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In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? How do we understand a history of performance practice as being caught up in complicated legacies of suspicion, celebration, self-definition? The course will give participants a grounding in black performance texts, plays, and theoretical writings. *This course will also satisfy the TAPS department WIM requirement.*

How does race function in performance and dare we say live and in living color? How does one deconstruct discrimination at its roots?n nFrom a perspective of global solidarity and recognition of shared plight among BIPOC communities, we will read and perform plays that represent material and psychological conditions under a common supremacist regime. Where and when possible, we will host a member of the creative team of some plays in our class for a live discussion. Assigned materials include works by Lin-Manuel Miranda, Amiri Baraka, Young Jean Lee, Ayad Akhtar, Susan Lori Parks, David Henry Hwang, Betty Shamieh, Jeremy O. Harris, and Christopher Demos Brown.n nThis class offers undergraduate students a discussion that does not center whiteness, but takes power, history, culture, philosophy, and hierarchy as core points of debate. In the first two weeks, we will establish the common terms of the discussion about stereotypes, representation, and historical claims, but then we will quickly move toward an advanced conversation about effective discourse and activism through art, performance, and cultural production. In this class, we assume that colonialism, slavery, white supremacy, and oppressive contemporary state apparatuses are real, undeniable, and manifest. Since our starting point is clear, our central question is not about recognizing or delineating the issues, but rather, it is a debate about how to identify the target of our criticism in order to counter oppression effectively and dismantle long-standing structures.n nNot all BIPOC communities are represented in this syllabus, as such claim of inclusion in a single quarter would be tokenistic and disingenuous. Instead, we will aspire to understand and negotiate some of the complexities related to race in several communities locally in the U.S. and beyond.

How does race function in performance and dare we say live and in living color? How does one deconstruct discrimination at its roots?n nFrom a perspective of global solidarity and recognition of shared plight among BIPOC communities, we will read and perform plays that represent material and psychological conditions under a common supremacist regime. Where and when possible, we will host a member of the creative team of some plays in our class for a live discussion. Assigned materials include works by Lin-Manuel Miranda, Amiri Baraka, Young Jean Lee, Ayad Akhtar, Susan Lori Parks, David Henry Hwang, Betty Shamieh, Jeremy O. Harris, and Christopher Demos Brown.n nThis class offers undergraduate students a discussion that does not center whiteness, but takes power, history, culture, philosophy, and hierarchy as core points of debate. In the first two weeks, we will establish the common terms of the discussion about stereotypes, representation, and historical claims, but then we will quickly move toward an advanced conversation about effective discourse and activism through art, performance, and cultural production. In this class, we assume that colonialism, slavery, white supremacy, and oppressive contemporary state apparatuses are real, undeniable, and manifest. Since our starting point is clear, our central question is not about recognizing or delineating the issues, but rather, it is a debate about how to identify the target of our criticism in order to counter oppression effectively and dismantle long-standing structures.n nNot all BIPOC communities are represented in this syllabus, as such claim of inclusion in a single quarter would be tokenistic and disingenuous. Instead, we will aspire to understand and negotiate some of the complexities related to race in several communities locally in the U.S. and beyond.

This seminar considers the tremendous linguistic diversity of the African continent and the cultural, political, and socioeconomic dilemmas that define the question of language policy in Africa since decolonization. In the modern world, some languages die, and others are killed. In this course, we will ask how the slow or rapid death of a language - the phenomenon known as linguicide - is a crucial but underexplored dimension of colonialism and slavery in the Atlantic, Saharan, and Indian Ocean worlds. In my usage, the search for a mother tongue denotes an array of literary and linguistic efforts to unify disparate peoples and to heal the divisions of colonialism in Africa and its diaspora. This phrase names an aspiration for individual and collective restoration of selfhood through language. But this effort has come at the cost of intense internal conflict in the African world. The quest for linguistic restoration is a key determinant of internecine strife and civil war in Africa. In Sudan, for example, British colonial authorities employed indirect rule to elevate the Arabic-speaking Muslim populations in the northern regions at the expense of the linguistically and religiously diverse populations of southern Sudan. Over time, the south became politically subordinate to - and economically exploited by - the north, and this process of disenfranchisement fomented a protracted civil war of the late twentieth century that resulted in the secession, in 2011, of South Sudan from Sudan. How have creative writers, theorists, and policy makers sought to reconstitute the colonized self via language and linguistic practices such as state-imposed language rationalization policies or the collective recovery of lost languages? And how do these thinkers strive to resolve or reimagine ongoing antagonisms in literary form? This course ponders these questions via readings of key authors such as Ngugi wa Thiong¿o, Assia Djebar, Abdulrazak Gurnah (winner of the 2021 Nobel Prize in Literature), Leila Lalami, and Sulaiman Addonia, among others."

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. The slogan offered a contemporary iteration of an historical alignment: namely, the concept of "magic" with both Black people as well as "blackness." This course explores the legacy of Black magic--and black magic--through performance texts including plays, poetry, films, and novels. We will investigate the creation of magical worlds, the discursive alignment of magic with blackness, and the contemporary manifestation of a historical phenomenon. We will cover, through lecture and discussion, the history of black magic representation as well as the relationship between magic and religion. Our goal will be to understand the impact and history of discursive alignments: what relationship does "black magic" have to and for "black bodies"? How do we understand a history of performance practice as being caught up in complicated legacies of suspicion, celebration, self-definition? The course will give participants a grounding in black performance texts, plays, and theoretical writings. *This course will also satisfy the TAPS department WIM requirement.*

One in five people in Germany now has, as it is termed, a background of migration. Immigration from Turkey is probably the most prominent not only in terms of its massiveness and demographic consequences, but also for its significant role in changing Germany's overall cultural, social, and economic landscape. In this course, through analyzing selected literary works, films, and plays produced by Turkish-German writers and artists, we will discuss complex ideas like migration, ethnicity, race, religion, gender, and class, resorting not to oversimplifications and binary thinking but instead to relevant literary concepts and formative historical moments which have shaped the Turkish-German experience. Taught in English and German.

One in five people in Germany now has, as it is termed, a background of migration. Immigration from Turkey is probably the most prominent not only in terms of its massiveness and demographic consequences, but also for its significant role in changing Germany's overall cultural, social, and economic landscape. In this course, through analyzing selected literary works, films, and plays produced by Turkish-German writers and artists, we will discuss complex ideas like migration, ethnicity, race, religion, gender, and class, resorting not to oversimplifications and binary thinking but instead to relevant literary concepts and formative historical moments which have shaped the Turkish-German experience. Taught in English and German.

This course is an opportunity and invitation to explore themes and topics in politics and society in Iran from 1500 to 1900 CE. The course invites students to read, discuss, and reflect on trends and events that shaped early modern politics and society in Iran through the lens of primary and secondary sources, including narrative and archival sources in translation. Topics include the changing dynamics of state-building, religious transition, revivalist movements, women in politics and society, modernization paths in response to European global hegemony, and center-periphery relations concerning linguistic and religious minorities.

Students completing a capstone project for the Global Studies Minor must enroll in this course for units (1-5) with their capstone advisor selected as the instructor. The course may be repeated for credit, with advisor approval. Students are expected to participate in regular advising meetings with the instructor.