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Course Criteria
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4.00 Credits
Students will examine how important events in US history are portrayed across time and in different sources. The sources students will analyze include history textbooks, documentary films, and critical works on how history is taught. Students will write three essays in which they progressively develop their arguments about how and why these historical narratives are constructed, disputed, and ultimately, what they tell Americans about who they are today.
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4.00 Credits
This course focuses on the assumptions, confusions, successes, and contradictions behind the idea of "diversity" by taking an anthropological, historical, and psychological look at the complex category of race. We will examine the origins of race as a cultural construction; we will scrutinize the legislation and policies that have shaped the ideology of race over time; and we will think about race in contemporary society by looking at inequalities, schools, and the media.
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4.00 Credits
This course focuses on the assumptions, confusions, successes, and contradictions behind the idea of "diversity" by taking an anthropological, historical, and psychological look at the complex category of race. We will examine the origins of race as a cultural construction; we will scrutinize the legislation and policies that have shaped the ideology of race over time; and we will think about race in contemporary society by looking at inequalities, schools, and the media.
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4.00 Credits
The idea that there is a hierarchy separating high and low art extends as far back as Aristotle, but during the past fifty years American culture has depended upon destroying this hierarchy. This course examines what happens to art and society when the boundaries separating high and low art are gone. We will examine Thomas Pynchon, Andy Warhol, and The Rocky Horror Picture Show along with cultural theorists such as Adorno, Benjamin, Sontag, and Bakhtin.
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4.00 Credits
The idea that there is a hierarchy separating high and low art extends as far back as Aristotle, but during the past fifty years American culture has depended upon destroying this hierarchy. This course examines what happens to art and society when the boundaries separating high and low art are gone. We will examine Thomas Pynchon, Andy Warhol, and The Rocky Horror Picture Show along with cultural theorists such as Adorno, Benjamin, Sontag, and Bakhtin.
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4.00 Credits
How truthfully may words portray a hallucinating housewife, a vanquished race of American Indians, or a poor immigrant in a Chicago meatpacking factory? To what extent can literature give accurate portrayals of individuals with markedly diverse experiences? Examining the works of Charlotte Perkins Gilman, Francis Parkman, Edmund Wilson, and Upton Sinclair, we will investigate questions of individualism and collectivism, art and propaganda.
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4.00 Credits
How truthfully may words portray a hallucinating housewife, a vanquished race of American Indians, or a poor immigrant in a Chicago meatpacking factory? To what extent can literature give accurate portrayals of individuals with markedly diverse experiences? Examining the works of Charlotte Perkins Gilman, Francis Parkman, Edmund Wilson, and Upton Sinclair, we will investigate questions of individualism and collectivism, art and propaganda.
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4.00 Credits
Everyone agrees that the child needs schooling, but few agree on how to administer it. What is the prime object of the school? And how to attain it? To try answering these questions, we look critically at what is said in current discussions of art for the schools, what is debated about testing, and what thinkers and writers have put forward about that perennially thorny topic, Education.
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4.00 Credits
Everyone agrees that the child needs schooling, but few agree on how to administer it. What is the prime object of the school? And how to attain it? To try answering these questions, we look critically at what is said in current discussions of art for the schools, what is debated about testing, and what thinkers and writers have put forward about that perennially thorny topic, Education.
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4.00 Credits
Beyond the abstraction of American democracy as government of, by and for the people, what can we glean about our definitions of American governance from historical and artistic representations of it? This course will examine what US democracy looks like when brought to life in campaign commercials, in the architecture of government buildings, and in conspiracy films. We will ask how these works shape our understanding of the possibilities and constraints of democratic action.
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