Gender and Sexuality Studies

Images wavered in the sunlit trim of appliances, something always moving, a brightness flying, so much to know in the world. —Don Delillo, Libra

A few cartoons lead to cataclysmic events in Europe. A man’s statement that he “can’t breathe” ricochets across North America. A photograph printed in a newspaper moves a solitary reader. A snapshot posted on the Internet leads to dreams of fanciful places. Memories of a past year haunt us like ghosts. What each of these occurrences has in common is that they all entail the force of images in our lives, whether these images are visual, acoustic, or tactile in nature; made by hand or machine; circulated by word of mouth; or simply imagined. In this seminar, we will consider the role that images play in the lives of people in various settings throughout the world. In delving into terrains at once actual and virtual, we will develop an understanding of how people throughout the world create, use, circulate, and perceive images—and how such efforts tie into ideas and practices of sensory perception, time, memory, affect, imagination, sociality, history, politics, and personal and collective imaginings. Through these engagements, we will reflect on the fundamental human need for images, the complicated politics and ethics of images, aesthetic and cultural sensibilities, dynamics of time and memory, the intricate play between the actual and the imagined, and the circulation of digital images in an age of globalization and social media. We will also consider the spectral, haunting qualities of many imaginal moments in life. Readings are to include a number of writings in anthropology, art history, philosophy, psychology, cultural studies, and critical theory. Images are to be drawn from photographs, films and videos, paintings, sculptures, drawings, street art and graffiti, religion, rituals, tattoos, inscriptions, novels, poems, road signs, advertisements, dreams, fantasies, and any number of fabulations in the worlds in which we live and imagine. The seminar will be held during two class sessions each week during the fall and spring terms. Along with that, students will meet individually with the instructor every other week through the course of each semester to discuss their ongoing academic and creative work. In the fall semester, we will all also meet every other week in an informal group setting to watch films together, discuss student research and writing projects, and engage creatively with images and imaginal thought.

In this course, we will investigate the concept of language ideologies—beliefs and attitudes about language—and their impact on the lived experiences of racial and ethnic groups and other minoritized communities within the United States. Through a series of lectures, discussions, and hands-on projects, students will gain an understanding of how language practices reflect and reinforce social hierarchies, cultural norms, and power dynamics. Special attention will be paid to the meaning accomplished through language use and the informative role of ideologies of language and people in understanding these dynamics. We will delve into diverse language contexts, with a primary focus on the United States, examining case studies to understand how language serves as a site of struggle and resistance. Key linguistic topics will include language attitudes and linguistic discrimination, the politics of race and language, standard language ideologies, the role of language in shaping social and racial identities, language use and its social meaning, and multilingualism and multiculturalism in the United States. Specific examples will include ethnographic case studies of race and language, such as H. Samy Alim’s examination of his own experiences as a Black man or person of color under white gaze (“the white listening subject”); political persona and discourse of US presidential candidates; racialization of Asian-American, Black, and Latinx students in US classroom contexts; language revitalization efforts and identification of the Chickasaw Nation; race, gender, and sexuality performances in RuPaul’s Drag Race; identification practices and language use in indigenous communities such as the “Taino” identity in Puerto Rico. Assessments for this class will involve regular written reflections, a midterm paper, a research proposal, and a final research paper on a topic of the student’s interest related to language use, race, and identity. Core readings for our class will be drawn primarily from US-based, peer-reviewed linguistic journals and foundational texts. All readings will be provided beforehand.

How does a chronic illness affect a person’s orientation to the everyday? What are the social and political forces that underpin life in a homeless shelter? What is the experiential world of a blind person, a musician, a refugee, or a child at play? In an effort to answer these and like-minded questions, anthropologists have become increasingly interested in developing phenomenological accounts of particular lived realities in order to understand—and convey to others—the nuances and underpinnings of such realities in terms that more general social or symbolic analyses cannot achieve. In this context, phenomenology offers an analytic method that works to understand and describe in words phenomena as they appear to the consciousnesses of certain peoples. The phenomena most often in question for anthropologists include the workings of time, perception, selfhood, language, bodies, suffering, and morality as they take form in particular lives within the context of any number of social, linguistic, and political forces. In this course, we will explore phenomenological approaches in anthropology by reading and discussing some of the most significant efforts along these lines. Each student will also try their hand at developing a phenomenological account of a specific social or subjective reality through a combination of ethnographic research, participant observation, and ethnographic writing.

This course departs from hegemonic accounts of modernism to tell the story of modernism through the work of underrepresented artists—artists of the Black Atlantic, queer and trans artists, artists of color, women artists, and artists seen as “outside” the canon. Looking geographically to Europe, North America, South America, and East Asia, we will investigate how artists responded to fascism, colonization and anti-colonial protest, war and mass migration, the legacies of enslavement, and rationalized forms of labor. We will look to discourses of leftist politics and collectivity, feminist struggle, abolitionism and antiracist discourse. What representational strategies did artists use to respond to modernity, to remake the world anew? The emphasis of this course is on the global plurality of modernism, shifting our understanding of where modernism was produced, when, and by whom. This course serves as an introduction to art history in the sense that it will equip students with the basic tools of close, slow looking and of descriptive writing about art, art historical research, and practices of curatorial display while also introducing students to broad and diverse histories of modern art. The course will also include field trips to New York City museums. This course is a lecture-seminar hybrid: One lecture a week will introduce you to the broader movements; weekly group conferences will look at specific case studies and scholarly approaches to writing about contemporary art.

