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The Marlboro Curriculum

Many of our students feel like before they came here, education was about other people telling them what to do, what to study, how to think. At Marlboro, you make those decisions.

Unlike colleges that box you in with requirements right away, Marlboro’s curriculum lets you follow your curiosity and still graduate with the core skills for success in whatever you decide to do.

Take classes in (almost) anything you want.

Study in a traditional field like mathematics or do an independent deep dive into something more specific like game studies or historical climatology, if that’s what you’re into. As long as you meet our Clear Writing Requirement and a few other milestones, you’ll be making progress toward graduation.

Our course list is determined by our students.

“Intro classes” at Marlboro aren’t huge surveys taught by junior faculty. Instead, the first couple days of the semester are devoted to our intros—snapshots of courses your professors plan to teach that semester. Once enough people sign up for a class, it gets added to the course list.

Take your own path to graduation.

Instead of traditional majors, each upper-level Marlboro student chooses a field of concentration. Your field is more flexible than a major. It can change when your interests do. It can be in an existing subject, or you can create a new one with your advisor. You should love it, though, because you’ll focus on it for your Plan of Concentration.

What’s your Plan?

Plan is a major research project designed by you. It’s somewhere between a senior project and a master’s thesis. You’ll spend your second two years at Marlboro “on Plan,” taking advanced classes and tutorials, and working independently on your project.

When you’re done, you’ll be well prepared for whatever you want to do after Marlboro, whether it’s grad school or going directly into a career you’re passionate about.

