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381 - 390 of 1219 results for: all courses

CSRE 233: Censorship in American Art (ARTHIST 233, ARTHIST 433)

This seminar examines the art history of censorship in the United States. Paying special attention to the suppression of queer, Black, and Latinx visual and performance art, including efforts to vandalize works and defund institutions, students will explore a variety of writing such as news articles, manifestos, letters, protest signs, scholarly texts, and court proceedings. The course approaches censorship as an act to restrict freedom of expression and, however unwittingly, as a mode of provocation and publicity.
| UG Reqs: WAY-A-II, WAY-EDP

CSRE 249: The Algerian Wars (FRENCH 249, HISTORY 239G, JEWISHST 249)

From Algiers the White to Algiers the Red, Algiers, the Mecca of the Revolutionaries in the words of Amilcar Cabral, this course offers to study the Algerian Wars since the French conquest of Algeria (1830-) to the Algerian civil war of the 1990s. We will revisit the ways in which the war has been narrated in literature and cinema, popular culture, and political discourse. A special focus will be given to the Algerian War of Independence (1954-1962). The course considers the racial representations of the war in the media, the continuing legacies surrounding the conflict in France, Africa, and the United States, from Che Guevara to the Black Panthers. A key focus will be the transmission of collective memory through transnational lenses, and analyses of commemorative events and movies. nReadings from James Baldwin, Assia Djebar, Albert Camus, Frantz Fanon, Mouloud Feraoun. Movies include "The Battle of Algiers," "Days of Glory," and "Viva Laldjérie." nTaught in English.
Last offered: Spring 2018 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-EDP

CSRE 258: Black Feminist Theater and Theory (AFRICAAM 258, FEMGEN 258X, TAPS 258)

From the rave reviews garnered by Angelina Weld Grimke's lynching play, Rachel to recent work by Lynn Nottage on Rwanda, black women playwrights have addressed key issues in modern culture and politics. We will analyze and perform work written by black women in the U.S., Britain and the Caribbean in the 20th and 21st centuries. Topics include: sexuality, surrealism, colonialism, freedom, violence, colorism, love, history, community and more. Playwrights include: Angelina Grimke, Lorriane Hansberry, Winsome Pinnock, Adrienne Kennedy, Suzan- Lori Parks, Ntozake Shange, Pearl Cleage, Sarah Jones, Anna DeVeare Smith, Alice Childress, Lydia Diamond and Zora Neale Hurston.)
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 264S: Race, Gender, Justice (COMPLIT 264T, FEMGEN 264S, TAPS 264S)

The question of justice animates some of the most influential classics and contemporary plays in the dramatic canon. We will examine the relationship between state laws and kinship obligations in Sophocles's Antigone. We will trace the transnational circulation of this text and its adaptations in Gambaro's Argentinian Antigona Furiosa, and Fugard and Kani's South African The Island. We will read Shakespeare's Othello and consider questions of racism, misogyny, and intimate partner violence, investigate the reverberations of these themes in the OJ Simpson trial, and explore its afterlife in Toni Morrison's Desdemona. We will take up questions of sexual violence via John Patrick Shanley's Doubt and Ariel Dorfman's Chilean classic, Death and the Maiden. We will examine themes of police brutality and racial vulnerability in Anna Deavere Smith's Twilight and Aleshea Harris's What to Send Up When it Goes Down. Through close readings of plays, we will explore the inter-articulation of intimacy and violence, intimidation and transgression, vengeance and forgiveness within the context of larger struggles for gender and racial justice. We will read plays in light of contemporary reckonings with the US criminal justice system: the #MeToo movement and the Black Lives Matter movement. While the former appeals to the criminal justice system to restore victims¿ rights, the latter urges a thorough dismantling of the carceral state. How do we understand these divergent responses to augment or abolish punitive structures? Meets WM requirement for TAPS.
Last offered: Autumn 2022 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 265: Crossing the Atlantic: Race Identity in the "Old" and"New" African Diasporas (AFRICAAM 264, COMPLIT 264, FRENCH 264E)

In this course, we will think critically about what we have come to call the African diaspora. We will travel the world virtually while exploring a selection of classic and understudied texts, in order to interrogate the relationship between culture, race, gender and identity in the "old" and "new" African diasporas. From literary texts to popular culture, we will relate each weekly reading to a hot topic. Our goal is to think cross-culturally and cross-linguistically about the themes covered by putting exciting works in conversation. The diverse topics and concepts discussed will include race, class, gender, identity, sexuality, migration, Afro-Caribbean religions, performance, violence, the body, metissage, Negritude, Negrismo, multiculturalism, nationalism, Afropolitanism and Afropean identities.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Seck, F. (PI)