This course follows the transition from late modernist art after World War II to the heterogeneous practices of contemporary art in the 21st century. Attention will be paid to formative artistic movements—such as Pop, Minimalism, Conceptualism, Performance, and Institutional Critique—as well as to how marginalized artists continually challenged the hegemony of the mainstream artworld with political activism along the lines of race, gender, sexuality, and class. The final section of the course will examine current trends, including postcolonial art, digital technologies, Indigenous art, and ecological art in an era of climate change. The course will include a field trip to a New York City museum, where students will select artworks for their own research papers. Other assignments will include visual analysis, a comparative research paper, and a group presentation. Alternative proposals for final projects, such as exhibition designs, are also welcome. One weekly lecture on the history and theory of each topic will prepare students for weekly group conferences involving close reading of primary and secondary sources, visual analysis of artworks, and guided discussion.

The formation of an individual’s life is dependent upon a complex mix of cultural experiences, social interactions, and personal health and physiology. At the center of this intricate web is the biological component unique to each of us, yet shared in some form by all life on earth—our genes. Genes contribute much to what makes each of us an individual, from hair color and body shape to intelligence and personality. In this course, we will attempt to gain an understanding of how genes and chromosomes provide the basic blueprint that leads to these unique physical and behavioral characteristics. In doing so, we will discuss the central concepts of human genetics, including: the mechanisms and patterns of inheritance, sex-linked traits, the genetics of behavior, how genes encode information in the form of DNA, the role of mutations in causing disease, human origins and evolution, and the application of various genetic technologies such as gene therapy and genetically modified organisms. Readings will be drawn from texts as well as current popular-press and peer-reviewed articles. No previous background in biology is required, other than a curiosity and desire to understand the genetic mechanisms that shape human existence and make us who we are.

When we encounter dancing, what are we seeing, experiencing, and understanding?  How do current representations of dance perpetuate and/or disrupt assumptions about personal and social realities? Embedded historical notions and enforcements based on race, economic class, gender, social/sexual orientation, nationality/regional affiliation, and more are threaded through our daily lives. Performing arts, inside and outside of popular culture, often reinforce dominant cultural ideas. Can they also propose or inspire alternatives? In this class, we will view examples of dancing on film, digital/Internet media, television programs and commercials, as well as live performance. These viewings, along with readings of selected texts from the fields of dance and performance, literary criticism, feminist theory, queer theory, and cultural studies will form the basis of class discussions and exercises. Each student will develop an independent research project arising from one or more class activities.  Independent research will include reading, writing, and presentation. The central aim of this course is to cultivate generously informed conversation, using academic research and experiential knowledge to advance our recognition of dance as an elemental art form.

When we encounter dancing, what are we seeing, experiencing, and understanding?  How do current representations of dance perpetuate and/or disrupt assumptions about personal and social realities? Embedded historical notions and enforcements based on race, economic class, gender, social/sexual orientation, nationality/regional affiliation, and more are threaded through our daily lives. Performing arts, inside and outside of popular culture, often reinforce dominant cultural ideas. Can they also propose or inspire alternatives? In this class, we will view examples of dancing on film, digital/Internet media, television programs and commercials, as well as live performance. These viewings, along with readings of selected texts from the fields of dance and performance, literary criticism, feminist theory, queer theory, and cultural studies will form the basis of class discussions and exercises. Each student will develop an independent research project arising from one or more class activities.  Independent research will include reading, writing, and presentation. The central aim of this course is to cultivate generously informed conversation, using academic research and experiential knowledge to advance our recognition of dance as an elemental art form.

Feminist economics arose as a critique of the androcentric and Eurocentric assumptions underlying mainstream (neoclassical) economics. But over the past 30 years, feminist economics has developed into a coherent perspective in its own right. Feminist economics acknowledges and investigates power differentials in both the home and the market on the basis of race/ethnicity, gender, class, sexual orientation, nation, and disability status. It takes seriously the crucial economic impact of caring labor (both paid and unpaid) in both the home and the broader community. And it proposes alternate measures of economic success that emphasize bodily integrity, human agency, sustainability, and human rights. We will begin this course with a brief exploration of the historical context for the development of feminist economics; i.e., the rise of feminist movements in both the developed world and the Global South. We’ll then examine the differences between feminist and mainstream neoclassical economics by examining questions such as: What do we mean by "the economy”? Do transactions and activities have to be monetized to be "economic”? How is caring labor (both paid and unpaid) conceptualized in economics, and how does the performance of this labor impact one's status in both the labor market and the household? The answers to these and similar questions will help us to reconceptualize economics to take account of all of the labor necessary to reproduce individuals and social/economic structures. Finally, we’ll apply this reconceptualized, feminist economics to questions of economic policy. We’ll examine a number of case studies, including:

• the persistence of occupational segregation and wage differentials by gender and race and policies to mitigate these inequalities;
• the impact of domestic violence and other forms of nonmarket coercion on economic outcomes;
• the impact of reproductive control (or the lack thereof) on the economic trajectories of both individuals and societies; and
• the (re)conceptualization and measurement of economic development and growth.

