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Course Criteria
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3.00 Credits
This course examines the relationship of culture to politics. It introduces the study of struggles to acquire, maintain, or resist power and gives particular attention to the role culture plays in reproducing and contesting social divisions of class, race, gender, and sexuality. Lectures and discussion incorporate film, music, and fiction in order to evaluate the connection between cultural practices and politics. Normally offered every year. Staff.
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3.00 Credits
This introductory course traces the development of a distinct African American literary tradition by focusing on the call and response pattern of slavery through the civil rights, feminist, and Black Power liberation movements. Students examine the music, oratory, letters, poems, essays, slave narratives, autobiographies, fiction, and plays by Americans of African descent. Two essential questions shape this course: What is the role of African American literature in the cultural identity and collective struggle of black people, and what should that role be What themes, tropes, and forms connect these texts, authors, and movements into a coherent living tradition Enrollment limited to 25. T. Robinson.
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3.00 Credits
While African American musical traditions command attention on stages across the world, they have a unique home in African American literature. This course explores folk, sacred, blues, jazz, and hip-hop music as aesthetic and sociopolitical resources for African American authors. Course texts may include poetry, drama, fiction, criticism, and theory. Authors include Sterling Plumpp, Toni Morrison, Jayne Cortez, Albert Murray, W. E. B. Du Bois, Zora Neale Hurston, Larry Neal, and Ralph Ellison. Not open to students who have received credit for First-Year Seminars 287. Enrollment limited to 25. Staff.
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3.00 Credits
Since its origins in the early twentieth century, film has debated how to represent black suffering. This course examines one aspect of that debate: the persistent themes of white goodness, innocence, and blamelessness in films that are allegedly about black history and culture. Historical and cultural topics examined in film include the enslavement of Africans, Reconstruction, and the civil rights movement. Particular attention is given to films in the interracial male-buddy genre. [W2] Normally offered every year. C. Nero.
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3.00 Credits
While focusing primarily on African American women, this interdisciplinary course surveys historical, intellectual, political, and cultural contributions as well as literary, filmic, and artistic representations of women throughout the Black Atlantic. Using perspectives from the social sciences (especially history, anthropology, and sociology), the humanities (particularly literature), and critical race, womanist/black feminist, and queer theories, students examine experiences and depictions of women of African descent. The class pays particular attention to developing knowledge and understanding of black women's 1) experiences of enslavement and colonization; 2) involvement in liberation movements; 3) efforts at self-definition and self-sufficiency; 4) social and political activism; and 5) production of modes of analysis at the junctures or articulations of race, gender, sexuality, and class. Open to first-year students. Enrollment limited to 15. Normally offered every year. Staff.
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3.00 Credits
This course examines black lesbian and gay literatures in English from Africa, the Caribbean, the United Kingdom, the United States, and Canada. Students are introduced to critical and historical approaches for analyzing literature about black queer sensibilities. Open to first-year students. [W2] C. Nero.
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3.00 Credits
This course examines the literatures of the African diaspora in the Caribbean and the Caribbean diaspora in Canada, the United States, Great Britain, and France. Some texts are drawn from Anglophone authors such as Lamming, Anthony, Walcott, Brodber, Danticat, Lovelace, Brathwaite, and Denis Williams; others, from Francophone and Hispanophone writers, including Guillen, Carpentier, Condé, Chamoiseau, Depestre, Ferré, and Morejón. The course places each work in its historical, political, and anthropological contexts. Students are introduced to a number of critical theories and methodologies with which to analyze the works, including poststructuralist, Marxist, Pan-African, postcolonial, and feminist. Prerequisite(s): one of the following: African American Studies 100 or 140, 162, 212; African American Studies/English 121X and 253; Anthropology 155, 228, 234, 251; English 292, 294, or 295. S. Houchins.
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3.00 Credits
In his infamous essay, "The Negro Artist and the Racial Mountain," Langston Hughes argued that black artists should look at black cultural art forms instead of imitating Euro-American art. Hughes insisted that blues music represented an original art form that articulated the experiences of African Americans. This course explores the life of Langston Hughes and his contributions to the development of a blues aesthetic in African American literature. Selections by other prominent writers and critics, such as Toni Morrison, Ralph Ellison, Gayl Jones, Albert Murray, Alan Lomax, and Houston Baker also contribute to this exploration of the blues aesthetic. Prerequisite(s): One 100-level English course. Enrollment limited to 25. T. Robinson.
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3.00 Credits
People of African heritage in this country have been described as both "omni-Americans" and a distinctive cultural "nation within a nation." The course explores this apparent paradox using primary and interpretive sources, including oral and written biography, music, fiction, and social history. It examines key issues, recurrent themes, conflicting strategies, and influential personalities in African Americans' quest for freedom and security. It surveys black American history from seventeenth-century African roots to current problems that remain in building an egalitarian, multiracial society for the future. Open to first-year students. (United States.) H. Jensen.
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3.00 Credits
The history of the twentieth century can be understood in terms of of the increasing African-Americanization of music in the West. The rapid emergence and dissemination of African American music made possible through recording technologies has helped to bring about radical cultural change: it has subverted received wisdoms about race, gender, and sexuality, and has fundamentally altered our relationship to time, to our bodies, to our most basic cultural priorities. This course explores some crucial moments in the history of this African-Americanization of popular music and helps students develop an understanding of the relationship between musical sound and cultural practice. Open to first-year students. Enrollment limited to 40. J. Woodruff.
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