CSRE 285: Texts and Contexts: French-English Translation (COMPLIT 285, FRENCH 185, FRENCH 285)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | UG Reqs: WAY-A-II, WAY-CE

DANCE 11: Introduction to Dance Studies (CSRE 11, FEMGEN 11, TAPS 11)

This class is an introduction to dance studies and the complex meanings bodily performances carry both onstage and off. Using critical frames drawn from dance criticism, history and ethnography and performance studies, and readings from cultural studies, dance, theater and critical theory, the class explores how performing bodies make meanings. We will read theoretical and historical texts and recorded dance as a means of developing tools for viewing and analyzing dance and understanding its place in larger social, cultural, and political structures. Special attention will be given to new turns in queer and feminist dance studies. This course blends theory and embodied practice. This means as we read, research, and analyze, we will also dance. Students enrolled should expect to move throughout the quarter and complete a two-part choreographic research project. TAPS 11 has been certified to fulfill the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-A-II
Instructors: Jones, T. (PI)

DANCE 161P: Dance and the Politics of Movement (LIFE 161P, TAPS 161P, TAPS 361P)

This course examines how the dancing body has been viewed, exhibited, analyzed, and interpreted from the late nineteenth century to the present. We will discuss how ideologies about race, gender, and sexual orientation are mapped onto the body, as well as investigate the body's place in discourses on religion, health, war, performance, and consumer culture. We will explore how people create meaning through dance and how dance, in turn, shapes social norms, political institutions, and cultural practices. The course's structure challenges the Western/non-Western binary by comparing dance forms across the globe.
Last offered: Spring 2020 | UG Reqs: WAY-A-II, WAY-EDP

DANCE 162P: Intersectionality and the Politics of Ballet (FEMGEN 162, TAPS 162P)

Ballet dancers drag a long and conservative history with them each time they step onstage. Yet recently some of the most radical challenges in dance are coming from ballerinas, featuring prosthetic limbs, non-female identifying dancers en pointe, and Ultra-Orthodox Jewish women performing classical repertoire. This seminar uses dance history to reposition ballet as a daring future-facing art form, one where the politics of nationality, religion, class, gender, race, and disability intersect. These issues are provocatively illuminated by classically trained dancers like South African artist Dada Masilo in her gender-bending Swan Lake and Giselle adaptations, Phil Chan's anti-Orientalist restagings, and activist American dancer Alice Sheppard's showcasing of the art of disability partnered by her wheelchair. What can ballet bring to the pressing social issues of equity, inclusion, and diversity when for centuries it has been considered an exemplar of the static imperialist, Western art form and idealized white body? What has shifted to reveal ballet as a vital medium for registering new global identities and social justice challenges? How can an art form built on obedient bodies be politically dangerous? Exposing limitations of binaries such as masculine/feminine, White/Black, heterosexual/homosexual, and colonial/ colonized histories, we consider how culture is complicated through the ballet repertoire and its techniques for disciplining and gendering bodies. Using live and recorded performances, interviews with practitioners reshaping the field, and close readings of new scholarship, we will see how 21st century politics are being negotiated through ballet in an intersectional frame.
Last offered: Spring 2023 | UG Reqs: WAY-A-II, WAY-EDP

DANCE 195D: Queer Caribbean Performance (TAPS 195D, TAPS 395D)

With its' lush and fantastic landscape, fabulous carnivalesque aesthetics, and rich African Diaspora Religious traditions, the Caribbean has long been a setting which New World black artists have staged competing visions of racial and sexual utopia and dystopia. However, these foreigner-authored fantasies have often overshadowed the lived experience and life storytelling of Caribbean subjects. This course explores the intersecting performance cultures, politics, and sensual/sexual practices that have constituted queer life in the Caribbean region and its diaspora. Placing Caribbean queer of color critique alongside key moments in twentieth and twenty-first century performance history at home and abroad, we will ask how have histories of the plantation, discourses of race and nation, migration, and revolution led to the formation of regionally specific queer identifications. What about the idea of the 'tropics' has made it such as fertile ground for queer performance making, and how have artists from the region identified or dis-identified with these aesthetic formations? This class will begin with an exploration of theories of queer diaspora and queer of color critique's roots in black feminisms. We will cover themes of exile, religious rites, and organizing as sights of queer political formation and creative community in the Caribbean.
Last offered: Winter 2022 | UG Reqs: WAY-A-II, WAY-EDP
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