In addition to class participation, requirements for the course will include frequent short papers on the readings, leading class discussions (in pairs), and participation in group presentations. In lieu of a traditional conference paper, students may elect to participate in an on- or off-campus service-learning project.

This seminar will examine film history and analysis through a proto-cinematic lens inspired by The Arcades Project, Walter Benjamin’s montage-style compendium of Parisian modernization. With this canonical academic experiment as catalyst, we will excavate the 19th-century technocultural foundations of film, placing a particular emphasis on the train, department store, factory, metropolis, and mental life. How did these modern developments shape the materiality and content of early films? And what do they have to tell us about film today? Alongside weekly screenings, we will read classic texts of critical theory (Marx, Freud, Simmel, Benjamin, Kracauer); modern/modernist fiction (Poe, Baudelaire, Zola, Pirandello, Keun, Du Bois) and new cultural history on hysterical performance, shell-shock cinema, human motors, spectacular realities, and slapstick modernism. We will also watch films directed by Charlie Chaplin, René Clair, Jacques Tati, Chantal Akerman, and Maya Deren. In this course, students will get an overview of European modernity studies and learn to read films media-archaeologically, tying them to the major industrial shifts, perceptual transformations, and hybrid forms from which cinema emerged as a dominant mass medium.

The history of American cinema is often framed around films of great aesthetic merit, like Citizen Kane, Sunset Boulevard, The Godfather, 12 Years a Slave. But what happens when we examine this history from the vantage point of its bottom rungs: the lowly, the disreputable, the trashy, the ephemeral, and the sleazy? What do these films—less important as works of art, perhaps, but equally important as windows into various moments of cultural history—tell us about American society? This course utilizes exploitation films and various cinematic “trash” genres to interrogate this and related questions, situating these often forgotten or dismissed films in terms of historical conflicts over race, class, gender, sexuality, and more. Along the way, we will also contemplate matters of aesthetics, analyzing why these films are considered “trash.” And perhaps most importantly, exploitation cinema offers a unique opportunity for marginalized writers, directors, and actors who were historically shunned by the Hollywood studios to create a voice of their own via filmmaking. Marginal films give voice to marginalized races, genders, and sexualities that were excluded during a Hayes Code-dominated Hollywood “golden” era and remain excluded within the advertiser-friendly Hollywood of today. The only way to gain a complete understanding of Hollywood’s politics is to analyze the type of cinema and filmmakers that were actively excluded from the studio system. This class aims to give both a historical and cultural analysis of the crucial role that exploitation cinema has played in giving voices to the voiceless. Among the marginalized genres we will discuss are the “white slave” films of the 1910s, drug-panic films, social hygiene films, “sexploitation,” kung fu, gay/trans storylines, “Blaxploitation,” horror, and action films.

Close your eyes and listen. The human experience is highly sonic. Along with touch, hearing is among the most personal of our bodily senses. Now, you may hear the sound of passing cars, a lawnmower outside, or the murmur of voices from the hallway. But does race have a sound? What does Jim Crow sound like? Are there sonic dimensions to Black Power? Can popular music propel social movements, or can we hear social change? This lecture guides students through a survey of color and sound. We will explore historical case studies where concepts of race and recorded music collide. Through a careful analysis of a variety of cultural texts—including memoirs from specific artists and critical reviews of albums—and a consideration of contextual historical events and phenomena, students will consider how popular culture and music have shaped concepts of race and ethnicity over the 20th century.

“But if you ask me what offices they may fill, I reply—any. I do not care what case you put; let them be sea-captains, if you will,” Margaret Fuller wrote in Woman in the Nineteenth Century in 1845. Not 10 years later, Fanny Fern’s autobiographical protagonist tells her daughter, when asked if she would write books when a woman, “God forbid,” because “no happy woman ever writes.” In this seminar, we will discuss what US women writers imagined they could be and why they wrote (happy or not). We will read both major and forgotten works of literary activism from women writers of the 19th and early-20th centuries, focusing around issues of gender and gender convention, race, racial prejudice and enslavement, immigration, migration and national identity, class and elitism, sex and sexuality. Course readings will mainly be primary sources, coupled with historical essays to help contextualize them. Emphasis will be placed on choosing women writers outside of the mainstream, who actively worked with their writing to change the status quo—to “reconstruct” womanhood.

