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351 - 360 of 837 results for: all courses

FEMGEN 13N: Women Making Music (MUSIC 14N)

Preference to freshmen. Women's musical activities across times and cultures; how ideas about gender influence the creation, performance, and perception of music.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Hadlock, H. (PI)

FEMGEN 17: Gender and Power in Ancient Greece

(Formerly CLASSGEN 17.) Introduction to the sex-gender system of ancient Greece, with comparative material from modern America. How myths, religious rituals, athletics, politics and theater reinforced gender stereotypes and sometimes undermined them. Skills: finding clues, identifying patterns and making connections amongst the components of a strange and beautiful culture very different from our own. Weekly participation in a discussion section is required.
Terms: not given this year, last offered Autumn 2014 | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

FEMGEN 54N: African American Women's Lives (AFRICAAM 54N, AMSTUD 54N, CSRE 54N, HISTORY 54N)

This course encourages students to think critically about historical sources and to use creative and rigorous historical methods to recover African American women¿s experiences, which often have been placed on the periphery of American history and American life.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Hobbs, A. (PI)

FEMGEN 63N: The Feminist Critique: The History and Politics of Gender Equality (AMSTUD 63N, CSRE 63N, HISTORY 63N)

This course explores the long history of ideas about gender and equality. Each week we read, dissect, compare, and critique a set of primary historical documents (political and literary) from around the world, moving from the 15th century to the present. We tease out changing arguments about education, the body, sexuality, violence, labor, politics, and the very meaning of gender, and we place feminist critics within national and global political contexts.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Freedman, E. (PI)

FEMGEN 102: Art and Social Criticism (AFRICAAM 102B, AMSTUD 102, ARTHIST 162B, CSRE 102A)

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition¿s agit-prop opposing the Vietnam War and ACT-UP¿s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago¿s The Dinner Party (1979), Fred Wilson¿s Mining the Museum (1992), and Glenn Ligon¿s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades more »
Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition¿s agit-prop opposing the Vietnam War and ACT-UP¿s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago¿s The Dinner Party (1979), Fred Wilson¿s Mining the Museum (1992), and Glenn Ligon¿s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of Occupy and the Movement for Black Lives. We will also consider the collective aesthetic activisms in the Post-Occupy era including Global Ultra Luxury Faction, Climate Justice art projects, and the visual culture of Trump era mass protests. Why are each of these examples successful as influential and enduring markers of social criticism? What have these socially responsive practices contributed to our understanding of American history?
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Hertz, B. (PI)

FEMGEN 103: Feminist and Queer Theories and Methods Across the Disciplines (FEMGEN 203, PHIL 179A, PHIL 279A)

(Graduate Students register for PHIL 279A or FEMGEN 203) This course is an opportunity to explore the difference feminist and queer perspectives make in creative arts, humanities, and social science research.nPrerequisites: Feminist Studies 101 or equivalent with consent of instructor.nNOTE: This course must be taken for a letter grade and a minimum of 3 units to be eligible for WAYS credit. The 2 unit option is for graduate students only.
Terms: Win | Units: 2-5 | UG Reqs: GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

FEMGEN 110J: Romance, Desire, and Sexuality in Modern Japanese Literature (FEMGEN 210J, JAPAN 110, JAPAN 210)

This class is structured around three motifs: love suicide (as a romantic ideal), female desire, and same-sex sexuality. Over the course of the quarter we will look at how these motifs are treated in the art and entertainment from three different moments of Japanese history: the Edo period (1615-1868), the modern period (1920-65), and the contemporary period (1965-present). We will start by focusing on the most traditional representations of these topics. Subsequently, we will consider how later artists and entertainers revisited the conventional treatments of these motifs, informing them with new meanings and social significance. We will devote particular attention to how this material comments upon issues of gender, sexuality, and human relationships in the context of Japan. Informing our perspective will be feminist and queer theories of reading and interpretation.
Terms: not given this year, last offered Autumn 2016 | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

FEMGEN 110X: Introduction to Comparative Queer Literary Studies (COMPLIT 110, COMPLIT 310, FEMGEN 310X)

Introduction to the comparative literary study of important gay, lesbian, queer, bisexual, and transgender writers and their changing social, political, and cultural contexts from the 1880s to today: Oscar Wilde, Rachilde, Radclyffe Hall, Djuna Barnes, James Baldwin, Jean Genet, Audre Lorde, Cherrie Moraga, Jeanette Winterson, Alison Bechdel and others, discussed in the context of 20th-century feminist and queer literary and social theories of gender and sexuality. Note: To be eligible for WAYS credit, you must take the course 110 or 110X for a Letter Grade.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

FEMGEN 113X: Feminist Poetry in the U.S., 1973-2017 (COMPLIT 113)

Traces the development of feminist poetry in the United States from second wave feminists like Adrienne Rich, Audre Lorde, and Alicia Ostriker to contemporary poetry of Anne Boyer, Steph Burt, and Eileen Myles, among others. We will think broadly about the relationship between politics and poetry, and focus specifically on the influences of second- and third- wave feminism on poetry produced by women in the U.S. from the 1970s until today.Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Olidort, S. (PI)

FEMGEN 115: Queer Reading and Queer Writing in Early Modern England

Considers the possibility of identifying queer reading and writing practices in early modern England as well the theoretical and historical obstacles such a project necessarily encounters. Focus on the role which Renaissance discourses of desire continue to play in our negotiations of homo/erotic subjectivity, identity politics, and sexual and gender difference. Study of Renaissance queerness in relation to the classical tradition on the one hand and the contemporary discourses of religion, law, and politics on the other. Readings include plays, poems, and prose narratives as well as letters, pamphlets, and ephemeral literature. Both major and minor authors will be represented.
Terms: not given this year, last offered Autumn 2013 | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
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