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81 - 90 of 579 results for: all courses

CHILATST 120: Queer Raza (FEMGEN 120, ILAC 287)

Examination of cultural representations by U.S. Latin@s that explore the following questions: How is the mutual constitution of race/sex/class/gender theorized and represented? How is desire racialized? How is racial difference produced through sex acts and what is the function of sex in racial (self)formation? How to reconcile pleasure and desire with histories of imperialism and (neo)colonialism and other structures of power? How do these texts reinforce or contest stereotypes and the "ideal" bodies of national identity? How do these texts produce queerness as a web of social relations?
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

CHILATST 179: Chicano & Chicana Theater: Politics In Performance (TAPS 179, TAPS 379)

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Terms: not given this year | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

CHILATST 200: Latin@ Literature (CSRE 200, ILAC 280, ILAC 382)

Examines a diverse set of narratives by U.S. Latin@s of Mexican, Puerto Rican, Cuban, Guatemalan, and Dominican heritage through the lens of latinidad. All share the historical experience of Spanish colonization and U.S. imperialism, yet their im/migration patterns differ, affecting social, cultural, and political trajectories in the US and relationships to "home" and "homeland," nation, diaspora, history, and memory. Explores how racialization informs genders as well as sexualities. Emphasis on textual analysis. Taught in English.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

CHINGEN 101: How to Be Modern in China: A Gateway to the World Course

A gateway course on China, with a focus on the politics of everyday life, in the capital city of Beijing. Introduction to the history and politics of modern China. The pleasures, frictions, and challenges of daily living in the penumbra of power in Beijing as reported, represented, and reflected upon in fiction, film, reportage, social commentary, and scholarly writings. Priority to those preparing to participate in BOSP-Beijing Program or returning from the program.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Lee, H. (PI)

CHINGEN 133: Literature in 20th-Century China (CHINGEN 233)

(Graduate students register for 233.) How modern Chinese culture evolved from tradition to modernity; the century-long drive to build a modern nation state and to carry out social movements and political reforms. How the individual developed modern notions of love, affection, beauty, and moral relations with community and family. Sources include fiction and film clips. WIM course.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Grading: Letter (ABCD/NP)

CHINGEN 135: Chinese Bodies, Chinese Selves (CHINGEN 235)

Interdisciplinary. The body as a contested site of representational practices, identity politics, cultural values, and social norms. Body images, inscriptions, and practices in relation to health, morality, gender, sexuality, nationalism, consumerism, and global capitalism in China and Taiwan. Sources include anthropological, literary, and historical studies, and fiction and film. No knowledge of Chinese required.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Festa, P. (PI)

CHINGEN 150: Sex, Gender, and Power in Modern China (CHINGEN 250)

Investigates how sex, gender, and power are entwined in the Chinese experience of modernity. Topics include anti-footbinding campaigns, free love/free sex, women's mobilization in revolution and war, the new Marriage Law of 1950, Mao's iron girls, postsocialist celebrations of sensuality, and emergent queer politics. Readings range from feminist theory to China-focused historiography, ethnography, memoir, biography, fiction, essay, and film. All course materials are in English.
Terms: not given this year | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

CHINLIT 155: Classical Poetry: Reading, Theory, Interpretation (CHINLIT 255)

Introduction to the reading and interpretation of classical Chinese poetry, with attention to the language of poetry, aesthetics, expressive purposes, and social roles. Readings in Chinese. Prerequisite: three years of modern Chinese or equivalent.
Terms: given next year | Units: 4 | UG Reqs: WAY-A-II | Repeatable for credit | Grading: Letter (ABCD/NP)

CLASSART 21Q: Eight Great Archaeological Sites in Europe

Preference to sophomores. Focus is on excavation, features and finds, arguments over interpretation, and the place of each site in understanding the archaeological history of Europe. Goal is to introduce the latest archaeological and anthropological thought, and raise key questions about ancient society. The archaeological perspective foregrounds interdisciplinary study: geophysics articulated with art history, source criticism with analytic modeling, statistics interpretation. A web site with resources about each site, including plans, photographs, video, and publications, is the basis for exploring.
Terms: Aut, Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, Writing 2 | Grading: Letter (ABCD/NP)
Instructors: Shanks, M. (PI)

CLASSART 22N: The Artist in Ancient Greek Society (ARTHIST 100N)

Given the importance of art to all aspects of their lives the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. Why did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that, "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel? Painted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, vases depicting gods and heroes reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which craftsmen were excluded. Sculptors were less lowly but even those who carved the Parthenon's pediments and frieze were still "mechanics," with soft bodies and soft minds (Xenophon), "indifferent to higher things" (Plutarch).nnThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures on aspects of the artist's profession.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
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