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AMSTUD 12A: Introduction to English III: Introduction to African American Literature (AFRICAAM 43, ENGLISH 12A)

(Formerly English 43/143). In his bold study, What Was African American Literature?, Kenneth Warren defines African American literature as a late nineteenth- to mid-twentieth-century response to the nation's Jim Crow segregated order. But in the aftermath of the Jim Crow era and the Civil Rights movement, can critics still speak, coherently, of "African American literature"? And how does this political conception of African American literary production compare with accounts grounded in black language and culture? Taking up Warren's intervention, this course will explore African American literature from its earliest manifestations in the spirituals and slave narratives to texts composed at the height of desegregation and decolonization struggles at mid-century and beyond.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Elam, M. (PI)

AMSTUD 25Q: The Origins of the Modern American City, 1865-1920 (HISTORY 55Q, URBANST 25Q)

Are we living in a new Gilded Age? To answer this question, we go back to the original Gilded Age, as well as its successor, the Progressive Era. How did urban Americans around the turn of the twentieth century deal with stark inequalities of class, race, ethnicity, gender, and sexuality? And what can we learn from their struggles for our own time? Students use primary and secondary sources in digital and print formats. Possible field trip to San Francisco.
Terms: not given this year, last offered Winter 2016 | Units: 3 | UG Reqs: WAY-ED, WAY-SI | Grading: Letter (ABCD/NP)

AMSTUD 41Q: Madwomen and Madmen: Gender and the History of Mental Illness in the U.S. (FEMGEN 41Q)

This seminar explores the ways that gender and historical context shaped the experience and treatment of mental illness in U.S. history. What is the relationship between historically constructed ideas of femininity and masculinity and madness? Why have women been the witches and hysterics of the past, while men experienced neurasthenia and schizoid conditions? Why have there historically been more women than men among the mentally ill? How has the emotional and psychological suffering of women differed from that of men, and how has it changed over time? Among the sources we use to explore these questions are memoirs and films such as The Three Faces of Eve and One Flew Over the Cuckoos Nest. By contrasting the changing ways women and men experienced mental illness and were treated in the past, this seminar will elucidate the historically embedded nature of medical ideas, diagnoses and treatments.
Terms: Win | Units: 3 | UG Reqs: GER:DB-SocSci, WAY-ED, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Horn, M. (PI)

AMSTUD 51Q: Comparative Fictions of Ethnicity (COMPLIT 51Q, CSRE 51Q)

We may "know" "who" we "are," but we are, after all, social creatures. How does our sense of self interact with those around us? How does literature provide a particular medium for not only self expression, but also for meditations on what goes into the construction of "the Self"? After all, don't we tell stories in response to the question, "who are you"? Besides a list of nouns and names and attributes, we give our lives flesh and blood in telling how we process the world. Our course focuses in particular on this question--Does this universal issue ("who am I") become skewed differently when we add a qualifier before it, like "ethnic"? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)

AMSTUD 58Q: American Landscapes of Segregation (AFRICAAM 58Q, HISTORY 58Q)

This course examines various landscapes of segregation in U.S. history from 19th century reconstruction and settler expansion through the contemporary U.S. security state. Each week we consider different histories of segregation including native reservation and boarding school stories, Jim Crow and post-World War II urban/suburban segregation, school integration and bussing, and the rise of the carceral state. We will ask: How have Americans moved through space with different degrees of freedom and constraint over time, and how has that shaped what it has meant to be an American in different ways for different groups? How has access to land, property, consumer, recreational and educational spaces and resources been regulated by categories of race, gender, sexuality, colonial subjectivity, immigrant status and class? To gain a better sense of our local history, we will also consider how structures of segregation have historically mapped the Bay Area. Sources include primary and secondary historic texts, feature and documentary films, photography, and poetry.
Terms: not given this year, last offered Winter 2018 | Units: 3-4 | UG Reqs: WAY-ED, WAY-SI | Grading: Letter (ABCD/NP)

AMSTUD 68N: Mark Twain and American Culture (ENGLISH 68N)

Preference to freshmen. Mark Twain defined the rhythms of our prose and the contours of our moral map. He recognized our extravagant promise and stunning failures, our comic foibles and  tragic flaws. He is viewed as the most American of American authors--and as one of the most universal. How does his work illuminate his society's (and our society's) responses to such issues as race, gender, technology, heredity vs. environment, religion, education, art, imperialism, animal welfare, and what it means to be "American"?
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Fishkin, S. (PI)

AMSTUD 91: Exploring American Religious History (CSRE 91, HISTORY 260K, RELIGST 91)

This course will trace how contemporary beliefs and practices connect to historical trends in the American religious landscape.
Terms: not given this year, last offered Spring 2018 | Units: 4 | UG Reqs: WAY-ED, WAY-SI | Grading: Letter (ABCD/NP)

AMSTUD 91A: ASIAN-AMERICAN AUTOBIOGRAPHY/W (ASNAMST 91A, CSRE 91D, ENGLISH 91A)

This is a dual purpose class: a writing workshop in which you will generate autobiographical vignettes/essays as well as a reading seminar featuring prose from a wide range of contemporary Asian-American writers. Some of the many questions we will consider are: What exactly is `Asian-American memoir? Are there salient subjects and tropes that define the literature? And in what ways do our writerly interactions both resistant and assimilative with a predominantly non-Asian context in turn recreate that context? We'll be working/experimenting with various modes of telling, including personal essay, the epistolary form, verse, and even fictional scenarios.
Terms: Win | Units: 3-5 | UG Reqs: WAY-CE, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Lee, C. (PI)

AMSTUD 101: Black & White Race Relations in American Fiction & Film (AFRICAAM 101, CSRE 41)

Movies and the fiction that inspires them; power dynamics behind production including historical events, artistic vision, politics, and racial stereotypes. What images of black and white does Hollywood produce to forge a national identity? How do films promote equality between the races? What is lost or gained in film adaptations of books? NOTE: Students must attend the first day; admission to the class will be determined based on an in class essay.
Terms: not given this year, last offered Spring 2018 | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

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

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 Adrian Piper, 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)
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