Read a Plan

  • <article class="plan-item"><a href="/live/profiles/2217-ugly-modernity-governance-violence-and-the-money" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,369,490/776_5cb890a716475_download.rev.1555599527.jpg" alt="Ugly modernity: Governance, violence, and the money economy in Mexico"/><div class="plan-item-text" href="/live/profiles/2217-ugly-modernity-governance-violence-and-the-money"><h3>Ugly modernity: Governance, violence, and the money economy in Mexico</h3><div class="plan-item-meta">Scott Weaver</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/144-an-examination-of-contemporary-unchurched" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,2048,3072/712_5cb8908b5f67c_download.rev.1555599499.jpg" alt="An examination of contemporary unchurched spirituality in theory and dance"/><div class="plan-item-text" href="/live/profiles/144-an-examination-of-contemporary-unchurched"><h3>An examination of contemporary unchurched spirituality in theory and dance</h3><div class="plan-item-meta">Alex Bobella</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2215-words-slightly-overlapping-explorations-in" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,440,329/771_5cb890a663498_download.rev.1555599526.jpg" alt="Words slightly overlapping: Explorations in contemporary theater and biochemistry"/><div class="plan-item-text" href="/live/profiles/2215-words-slightly-overlapping-explorations-in"><h3>Words slightly overlapping: Explorations in contemporary theater and biochemistry</h3><div class="plan-item-meta">James Young</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/119-storytellers-generationality-working-class" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,3200,2133/665_5cb89077846ce_download.rev.1555599480.jpg" alt="Storytellers: Generationality, working-class identity, and women’s personal narrative"/><div class="plan-item-text" href="/live/profiles/119-storytellers-generationality-working-class"><h3>Storytellers: Generationality, working-class identity, and women’s personal narrative</h3><div class="plan-item-meta">Kelly Hickey</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2271-the-body-alone-listens-an-exploration-of-the" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,1766,2334/1660_pinch1.rev.1557929785.png" alt="The Body Alone Listens: An exploration of the sounds of Virginia Woolf ’s Mrs. Dalloway through musical composition and literary analysis"/><div class="plan-item-text" href="/live/profiles/2271-the-body-alone-listens-an-exploration-of-the"><h3>The Body Alone Listens: An exploration of the sounds of Virginia Woolf ’s Mrs. Dalloway through musical composition and literary analysis</h3><div class="plan-item-meta">Helen Pinch</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/133-its-the-job-thats-never-started-as-takes-the" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,704,587/697_5cb89086d32be_download.rev.1555599494.png" alt="It’s the job that’s never started as takes the longest to finish: Plants that invade and landscapes portrayed"/><div class="plan-item-text" href="/live/profiles/133-its-the-job-thats-never-started-as-takes-the"><h3>It’s the job that’s never started as takes the longest to finish: Plants that invade and landscapes portrayed</h3><div class="plan-item-meta">Kendall O’Connell</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/160-through-the-dharma-explorations-of-form-and" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,3200,2286/738_5cb8909a82fbc_download.rev.1555599515.jpg" alt="Through the Dharma: Explorations of form and emptiness in ceramics and Buddhist studies"/><div class="plan-item-text" href="/live/profiles/160-through-the-dharma-explorations-of-form-and"><h3>Through the Dharma: Explorations of form and emptiness in ceramics and Buddhist studies</h3><div class="plan-item-meta">Michael Schneeweis</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2701-the-mirror-of-stories-examinations-of-miguel-angel" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,1752,2172/2692_ross1.rev.1564600825.png" alt="The Mirror of Stories: Examinations of Miguel Ángel Asturias’ “Leyenda de la Tatuana” and Ahmet Hilmi’s Awakened Dreams, and a retelling of a myth"/><div class="plan-item-text" href="/live/profiles/2701-the-mirror-of-stories-examinations-of-miguel-angel"><h3>The Mirror of Stories: Examinations of Miguel Ángel Asturias’ “Leyenda de la Tatuana” and Ahmet Hilmi’s Awakened Dreams, and a retelling of a myth</h3><div class="plan-item-meta">Avellana Ross</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2254-a-group-of-trees-is-called-a-forest-an-accidental" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/442,32,1312,901/1619_ackerman3.rev.1557853815.png" alt="“A group of trees is called a forest”: An accidental education in the West, the wild, and a changing world"/><div class="plan-item-text" href="/live/profiles/2254-a-group-of-trees-is-called-a-forest-an-accidental"><h3>“A group of trees is called a forest”: An accidental education in the West, the wild, and a changing world</h3><div class="plan-item-meta">Sophie Ackerman</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/166-my-secret-is-not-different-than-my-lament-engaging" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,608,600/751_5cb890a333bd2_download.rev.1555599523.jpg" alt="My secret is not different than my lament: Engaging with the ineffable through music"/><div class="plan-item-text" href="/live/profiles/166-my-secret-is-not-different-than-my-lament-engaging"><h3>My secret is not different than my lament: Engaging with the ineffable through music</h3><div class="plan-item-meta">Michael Harrist</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2258-i-am-fully-what-i-am-philosophy-literature-and-the" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,3200,2133/1630_domzal1.rev.1557860623.JPG" alt="“I am fully what I am”: Philosophy, literature, and the lived experience of race"/><div class="plan-item-text" href="/live/profiles/2258-i-am-fully-what-i-am-philosophy-literature-and-the"><h3>“I am fully what I am”: Philosophy, literature, and the lived experience of race</h3><div class="plan-item-meta">Andrew Domzal</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2704-an-exploration-of-traditional-networkingweb" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,1798,744/2706_weeks1.rev.1564601813.png" alt="An exploration of traditional networking/web development technologies and the current state of distributed networking"/><div class="plan-item-text" href="/live/profiles/2704-an-exploration-of-traditional-networkingweb"><h3>An exploration of traditional networking/web development technologies and the current state of distributed networking</h3><div class="plan-item-meta">Nathaniel Weeks</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2278-racial-and-individual-identity-as-it-pertains-to" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,3200,2593/1669_zewdie1.rev.1557935390.JPG" alt="Racial and individual identity as it pertains to black women through the lenses of performance and painting"/><div class="plan-item-text" href="/live/profiles/2278-racial-and-individual-identity-as-it-pertains-to"><h3>Racial and individual identity as it pertains to black women through the lenses of performance and painting</h3><div class="plan-item-meta">Saron Zewdie</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/95-david-halls-influences-on-video-art" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/0,0,1556,1282/615_5cb8905daac00_download.rev.1555599453.png" alt="David Hall’s influences on video art"/><div class="plan-item-text" href="/live/profiles/95-david-halls-influences-on-video-art"><h3>David Hall’s influences on video art</h3><div class="plan-item-meta">Ian Grant</div></div></a> </article>
  • <article class="plan-item"><a href="/live/profiles/2706-interactions-between-the-state-and-the-public-in" class="inner clean-link"><img src="/live/image/gid/54/width/140/height/140/crop/1/src_region/51,307,1940,2195/2709_yandell1.rev.1564602434.JPG" alt="Interactions between the state and the public in urban space"/><div class="plan-item-text" href="/live/profiles/2706-interactions-between-the-state-and-the-public-in"><h3>Interactions between the state and the public in urban space</h3><div class="plan-item-meta">Izzy Yandell</div></div></a> </article>

Detours

(a mostly random selection of Marlboro microdestinations)