This course examines the experience of people living in the Soviet Union and other socialist states via things. Objects under socialist regimes were supposed to be transformative, turning yesterday’s backward peasants into new socialist men and women. Communism promised unheard-of abundance, but those who lived under the system often suffered from severe shortages. Things from outside of the communist world often took on an aura of forbidden fruit. People learned a variety of tricks to survive and, today, are even nostalgic for many of its trappings. Beginning with a reading of theoretical texts to get us thinking about how to think through stuff, we will proceed to look at a number of cases in Soviet history where objects are key to the story. Each week, students will be responsible for a short written response, 250-500 words, and providing two questions to feed our discussion. At the end of the semester, each student will design a display for a virtual museum of the Soviet Union, in which they will use one or more objects to tell a story about Soviet history. At the center of this course is the idea that all objects are the products and markers of social, political, and economic change that are filled with meaning—even if those meanings are not obvious or can be highly variable.

Marches, walkouts, and occupations roiled the campus of San Francisco State University in the fall of 1968. Among the organizers’ demands was the institution of the first Black studies department in the country. More than 50 years later, Black studies has both reshaped existing disciplines and formed departments in colleges across the nation. How might returning to this history reshape our understanding of Black studies, of student movements, of American universities, and of history more generally? This interdisciplinary course seeks to answer these and more questions by studying the archival documents on Black studies at Sarah Lawrence alongside history, literature, film, and theory. In this course, students will participate in a traditional seminar and will spend one session a week in the campus archives. The latter will both engage students in rigorous archival research and result in a conference project helping to narrate the understudied history of Black studies at Sarah Lawrence. Authors and filmmakers may include W. E. B. Du Bois, Nella Larsen, Zadie Smith, Spike Lee, Robin Kelley, and more.

The 1990s was a period of aesthetic and critical foment for queer and trans life and politics in the United States. In New York, Los Angeles, and other cities, planned gentrification and rezoning—and resistance to them—had a lasting impact on the city's racial, sexual, and economic landscapes and on a generation of media makers, activists, artists, and writers. This course asks after the ongoing cultural inheritance of the 1990s. We will study questions of social life, sexual and racial politics, space, and governance, as well as key concepts in performance studies, critical race studies, Black studies, queer and gender theory, and the economic left that emerged under the pressures of this period. Through cultural objects, critical writing, and archival material, we will trace how the notion of “public sex” came into focus among queer and trans organizers, cultural workers, and academics during heightened responses to HIV/AIDS, intensified policing, and state attacks on areas of sexual commerce and recreation. How did shifting frameworks of “public space” emerge alongside new techniques of protest, media-making, and broadcast? How did entwined aesthetic and social practices yield legacies of interdisciplinary performance, poetry, printmaking, and photography? We will explore the material and infrastructural histories that shaped queer and trans cultural production, such as mass demonstrations against policing, the nascent Internet, and the dismantling of welfare and state arts funding. Over the course of the term, students will develop and share with the class response papers of three-to-four pages each, as well as a self-driven research project.

Within the last two decades, there has been an exponential increase in mainstream discussions of LGBTQ issues. For many within the LGBTQ community, however, these mainstream images bring with them the sense that to be gay is to be white. Although a few exceptions exist, minorities are still left asking: Where are all the black, brown, and yellow faces? This course addresses this question, alongside another equally important one: How do black, brown, and yellow gays and lesbians experience their sexualities in and apart from these mainstream images? Focusing on 21st-century texts (read broadly to include, but not limited to, literature, poetry, nonfiction, and film), we will work toward a deeper understanding of what it means to be queer and a racial minority. In so doing, we will work toward a better understanding of what it means to belong to this (queer) nation.

This is an introductory queer and feminist studies course that centers the intellectual work of theorists within the traditions known as Black Feminism and Queer of Color Critique with the US academy. Each week, we will take up a key debate or concern within the interdisciplinary field of women, gender, and sexuality studies, pairing influential works from the past alongside contemporary scholarship. We’ll visit work by scholars including, but not limited to, Sara Ahmed, Gloria Anzaldúa, Joshua Chambers-Letson, Barbara Christian, Cathy Cohen, the Combahee Collective, Roderick Ferguson, Alexis Pauline Gumbs, Saidiya Hartman, Evelyn Brooks Higginbotham, Vivian Huang, E. Johnson Patrick, Audre Lorde, Cherríe Moraga, José Muñoz Esteban, Jennifer Nash, C. Snorton Riley, Hortense Spillers, and Patricia Williams. Some topics will include survival, loss, care, “the academy,” archives, identity politics, respectability, and language. Conference projects will be based on archival research at the Sarah Lawrence College Archives. Students will meet every two weeks at the SLC library in one of four conference groups organized around overarching topics of concern and debate from the class, including “identity and intersectionality,” “institutionality and the academy,” “violence, resistance, and care,” and “emotion.” Alongside individual seminar projects, these four research groups will each produce a co-authored archival “finding aid,” a guide for future scholars who visit the SLC Archives.

