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Course Criteria
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1.00 Credits
This course covers the rise and development of modern literary genres written in verse and prose and studies some of the great figures and texts. It touches on the following focuses on analytical readings of poetry, stories, novels, articles, and plays. The students gain insights into Arabic culture including religions, customs, media, and music, in addition to the Arabic woman rights and her role in society. Tagreed Haddad The course is open to any student who has taken Arabic 207 or 208.
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1.00 Credits
(Same as Drama 215).
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1.00 Credits
(Same as English 218a and Women's Studies 218a) The course considers matters of gender and sexuality in literary texts, criticism, and theory. The focus varies from year to year, and may include study of a historical period, literary movement, or genre; constructions of masculinity and femininity; sexual identities; or representations of gender in relation to race and class. Topic for 2008/09a: Black Feminism. This course examines the development and history of black feminism in the United States. Through reading works of fiction, memoir, and theory, we explore the central concerns of the black feminist movement, and consider black feminism's response to Civil Rights, Black Nationalism, and white feminism. Authors may include Anna Julia Cooper, Angela Davis, bell hooks, Audre Lorde, Toni Morrison and others. Ms. Dunbar.
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1.00 Credits
(Same as English 227) This course places the Harlem Renaissance in literary historical perspective as it seeks to answer the following questions: In what ways was "The New Negro" new How did African American writers of the Harlem Renaissance rework earlier literary forms from the sorrow songs to the sermon and the slave narrative How do the debates that raged during this period over the contours of a black aesthetic trace their origins to the concerns that attended the entry of African Americans into the literary public sphere in the eighteenth century Ms. Dunbar
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1.00 Credits
(Same as English 228) In the famous phrase of Amiri Baraka, "Harlem is vicious/Modernism." Beginning with the modernist innovations of African American writers after the Harlem Renaissance, this course ranges from the social protest fiction of the 1940s through the Black Arts Movement to the postmodernist experiments of contemporary African American writers. Ms. Dunbar.
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1.00 Credits
(Same as Sociology 229) This course provides an overview of black intellectual thought and an introduction to critical race theory. It offers approaches to the ways in which black thinkers from a variety of nations and periods from the nineteenth century up to black modernity engage their intellectual traditions. How have their perceptions been shaped by a variety of places How have their traditions, histories and cultures theorized race Critics may include Aimé Césaire, Anna Julia Cooper, W.E.B. DuBois, Frantz Fanon, Paul Gilroy, Ngugi wa Thiong'o, Ida B. Wells, and Patricia Williams. Ms. Harriford
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1.00 Credits
(Same as Religion 230) The Africa-derived religions of the Caribbean region-Haitian Vodou, Cuban SanterÃa, Jamaican Obeah, Rastafarianism, and others-are foundational elements in the cultural development of the islands of the region. This course examines their histories, systems of belief, liturgical practices, and pantheons of spirits, as well as their impact on the history, literature, and music of the region. Ms. Paravisini-Gebert
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1.00 Credits
(Same as Film 232b) Ms. Mask
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1.00 Credits
In this interdisciplinary course, we examine the origins, dynamics, and consequences of the modern Civil Rights movement. We explore how the southern based struggles for racial equality and full citizenship in the U.S. worked both to dismantle entrenched systems of discrimination-segregation, disfranchisement, and economic exploitation-and to challenge American society to live up to its professed democratic ideals. Ms. Collins.Not offered in 2008/09.
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1.00 Credits
(Same as Film 236) African national cinemas reflect the rich, complex history of the continent. These films from lands as diverse as Chad, Senegal and South Africa reveal the various ways filmmakers have challenged the representation of Africa and Africans while simultaneously revising conventional cinematic syntax. This survey course examines the internal gaze of African-born auteurs like Ousmane Sembene (Le Nor de Z, Xala, Mandabi), Djbril Diop Mambety (Hyenes), Desire Ecare (Faces of Women), Manthia Diawara (Conakry Kas), and Mahmat-Saleh Haroun (Bye-Bye Africa). It places these films alongside the external gaze of practitioners Euzan Palcy (A Dry White Season), Jean-Jacques Annaud (Noir et Blancs en Couleur) and Raoul Peck (Lummba). The films of documentary filmmakers Anne Laure Folly, Ngozi Onwurah and Pratibah Parmaar are also examined. This course utilizes the post-colonial film theory and scholarship of Imruh Bakari, Mbye Cham, Nwachukwu Frank Ukadike and Manthia Diawara. Screenings, readings and papers required. Ms. Mask. Not offered in 2008/09.
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