Art from the Fine Arts Program, Public Buildings Service, U.S. General Services Administration (2007.6.2) Photograph by Blair Clark

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“On the Meaning of life: Answer.

That you are here—that life exists and identity, That the powerful play goes on, and you may contribute a verse.” ~ Walt Whitman, Leaves of Grass

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60 College Avenue | Annapolis, Maryland 21401 | 800-727-9238 | www.sjc.edu

1160 Camino Cruz Blanca | Santa Fe, New Mexico 87505 | 800-331-5232 | www.sjc.edu