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Course Criteria
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3.00 Credits
Same as Pol Sci 331B
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3.00 Credits
Same as Anthro 3313
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3.00 Credits
This course begins by examining the 19th and early 20th century historical context out of which contemporary feminist theory emerged. We then turn to the 1960s and the emergence of the "Second Wave" of Feminism. We focus on some of the major theories that developed during the 1960s, 1970s, and 1980s and the conflicts and internal problems these theories generated. We then examine some of the ways these problems were resolved in feminist theory of the 1990s. The last part of the course focuses on topics of concern to contemporary feminists-such as the family, sexuality and globalism-and the contributions feminist theory brings to these topics. Open to graduate students by enrolling in WGSS 500; contact the Women, Gender, and Sexuality Studies office for details.
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3.00 Credits
American literature is filled with adventurers and adventure stories. Some of the most exciting tales were written by women. Their adventures include Mary Rowlandson's autobiography of her capture by and life with the Indians, E.D.E.N. Southworth's story of a 19th-century heroine who rescues imprisoned maidens and fights duels, and Octavia Butler's science fiction account of a 20th-century black woman who is transported back through time to an antebellum plantation. Until recently, American women authors and their stories were largely dismissed because they were perceived to focus on domestic concerns, which were seen as narrow and trivial. But the works of many women authors are far different from sentimental domestic fiction. In addition to looking closely at the historical and cultural conditions in which the narratives were written, we examine the ways in which these writers conform to and rebel against cultural prescriptions about femininity. Finally, we read some contemporary and current criticism about these works and American women's writing and discuss the politics of canon formation. Tentative Reading List: Mary Rowlandson, The Captivity and Restoration of Mrs. Mary Rowlandson (1682); The Journal of Madam Knight (1704); Catharine Maria Sedgwick, Hope Leslie (1827); E.D.E.N. Southworth, The Hidden Hand (1858); Zora Neale Hurston, Their Eyes Were Watching God (1937); Octavia Butler, Kindred (1979); Paule Marshall, Praisesong for the Widow (1983). Writing-intensive.
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3.00 Credits
Same as MHBR 340
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3.00 Credits
This course investigates an array of contemporary performances to explore manifestations of and challenges to gender norms in American culture. An initial reading of crucial performance theories by Judith Butler, Jill Dolan, and others help set the stage for our examination of a diverse collection of contemporary texts, including plays, solo performances, stand-up comedy, and pop culture phenomenon. We raise questions about feminist performance strategies, butch/femme performance, camp, cross-dressing, feminist spectatorship, multimedia performances, and the representation of lesbian desire. Prerequisite: any 100-level WGSS course.
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3.00 Credits
Same as History 3413
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3.00 Credits
Contemporary topics of women's health and reproduction are used as vehicles to introduce the student to the world of evidence-based data acquisition. Selected topics span and cross a multitude of contemporary boundaries. Issues evoke moral, ethical, religious, cultural, political, and medical foundations of thought. Students are provided introductory detail to each topic and subsequently embark on an independent critical review of current data and opinion to formulate their own said notions. Examples of targeted topics for the upcoming semester include, but are not limited to: abortion, human cloning, genetics, elective Cesarean section, fetal surgery, hormone replacement, refusal of medical care, medical reimbursement, liability crisis, and gender bias of medical care.
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3.00 Credits
Same as Film 345
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3.00 Credits
This course offers an opportunity to examine the ways women's relationships and experiences are pictured in the media. The goal of this class is to help build alternative frames of reference to those currently common in the classic cinema repertoire, TV advertising, and the nightly news. The course combines formal lectures with screenings and discussions of current and classic media from around the world. We screen more than a dozen independent short films by women about women's issues introducing students to diverse constructions of masculinity, femininity, romance, and violence. We examine how shooting and editing techniques affect the meaning of the documentary and manipulate viewers' beliefs.
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