Queer Americans certainly, James, Stein, Cather, and Baldwin each fled “America.” James (1843-1916) and Stein (1874-1946) spent their adult lives in Europe. Cather (1873-1947) left Nebraska for Greenwich Village after a decade in Pittsburgh, with a judge’s daughter along the way. Baldwin (1924-1987) left Harlem for Greenwich Village, then left the Village for Paris. As sexual subjects and as writers, these four could hardly appear more different; yet, Stein described James as “the first person in literature to find the way to the literary methods of the 20th century,” Cather rewrote James to develop her own subjects and methods, and Baldwin found in James’s writings frameworks for his own. In the second half of the 19th century and the first half of the 20th, James, Stein, and Cather witnessed the emergence of modern understandings of homosexuality and made modern literature, each pushing boundaries, always in subtle or dramatic ways. (Stein, for example, managed to parlay the story of her Paris life with Alice B. Toklas into an American bestseller in 1933.) In the second half of the 20th century, Baldwin began to dismantle modern understandings of sexuality and of literature. Examining the development of their works side by side will allow us to push the boundaries of lesbian/gay/queer cultural analyses by pursuing different meanings of “queer” and “American” through an extraordinary range of subjects and forms. Beginning with James on gender, vulnerability, and ruthlessness, this course will range from Cather’s pioneers and plantations to Stein on art and atom bombs and Baldwin on sex and civil rights. We will read novels, novellas, stories, essays, and memoirs by James, Cather, and Baldwin, plus Stein’s portraits, geographical histories, lectures, plays, operas, and autobiographies. Literary and social forms were both inextricable and inseparable from the gender and cross-gender affiliations and the class, race, and ethnic differences that were all urgent matters for these four. James’s, Stein’s, Cather’s, and Baldwin’s lives and works challenge most conventional assumptions about what it meant—and what it might mean—to be a queer American. Conference projects may include historical and political, as well as literary, studies, focusing on any period from the mid-19th century to the present.

Queer theory emerged in the United States, in tandem with Queer Nation, at the beginning of the 1990s as the intellectual framework for a new round in ongoing contests over understandings of sexuality and gender in Western culture. “Queer” was presented as a radical break with homosexual, as well as heterosexual, pasts. Queer theorists and activists hoped to reconstruct lesbian and gay politics, intellectual life, and culture; renegotiate differences of gender, race, and class among lesbians and gay men; and establish new ways of thinking about sexuality, new understandings of sexual dissidence, and new relations among sexual dissidents. Nevertheless, queer theory had complex sources in the intellectual and political work that had gone before. And it has had, predictably, unpredictable effects on subsequent intellectual and political projects. This class will make the history of queer theory the basis for an intensive study of contemporary intellectual and political work on sexuality and gender. We will also be addressing the fundamental questions raised by the career of queer theory about the relations between political movements and intellectual movements, the politics of intellectual life, and the politics of the academy—in the United States, in particular—over the past half-century.

In this practicum-style class—meeting weekly at the Yonkers Public Library (YPL) Riverfront Branch—we will pursue projects that will directly support efforts at the library to build and publicize an LGBTQ+ archival collection. Class readings will discuss the risks, challenges, and rewards of building queer history through archival collections, especially in the context of a public institution like YPL. For conference work, students will participate in one of three group projects at YPL. The Oral History Project group will run public dialogue circles on LGBTQ+ issues in Yonkers and conduct oral histories to be housed in YPL’s public digital archives. The archives acquisition project will build physical and digital collections at the library and develop archival finding aids to assist patrons with archival research. The exhibition group will develop a small exhibition at YPL, sharing Yonkers and Westchester-area history and showcasing existing materials in YPL’s archival collection, including materials developed by the first two project groups. Students will ideally have have some level of experience with queer studies as an academic discipline, archival research, or applied work at nonprofits or other archives, libraries, and/or museums.

Afro-Latin American subjects have had a long tradition of employing literature, newspapers, and films to participate in national and international debates, such as the push for a republic in Brazil and progress in the Dominican Republic at the end of the 19th century, the integration and celebration of Afrodescendent culture in Puerto Rico in the 1930s, and the implementation of Afrodescendent-conscious initiatives in contemporary Colombian society. While these outlets certainly served as a vehicle to disseminate their thoughts on a variety of topics, their materiality also attested to the undeniable existence and agency of these subjects in such nations. In this course, we will explore and evaluate cultural artifacts that have impacted intellectual and artistic discourses in Latin American societies from the 19th century to today. Through poems, short stories, novels, newspaper articles, and films by cultural thinkers including Maria Firmina dos Reis, Salomé Ureña, Manuel Zapata Olivella, Victoria Santa Cruz, and Marie Vieux-Chauvet, we will delve into the visions that these thinkers had for themselves and their respective societies. We will critically discuss their artistic and political achievements at both local and international levels to better situate their epistemology in the tradition of the African diaspora. Students will learn the principles of literary analysis and theory and employ them in written assignments and class discussions. We will ground our analysis of these cultural artifacts in their respective sociopolitical contexts. Another important aspect of this course is to facilitate students’ transition to college life. As a result, we will meet every other week in group conference to discuss topics related to this transition. The other weeks, students will meet individually with the professor to work on their conference projects. This course will be taught entirely in English.

