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Course Criteria
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1.00 Credits
(Same as History 365) Mr. Mills. Not offered 2008/2009
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1.00 Credits
(Same as Art 366b and Women's Studies 366b) Topic for 2008/09: Vision and Critique in the Black Arts and Women's Art Movements. Focusing on the relationships between visual culture and social movements in the U.S., this seminar examines the arts, institutions, and ideas of the Black Arts movement of the 1960s and 1970s. Analyzing paintings, photographs, posters, quilts, collages, murals, manifestos, mixed-media works, installations, films, performances, and various systems of creation, collaboration, and display, we explore connections between art, politics, and society. Ms. Collins.Prerequisite: permission of instructor. One 2-hour period.
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1.00 Credits
Ms. Yow. Not offered 2008/2009.
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1.00 Credits
(Same as History 374b) This seminar investigates the social origins, philosophical and cultural ideas, and the political forms of Pan-Africanism from the late nineteenth century to the end of the twentieth century. It explores how disaffection and resistance against slavery, racism and colonial domination in the Americas, Caribbean, Europe, and Africa led to the development of a global movement for the emancipation of peoples of African descent from 1900 onwards. The seminar examines the different ideological, cultural, and organizational manifestations of Pan-Africanism as well as the scholarly debates on development of the movement. Readings include the ideas and works of Edward Blyden, Alexander Crummel, W. E. B. Dubois, Marcus Garvey, Amy Garvey, C.L.R. James, and Kwame Nkmmah. Mr. Rashid. Special permission.
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12.00 Credits
(Same as Drama 392) Instructor to be announced. Not offered in 2008/09.
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3.00 Credits
Senior independent study program to be worked out in consultation with an instructor. The department.
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1.00 Credits
Topic for 2008/09: Introduction to Native American Studies. This course is a multi-and interdisciplinary introduction to the basic philosophies, ideologies, and methodologies of the discipline of Native American Studies. It acquaints students with the history, art, literature, sociology, linguistics, politics, and epistemology according to an indigenous perspective while utilizing principles stemming from vast and various Native North American belief systems and cultural frameworks. Through reading assignments, films, and discussions, we learn to objectively examine topics such as orality, sovereignty, stereotypes, humor, language, resistance, spirituality, activism, identity, tribal politics, and environment among others. Overall, we work to problematize historical, ethnographical, and literary representations of Native people as a means to assess and evaluate western discourses of domination; at the same time, we focus on the various ways Native people and nations, both in their traditional homelands and urban areas, have been and are triumphing over 500+ years of colonization through acts of survival and continuance. Ms. McGlennen, Ms. Wallace. Open to freshmen and sophomores only. Two 75-minute periods.
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12.00 Credits
(Same as English 179) Mr. Peck.
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1.00 Credits
"No visitor can ever have set foot on those shores, with a stronger faith in the republic than I had, when I landed in America"-so claimed Charles Dickens, in his account of an 1842 visit across the Atlantic to the young democracy. What did he see More importantly: what did he hope or expect to see This course considers literature (novels and short stories, essays, travel writing, journalism and manifestos), film, music and visual art that approaches "America"-as an idea, a hope, a promise, an empire or merely an unreasonably large piece of land-from abroad. Possible authors include: Franz Kafka, Haruki Murakami, Simone de Beauvoir and Jean-Paul Sartre, Vladimir Nabokov, Karl Marx, Sayyid Qutb, Graham Greene, Jessica Hagedorn and Martin Amis. Sample artists include: Fela Kuti, the Clash, Tseng Kwong Chi and Jean-Luc Godard. MrOpen only to freshmen; satisfies college requirement for a Freshman Writing Seminar.
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1.00 Credits
Possibly the most cherished national value of the United States-and the principle that most swiftly enchants both native and immigrant to celebrate themselves as American citizens-is the notion of personal freedom. Yet the recent announcement by justice experts that the U.S. prison population threatens to exceed 2 million inmates suggests that there is an unsavory and desperate underside of U.S. freedom and that in the grand design of U.S. institutions lurks an imperative to confine its citizens as well as liberate them. The criminal and the carceral, however, serve as our muse. In addition to carefully considering the reigning critique of the burgeoning prison-industrial complex in the first portion of the course, we meditate on Enlightenment penological theory and the history of U.S. incarceration to better understand why our society has embraced the prison as a punishment practice and how it goes about administering the institution's discipline. The second portion features a study on literary and documentary representations of the prison experience. We explore how writers and other creative artists have imagined or personally negotiated the challenge of confinement. The third section offers additional meditations on the workings of the justice system and culminates in an exploration of how the U.S. increasingly remakes itself into a carceral society wherein governmental politics, public space, and popular television reveal the extent to which policing and social control have become the defining features of our national culture. In short this inquiry into the nature of American justice, goes beyond critical analysis of literary texts toward a broader understanding of cultural history, cultural change, and cultural ideology. Mr. SimpsoOpen only to freshmen; satisfies college requirement for a Freshman Writing Seminar.
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