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This course explores the cultural and historical overlap of two marginal categories - the queer, the musical - with a focus on what these critical concepts can teach us much about identity, identification, and belonging. We will discuss genres including classical, musical theater, rap, pop, country, and punk as well as queer socialities formed in and through these musical scenes. We will think critically about the subtleties of musical language and queer affect, the circulation of gay rumors, and the diva as an object of queer obsession while asking how race, gender, and class as well as elitism, status, and taste inform such inquiries.

This course is a required training for student leaders of the Seeds of Change initiative. This initiative takes an interdisciplinary approach to STEM education, infusing students' technical training with leadership training through a lens of gender inequality - bringing together key components of feminist pedagogy, service-learning, and experiential education to create a transformational learning experience. In this three-quarter course (Fall, Winter, Spring), student leaders will: learn the core content featured in the Seeds of Change curriculum, reflect on their experiences as both learners and teachers of this content, hone their own leadership and group facilitation skills, and engage as researchers in the initiative's evaluation efforts. NOTE: Instructor Consent Required. Please email kpedersen@stanford.edu *Cardinal Course certified by the Haas Center. See syllabus for adjusted course schedule and times.

John Wayne's imposing corporeality and easy comportment combined to create an enduring, complex, icon of masculinity, of the American West, and of America itself. This seminar will concentrate on the films that contributed most strongly to the establishment of, maturation of, and even deconstruction of, the iconography and mythology of the "John Wayne" character. This concentration will also bring into view the western and war film as genres; the crisis of (and performance of) masculinity in postwar culture; gender and sexuality in American national identity; the relation between individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War. Most courses on film are built around directors, genres, nations, or periods. A course on the films of John Wayne proposes that the body of films in which Wayne starred over 35 years demonstrate not only a coherence and consistency, but also a variety, that merits closer examination. Stars frequently exerted control over their materials (especially when they went on, as Wayne did, to head their own production companies), but this an aspect of filmmaking that has received little attention in the classroom. Wayne's work in this period occurs primarily in two genres: the western and the war film (with the cavalry films neatly straddling both of these). Many of his best films were directed by two of the foremost directors in the American pantheon ¿ John Ford and Howard Hawks: the chance to review their work with Wayne also serves as an occasion to explore the ways in which each differs from (and even comments upon) the other. Perhaps the most common criticism leveled against John Wayne as an actor was (and continues to be) that he was simply "being John Wayne." This course proposes that first, this is no small thing, and second, it is also not really true.

Preference to and required of Feminist Studies majors; others require consent of instuctor. Feminist experiential learning projects related to critical studies in gender and sexuality. Identifying goals, grant proposal writing, and negotiating ethical issues in feminist praxis. Developing the relationship between potential projects and their academic focus in the major.

Required for Feminist Studies majors. Non-majors enrolled with consent of instructor. Students develop oral reports on their practicum and its relationship to their academic work, submit a report draft and revised written analysis of the practicum, and discuss applications of feminist scholarship. May be repeated once for credit.

For honors students who are doing independent work with faculty advisors.

Supervised field, community, or lab experience in law offices, medical research and labs, social service agencies, legislative and other public offices, or local and national organizations that address issues related to gender and/or sexuality. One unit represents approximately three hours work per week. Required paper. May be repeated for credit. Service Learning Course (certified by Haas Center). Feminist, Gender, and Sexuality Majors may not receive 108 credit for their required practicum, as they are to sign up for FEMGEN 104 A & B instead. Prerequisites: Course work in Feminist, Gender, and Sexuality Studies, written proposal and application form submitted for approval by program office, written consent of faculty sponsor. Course may be taken 3 times total, for a max of 15 units.

This course will look at notable Native American Women in Native American history starting with Native American oral tradition narratives about important women in specific tribal narratives including origin narratives used in Native American tribal history. Native American history is not required in any national curriculum and as a result, Native American people(s) encounter many stereotypes and false beliefs about indigenous peoples of the United States. This course will focus on the role of women in Native American history including historic narratives in oral tradition as maintained in specific Native American histories (as told from a Native American perspective).