This FYS course asks how three persistently messy topics—interpersonal desire, conjugal attachment, and gender identity—were articulated and explored in the literary arts across two centuries of cultural upheaval in England: the 1590s to the 1810s, the late Renaissance to the Romantic era. Our chief focus will be on drama, narrative poetry, and prose fiction; but we will also sample a range of other expressive modes, including sonnets, journalism, and life-writing. Along the way, students will be introduced to some of the most compelling figures in literary history: the renegade epic poet John Milton (we will read his masterpiece, Paradise Lost, in its entirety); Aphra Behn, England’s first professional female author; Eliza Haywood and Samuel Richardson, pioneers of the realist novel; the elegantly devastating verse satirist Alexander Pope; the cross-dressing memoirist Charlotte Charke; and Mary Wollstonecraft, one of the founders of modern feminism. Bracketing the yearlong course will be comparatively extended coverage of the two most influential and dazzling authors of courtship narratives in English: William Shakespeare and Jane Austen. Additional attention will be paid to earlier writers on sexuality and marriage, such as Ovid and St. Paul, as well as to contemporary work in queer theory and gender studies and to a handful of early Hollywood films that are in dialogue with the readings. By the end of the year, students will have become measurably stronger at thinking and writing critically about the literature of the past and about cultural artifacts and practices more broadly. Please note that this course will necessarily include candid discussions of sensitive subject matter, including sexual violence. This course will have biweekly conferences alternating with some kind of small group activity at least for the first semester; the alternating small-group activity might be a lab, a workshopping session, an ongoing project, etc.

This course will examine literature written by late 19th- and 20th-century Italian women writers. In the newly unified Italy, middle-class women began in great numbers to access and contribute to literature as both readers and writers. The increasing presence of women writers caused great upheaval, as the male literary establishment viewed the potential for a disruption to the canon. The anxiety caused by their presence is visible in the manner in which they were dismissed as imitating male literary models, accused of excessive sentimentality and self-disclosure, or dubbed by critics il pericolo roseo, “the pink danger” (L. Zuccoli, Corriere della sera, March 24, 1911). Yet, many of these women writers reveal sophistication in their ability to experiment with genres and styles and engage with some of Italy’s literary movements (e.g., verismo, futurism, magic realism, neorealism) and intellectuals, as well as crucial historical events such as fascism and World War II. As we will see, they often question or reverse traditional depictions of femininity. They show an awareness of the social roles and expectations demanded of them and often interrogate such roles and some of the tropes present in the works of the time (e.g., the femme fatale, the self-sacrificing wife and mother). Many of them assert their own defiant voice and their own perspective as women writers, (re)claiming a place in the canon of Italian literature. In this course, we will explore how their works address social issues related to family, marriage, and women’s changing roles, as well as the place of women’s writing in the Italian literary canon. Our readings will include works by Marchesa Colombi (M. A. Torriani), Sibilla Aleramo, Grazia Deledda, Ada Negri, Rosa Rosà, Paola Masino, Renata Viganò, Joyce Lussu, Anna Banti, Anna Maria Ortese, Alba de Céspedes, Elsa Morante, Natalia Ginzburg, and Dacia Maraini. These works will be examined in dialogue with the literary production and ideas of male or canonical authors. Primary sources will range from fiction (novels, short stories, and fictional diaries) to autobiographical texts, poems, plays, and newspaper articles; these sources will be supplemented by secondary readings on women’s literature and history and on occasion by films. No previous knowledge of Italian is required. Students proficient in Italian may opt to read sources in the original. Conference topics may include the study of a particular author, literary text, or topic relevant to the course and that is of interest to the student. As an FYS course, students will meet individually in conference with the instructor/don every week until October Study Days and every two weeks after that.

What can narratives of Blackness tell us about (1) who counts as Black and (2) the ideologies of the times in which these narratives are offered? Using this question as our guiding light, in this course we will interrogate films, fiction, and nonfiction to explore how Blackness has been attached to certain bodies at important moments in history and in order to promote specific ideologies. Beginning with Enlightenment-era Europe (17th and 18th century) and concluding in the 21st century, we analyze how Blackness has come to serve as both a label and an identity for particular groups of people and a means for establishing and reaffirming social boundaries—paying particular attention to issues of gender and sexuality. At every turn, we will work to understand how narratives of Blackness impact us all.

This course in no way attempts comprehensive coverage of African American literature after 1945. Rather, we will read select texts published between 1945 and the present to explore how African American worldviews have shifted and/or remained consistent since the end of World War II. Particular attention will be paid to how African Americans use specific components of fiction (e.g., character, narrative, and setting) with the express purpose of discovering what fiction offers African Americans longing to make sense of their place in the world. Ultimately, while we will approach each piece as a snapshot of the nation, our discussions will be rooted in a recognition of the present as a conversation with the past.

