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21 - 30 of 30 results for: AMSTUD ; Currently searching spring courses. You can expand your search to include all quarters

AMSTUD 195: Individual Work

Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

AMSTUD 198: American Studies Pre-Honors Seminar

Recommended for American Studies Juniors planning to apply to the honors program
Terms: Spr | Units: 1

AMSTUD 199C: American Studies Honors Seminar

*Required for American Studies honors students
Terms: Spr | Units: 1
Instructors: Kessler, E. (PI)

AMSTUD 201: History of Education in the United States (EDUC 201, HISTORY 258B)

How education came to its current forms and functions, from the colonial experience to the present. Focus is on the 19th-century invention of the common school system, 20th-century emergence of progressive education reform, and the developments since WW II. The role of gender and race, the development of the high school and university, and school organization, curriculum, and teaching.
Terms: Spr | Units: 3-5

AMSTUD 208: Women of the Movement (AFRICAAM 208, FEMGEN 208, FEMGEN 308, HISTORY 268, HISTORY 368, RELIGST 208, RELIGST 308)

This seminar will examine women and their gendered experience of activism, organizing, living, and leading in the Modern Civil Rights Movement. Undergraduates register for 200-level for 5 units. Graduate students register for 300-level for 3-5 units.
Terms: Win, Spr | Units: 3-5 | UG Reqs: WAY-EDP

AMSTUD 250: Senior Research

Research and writing of senior honors thesis under the supervision of a faculty member. The final grade for the thesis is assigned by the chair based on the evaluations of the primary thesis adviser and a second reader appointed by the program. Prerequisite: consent of chair.
Terms: Aut, Win, Spr, Sum | Units: 1-15 | Repeatable for credit

AMSTUD 255D: Racial Identity in the American Imagination (AFRICAAM 255, CSRE 255D, HISTORY 255D, HISTORY 355D)

From Sally Hemings to Michelle Obama and Beyonce, this course explores the ways that racial identity has been experienced, represented, and contested throughout American history. Engaging historical, legal, and literary texts and films, this course examines major historical transformations that have shaped our understanding of racial identity. This course also draws on other imaginative modes including autobiography, memoir, photography, and music to consider the ways that racial identity has been represented in American culture.
Terms: Spr | Units: 4-5
Instructors: Hobbs, A. (PI)

AMSTUD 259C: The Civil Rights Movement in American History and Memory (HISTORY 259C, HISTORY 359C)

This course examines the origins, conduct, and complex legacy of the Civil Rights Movement, as well as the continuing struggle over how the movement should be remembered and represented. Topics examined include: the NAACP legal campaign against segregation; the Montgomery Bus Boycott; the career of Martin Luther King, Jr.; the birth of the student movement; the 1964 Mississippi Summer Project; the rise of Black Power; Black political movements in the urban North; and the persistence of racial inequality in post-Jim Crow America.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-SI, WAY-EDP
Instructors: Campbell, J. (PI)

AMSTUD 285: American Photographs: A Magical History (ARTHIST 285)

What is a "magical" photograph? Who makes one? What is the photograph's relation to the world, to the real? To time and memory and to the viewer? What hold can photographs have on us if they are now everywhere, all the time? Who is the person who could bother to care and look closely at the world and at pictures? If there is such a person, why might she see her role as an ethical one? Starting with the invention of the medium in the 1830s, this course will consider the many distinguished American photographers who have pursued their own answers to these questions: Lewis Hine, Dorothea Lange, Margaret Bourke-White, Gordon Parks, Diane Arbus, Ralph Eugene Meatyard, William Eggleston, Francesca Woodman, Laura Aguilar, Deana Lawson, and others. Pursuing the magical, the course offers: a meditation on photography as a medium (its difference from and relation to poetry, literature, and painting); a partial history of America since 1960; a questioning of photography's relation to history; a t more »
What is a "magical" photograph? Who makes one? What is the photograph's relation to the world, to the real? To time and memory and to the viewer? What hold can photographs have on us if they are now everywhere, all the time? Who is the person who could bother to care and look closely at the world and at pictures? If there is such a person, why might she see her role as an ethical one? Starting with the invention of the medium in the 1830s, this course will consider the many distinguished American photographers who have pursued their own answers to these questions: Lewis Hine, Dorothea Lange, Margaret Bourke-White, Gordon Parks, Diane Arbus, Ralph Eugene Meatyard, William Eggleston, Francesca Woodman, Laura Aguilar, Deana Lawson, and others. Pursuing the magical, the course offers: a meditation on photography as a medium (its difference from and relation to poetry, literature, and painting); a partial history of America since 1960; a questioning of photography's relation to history; a theory of human intelligence at work - but also passive - before the world; a reflection on how a mechanical medium allows for a personal touch, a personal vision, on the part of master practitioners; yet how even an amateur can make a photograph of haunting power; an attempt to investigate whether or not - if you are quiet and attentive and lucky enough - such a thing as an actual American experience appears before your eyes
Terms: Spr | Units: 3-5

AMSTUD 290: Movies and Methods: The Judy Garland Seminar (FILMEDIA 290, FILMEDIA 490)

Acting and performance have been prominent in cinema throughout the medium's history, but have received relatively little attention in film studies. Performance provides a compellingly different way of engaging with a film. The Judy Garland Seminar proposes, first, that we attend to the centrality of performance in film, and, second, that the work Garland produced across three decades demonstrates not only a coherence and consistency, but also a variety and richness, that merits close examination. Judy Garland was one of the most accomplished performers of her time, her seeming naturalism a function of her fierce discipline. Her career straddled multiple media: film, recording, live performance and television. From childhood, her life was lived in the public eye and her personal travails were as well known as the characters she incarnated on screen - in fact, her biography informs some of her later film roles. Garland's work in this period occurs primarily in two genres: musical comedy more »
Acting and performance have been prominent in cinema throughout the medium's history, but have received relatively little attention in film studies. Performance provides a compellingly different way of engaging with a film. The Judy Garland Seminar proposes, first, that we attend to the centrality of performance in film, and, second, that the work Garland produced across three decades demonstrates not only a coherence and consistency, but also a variety and richness, that merits close examination. Judy Garland was one of the most accomplished performers of her time, her seeming naturalism a function of her fierce discipline. Her career straddled multiple media: film, recording, live performance and television. From childhood, her life was lived in the public eye and her personal travails were as well known as the characters she incarnated on screen - in fact, her biography informs some of her later film roles. Garland's work in this period occurs primarily in two genres: musical comedy and melodrama (and what we can call the melodramatic musical). Some of her best films were directed by two of the foremost studio directors - Vincente Minnelli and George Cukor - intersections of star, genre, and director will inform the seminar, as will explorations of Garland's work on television and the concert stage. The seminar will begin with an overview of the writing around film acting and the star text while considering some of Judy's earlier film appearances. Classes will be divided between critical engagement with assigned readings and close readings of Judy Garland performances. The screening list will be supplemented with ample clips from other films, and earlier work will be compared to later performances wherever useful. Both a mainstream star and a gay cult icon, Garland's persona was read differently by different audiences, so the seminar will also consider the reception of Judy Garland and her significance then and now.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II | Repeatable 2 times (up to 10 units total)
Instructors: Bukatman, S. (PI)
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