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Course Criteria
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4.00 Credits
How news media present the world to the public and affects how the public sees the world. Cultural representation and history through international news. Political, technological, and cultural forces shape-making and dissemination of international news. Delineate principles that guide news media in determining type of information provided to the public. How public perception of international issues is shaped by words, images, and stories disseminated by news media organizations. Historical and political context of key international issues ever-present in the news media today.
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4.00 Credits
How stakeholders in civic culture work with others to mobilize resources at city, state, and national political levels to address urban community needs. Forms of urban community leadership and civic participation in Boston neighborhood community organizing efforts at grassroots level. Theoretical framing for bi-weekly class field visits. Ethnography and intensive interviews with community leaders explore community issues and roles possible for civic participation. Readings in politics, sociology, social work, anthropology, performance, ritual, cultural studies, development, civic culture, social capital, and resource mobilization.
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4.00 Credits
Investigates and traces roles and images of women in vaudeville and burlesque of the late 19th and early 20th centuries and their offshoots. Cultural contexts, performance contents, ideas about gender performed in burlesque genre and powerful role they played in shaping dominant ideologies. Parodies, gender roles and relationships, and the highly controlled social and cultural power of the female form and demeanor forecasted a range of interwoven performative and visual arts designed to elaborate, explore, and exploit American ideologies of sex and gender. Ziegfeld girls, pin-up art of Alberto Vargas, early sexploitation films of Sonney and Freidman.
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4.00 Credits
What have history and art to do with our sense of ourselves? Can histories end? Can art? Philosophers have recently argued that art and its history are over, in the wake of Modernism. These questions and this thesis will be examined and the course will ask "If art and its history have ended, then.what?" Readings will be drawnfrom diverse fields, including the philosophy of art, historical theory, art history, psychology, ethnology, and sociology/anthropology.
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4.00 Credits
What is Africa? Where is Africa? Who is African? Does Africa end at the coast or include the Islands and the Diaspora? What is the meaning of a white Africa and a black Africa in relation to Western civilizations? If Africa is the cradle of humanity, are we all Africans? Introduction to interdisciplinary African studies considering history, archaeology, anthropology, politics, literature, religion, culture, economics, diasporas, and post-coloniality. Topics include African civilizations, West African writers, filmmakers as African public intellectuals, and critics of colonialism and post-colonialism. Fulfills General Education Global Diversity requirement.
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4.00 Credits
From origins of Western literature to contemporary blockbuster films the monster has been a cross-genre mainstay of storytelling. Monsters represent culturally-specific fears in forms from prehistoric beasts running rampant in the modern world to the terrifying results of scientific experiments gone wrong. Through a broad sampling of fiction, poetry, academic writing in anthropology, history, cultural studies, and narrative and ethnographic films, students will develop the understanding that monsters do not emerge from thin air, but are manifestations of racial, sexual, and scientific anxieties. Discussion of cultural and historical roots of monsters from Beowulf to Frankenstein.
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4.00 Credits
Course covers Latin American writers and filmmakers from Mexico, Cuba, Argentina, and Brazil who counteract the forces of censorship and political repression within their countries to create their own versions of national literatures and film industries. Their works deal with the topics of revolution, gender, and the place of intellectuals and creative minds in construction of history not dominated by censorship. Course also presents a history of development of literacy and film genres that engage issues of local and national concerns at specific times of crises in the 17th (colonialism) and 20th (post-colonialism) centuries. Fulfills General Education Global Diversity requirement.
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4.00 Credits
Explores the American myth of the "frontier" as"free land," "new beginnings," and a source antagonism and heartbreak. This mythology of the frontier is a part of our daily lives, from Hollywood movies to the Marlboro Man, SUVs, and Las Vegas. Shifting conception of "the frontier" in Americanlife in the 19th and 20th centuries through literature, film, visual arts, advertising, popular and academic histories, historical construction of race, ethnicity, gender, and national identities as they are related to the myth of the American frontier.
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4.00 Credits
A broad sampling of literature, film, and art is studied in order to arrive at an understanding of motives and processes of creativity in a broader social context. Why do I create? How is my work a continuation of, or a break from, a particular artistic tradition? Is it my duty as an artist to try to alter the socio-political landscape with my work, or is the artist's duty simply to entertain? Apply conceptual framework to these questions from George Orwell's essay, "Why I Write," using hifour great motives for writing: "sheer egoism,""aesthetic enthusiasms," "historical impulse," a"political purpose."
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4.00 Credits
The role of ritual and performance in our lives and in our communities is explored through a variety of modes of inquiry, including reflective and critical reading, journal writing, and ethnography. Students work in groups to gain in-depth knowledge and firsthand experience of ritual and performance in community sites they select for intensive study. Links theory with practice by introducing rich, eclectic, and interdisciplinary theoretical material and applying it to students' practices in ritual and performance.
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