Are human beings capable of self-government? What does that require? As modern authoritarian movements imperil democratic institutions, norms, and the rule of law, ancient Greek tragedies illuminate values and aspirations underpinning democracy and modern liberal ideals of justice, equality, and universal human rights. Tragedy and democracy emerged simultaneously in ancient Athens in the late 6th century BCE and flourished throughout the 5th century BCE. Ancient Greece never achieved egalitarian politics or anything close to universal human rights, but Athenian tragedies emphasize the essential equality of all human beings in our vulnerability to suffering and death. Surviving plays of Aeschylus, Sophocles, and Euripides dramatize the costs of tyranny, anger, vengeance, and cruelty—to perpetrators, as well as to victims. Commending honesty, generosity, and compassion, tragedies locate nobility not in genetic inheritance, group affiliation, socioeconomic status, numerical superiority, or even moral or ideological convictions but, rather, in our conduct as individuals. Tragedies expose the consequences of human words and actions, as characters make choices conducive to success or failure for themselves and their communities. State-sponsored and publicly performed, tragedies made self-reflection and self-criticism a fundamental feature of Athenian democratic politics and society. “What should I do?” encapsulates the central question of every ancient Greek tragedy and every moment of our own lives. This course is designed for anyone interested in understanding the false promise of authoritarianism and appreciating the origins, goals, and possibilities for a free, humane, equitable democratic society.

Powdered, ruffled, and bewigged, the ghosts of the 17th- and 18th-century playhouse still stalk the stages, screens, and red carpets of the global entertainment industry. After a period of suppression by a puritan government, London theatres came roaring back to life in the 1660s, thanks in part to England’s first professional female actors—by some accounts the original modern celebrities—and the reign of a king, Charles II, who was besotted with drama and the people who made it. Over the coming century, the practice and theory of the theatrical arts would be thoroughly and durably transformed, and a new dramatic canon would be consolidated through both print and repertory enactment. Theatre was not only big business in Enlightenment Europe but also, arguably, the representative art form of the age. Part of the public’s fascination with stagecraft lay in the unsettling questions it raised about the nature of performance itself, not only as a form of artistic practice but also as an element of social and political life: What if, for instance, our putatively God-given identities (king and subject, wife and husband) were merely factitious roles that could be adopted or discarded at will? This yearlong “large seminar” considers how authors and theatrical professionals from the 1660s to the 1790s imagined the potential of performance to transform—or sometimes to reinforce—the status quo, with a look ahead to major films, mostly from classical Hollywood, that inherited and adapted the legacy of Restoration and 18th-century entertainments. Our primary emphasis will be on plays, with a survey of major Enlightenment Era comedies (some of the funniest and most outrageous ever written), parodies, afterpieces, heroic tragedies, imperial pageants, sentimental dramas, and Gothic spectacles by authors such as William Wycherley, George Etherege, John Dryden, Aphra Behn, Susanna Centlivre, John Gay, Henry Fielding, Richard Brinsley Sheridan, and Elizabeth Inchbald. We will also consider nondramatic writing on performance and theatrical culture, including 18th-century acting manuals, racy theatrical memoirs, and a “masquerade novel” by Eliza Haywood, in addition to films by directors such as Frank Capra, Howard Hawks, Ernst Lubitsch, Oscar Micheaux, F. W. Murnau, Lois Weber, and Billy Wilder. Wigs are not required.

Within the last two decades, there has been an exponential increase in mainstream discussions of LGBTQ issues. For many within the LGBTQ community, however, these mainstream images bring with them the sense that to be gay is to be white. Although a few exceptions exist, minorities are still left asking: Where are all the black, brown, and yellow faces? This course addresses this question, alongside another equally important one: How do black, brown, and yellow gays and lesbians experience their sexualities in and apart from these mainstream images? Focusing on 21st-century texts (read broadly to include, but not limited to, literature, poetry, nonfiction, and film), we will work toward a deeper understanding of what it means to be queer and a racial minority. In so doing, we will work toward a better understanding of what it means to belong to this (queer) nation.

Marches, walkouts, and occupations roiled the campus of San Francisco State University in the fall of 1968. Among the organizers’ demands was the institution of the first Black studies department in the country. More than 50 years later, Black studies has both reshaped existing disciplines and formed departments in colleges across the nation. How might returning to this history reshape our understanding of Black studies, of student movements, of American universities, and of history more generally? This interdisciplinary course seeks to answer these and more questions by studying the archival documents on Black studies at Sarah Lawrence alongside history, literature, film, and theory. In this course, students will participate in a traditional seminar and will spend one session a week in the campus archives. The latter will both engage students in rigorous archival research and result in a conference project helping to narrate the understudied history of Black Studies at Sarah Lawrence. Authors and filmmakers may include W. E. B. Du Bois, Nella Larsen, Zadie Smith, Spike Lee, Robin Kelley, and more.

James Baldwin is one of the most incisive and astute writers that the world has ever known. Black, queer, and fundamentally American, Baldwin wrote about the intersections and pressures of his various identities, his role as a writer, and his relationship to the nation with the force and energy of a man disappointed with the realities of what he saw but hopeful of the potential that he felt remained. This course explores Baldwin’s own impressive body of work (fictional and otherwise) alongside the lasting impact that he has had on the literary, social, and political world in his wake.

