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271 - 280 of 557 results for: all courses

FEMGEN 92L: Poems of Love and Sexuality (ENGLISH 92L)

This writing-intensive workshop will explore the tradition of love poetry, paying attention to how poets have represented the amorous and the erotic in their work - powerful longing, steamy encounters, devastating break-ups - from ancient times to today. As we analyze and interpret the ways poems can record shifting attitudes toward sex, gender, queerness, and relationships, we will also focus on the creative process: generating a sequence of our own poems and developing practical writing skills in group poetry workshops.
| UG Reqs: WAY-CE

FEMGEN 94Q: The Future is Feminine (ENGLISH 94Q)

Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as mo more »
Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as models and inspiration. As we engage with these other writers, we will think broadly and bravely, and explore the expressive opportunities inherent in writing. We will explore our own creative practices through readings, prompted exercises, improv, games, collaboration, workshop, and revision, all with an eye toward writing the feminine future.
Terms: Win, Sum | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Pufahl, S. (PI)

FEMGEN 133: Transgender Performance and Performativity (TAPS 133T)

This course examines theater, performance art, dance, and embodied practice by transgender artists. Students will learn the history and politics of transgender performance while considering the creative processes and formal aesthetics trans artists use to make art. We will analyze creative work in conversation with critical and theoretical texts from the fields of performance studies, art history, and queer studies.
Last offered: Autumn 2019 | UG Reqs: WAY-A-II, WAY-CE

FEMGEN 144X: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, CSRE 144, LIFE 144)

Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Last offered: Winter 2022 | UG Reqs: WAY-CE, WAY-EDP

FEMGEN 150G: Performing Race, Gender, and Sexuality (ARTSINST 150G, CSRE 150G, CSRE 350G, LIFE 150G, TAPS 150G)

In this theory and practice-based course, students will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performances in response to the assigned material. Attendance and written reflection about a live performance event on campus are required. Students will also learn various meditation practices as tools for making and critiquing performance, in both our seminar discussions and performance workshops. We will approach mindfulness as method and theory in our own practice, as well as in relation to the works studied. We will also consider the ethics and current debates concerning the mindfulness industry. Examples of artists studied include James Luna, Nao Bustamante, Renee Cox, William Pope.L, Cassils, boychild, Curious, Adrian Piper, Xandra Ibarra, Valérie Reding, Guillermo Gomez-Peña, and Ana Mendieta.
Last offered: Autumn 2022 | UG Reqs: WAY-CE, WAY-EDP

FEMGEN 150N: Queer Sculpture (ARTSTUDI 150N)

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The polit more »
Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Berlier, T. (PI)

FEMGEN 190W: Contemporary Women Writers (ENGLISH 190W)

"Every word a woman writes changes the story of the world, revises the official version¿¿is this what sets contemporary women writers apart? How can we understand the relation between the radically unprecedented material such writers explore and ¿the official version¿? What do we find compelling in their challenging of structure, style, chronology, character? Our reading- and writing-intensive seminar will dig into the ways women writers confront, appropriate, subvert, or re-imagine convention, investigating, for example, current debate about the value of ¿dislikable¿ or ¿angry¿ women characters and their impact on readers. While pursuing such issues, you'll write a variety of both essayistic and fictional responses, each of which is designed to complicate and enlarge your creative and critical responsiveness and to spark ideas for your final project. By affirming risk-taking and originality throughout our quarter, seminar conversation will support gains in your close-reading practice and in articulating your views, including respectful dissent, in lively discourse¿in short, skills highly useful in a writer¿s existence. Our texts will come from various genres, including short stories, novels, essays, blog posts, reviews, memoir.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II, WAY-CE

FEMGEN 192: Women in Contemporary French Cinema (FILMEDIA 112, FRENCH 192, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| UG Reqs: WAY-A-II, WAY-CE

FILMEDIA 50Q: The Video Essay: Writing with Video about Media and Culture

In this seminar, we explore what it means to 'write with video,' and we learn to make effective and engaging video essays. Specifically, we examine strategies for communicating through video, and we conduct hands-on exercises using digital video editing software to construct arguments, analyses, and interpretations of film, television, video games, online media, art, and culture. Compared with traditional text-based arguments, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. Video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier than an essay composed with ink and paper. Like the written essay, the new technology introduces its own challenges and choices, including decisions about organization of space and time, audiovisual materials, onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we develop our skills with editing software such a more »
In this seminar, we explore what it means to 'write with video,' and we learn to make effective and engaging video essays. Specifically, we examine strategies for communicating through video, and we conduct hands-on exercises using digital video editing software to construct arguments, analyses, and interpretations of film, television, video games, online media, art, and culture. Compared with traditional text-based arguments, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. Video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier than an essay composed with ink and paper. Like the written essay, the new technology introduces its own challenges and choices, including decisions about organization of space and time, audiovisual materials, onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in cinema and other moving-image media. Through weekly assignments and group critique sessions, we learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we assemble a group exhibition of our best video essays for public display on campus.nNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Denson, S. (PI)

FILMEDIA 112: Women in Contemporary French Cinema (FEMGEN 192, FRENCH 192, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| UG Reqs: WAY-A-II, WAY-CE
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