Many of us are struck by the growing irrationality of contemporary democratic politics to the point where we despair of our capacity to address problems like global climate change or pandemics that could pose existential threats to our species, to fashion constructive foreign policy as wars rage, or to face a whole range of urgent but more mundane policy issues. In this class, we will seek to understand disturbing trends like populism, polarization, disinformation, and self-injuring or -defeating politics, as well as the resurfacing of nativism, xenophobia, and racism in contemporary politics—in part on their own terms but also by asking whether they are deeply rooted in human nature, at least on our current best understandings of ourselves. More specifically, democracy seems to rely on at least a minimum degree of rationality, learning, openness to argument and difference, and self-control on the part of the citizens whose votes and opinions guide government policy. But is this reliance foolhardy in light of what recent history, psychology, evolutionary theory, philosophy, and cognitive science teach? Do aspects of our current social and technological circumstances make us less able to manifest these qualities of character today than our Enlightenment progenitors hoped in the era of democratic revolutions—the era from which many of the ideas and institutions that continue to inform our politics today emerged? In this course, we will survey aspects of the political history of recent centuries, as well as our own historical moment, to ask if they should temper confidence in the power of reason in politics. We will also examine recent research in cognitive science, psychology, and philosophy that conclude that it is hard to sustain a model of human behavior that places reason and rationality in the driver’s seat. What alternative accounts of human nature are emerging from recent research? And what are their political implications, especially for democratic societies? By bringing together political science, history, and theory with cognitive science, psychology, and philosophy, we should be able to occupy the intersection of distinct but equally relevant disciplines to ask whether the Enlightenment’s faith in democracy was misplaced. Or, instead, are there reasons to believe that democracy can maintain its claim to legitimacy, even after reason has been demoted in our understandings of human nature? To address this final question, we will also examine proposals for 21st-century democratic reforms that either seek to adjust downward the expectations on the capacity of citizens to engage in deliberative politics or to refashion political institutions to better summon the better angels of our nature.

Many of us are struck by the growing irrationality of contemporary democratic politics to the point where we despair of our capacity to address problems like global climate change or pandemics that could pose existential threats to our species, to fashion constructive foreign policy as wars rage, or to face a whole range of urgent but more mundane policy issues. In this class, we will seek to understand disturbing trends like populism, polarization, disinformation, and self-injuring or -defeating politics, as well as the resurfacing of nativism, xenophobia, and racism in contemporary politics—in part on their own terms but also by asking whether they are deeply rooted in human nature, at least on our current best understandings of ourselves. More specifically, democracy seems to rely on at least a minimum degree of rationality, learning, openness to argument and difference, and self-control on the part of the citizens whose votes and opinions guide government policy. But is this reliance foolhardy in light of what recent history, psychology, evolutionary theory, philosophy, and cognitive science teach? Do aspects of our current social and technological circumstances make us less able to manifest these qualities of character today than our Enlightenment progenitors hoped in the era of democratic revolutions—the era from which many of the ideas and institutions that continue to inform our politics today emerged? In this course, we will survey aspects of the political history of recent centuries, as well as our own historical moment, to ask if they should temper confidence in the power of reason in politics. We will also examine recent research in cognitive science, psychology, and philosophy that conclude that it is hard to sustain a model of human behavior that places reason and rationality in the driver’s seat. What alternative accounts of human nature are emerging from recent research? And what are their political implications, especially for democratic societies? By bringing together political science, history, and theory with cognitive science, psychology, and philosophy, we should be able to occupy the intersection of distinct but equally relevant disciplines to ask whether the Enlightenment’s faith in democracy was misplaced. Or, instead, are there reasons to believe that democracy can maintain its claim to legitimacy, even after reason has been demoted in our understandings of human nature? To address this final question, we will also examine proposals for 21st-century democratic reforms that either seek to adjust downward the expectations on the capacity of citizens to engage in deliberative politics or to refashion political institutions to better summon the better angels of our nature.

There was a reason why Edmund Burke famously called the press “The Fourth Estate” of government during a debate in Parliament in 1787 and why it remains true. For all its self-proclaimed and often real independence, the press is as much a part of the power systems that run society, politics, and the economy as the executive, the legislature, and the judiciary; political and social organizations; the police; churches; and corporations. With that in mind, this course will examine the role of the press (now newspapers, radio, TV, and an endless array of digital outlets) in the creation and perpetuation of anti-Black racism in the United States. Even with the most well-meaning attempts to stay above the fray, the media is not merely a passive pipeline for events and data. They construct the news and, in doing so, are as much as part of the institutions of racism as any other group with power and privilege in a racist society. How do the media reflect the social, economic, and political currents of the day; and how, in turn, do the media influence them? This is not a practicum class in journalism, but we will study and ask questions about journalistic practices, institutions, and language structure to see how the language and agenda of racism were reflected in journalism. Do journalists, in turn, perpetuate that language and, in fact, foster it either wittingly or passively? Do the media help sustain overt and systemic racism, even as many cover, with obvious approval, things like the civil-rights movement of the 1960s and the Black Lives Matter movement of today? Readings for this class will include large parts of two books: The History of White People, by Nell Irwin Painter, and White by Law, by Ian Haney Lopez—but will primarily be original news and opinion content from the late 19th century until today. Students should be prepared to consume media coverage every day—mainstream and otherwise and from left, center, and right—and bring examples to class on a weekly basis to discuss with the group. Class participation is vital in this class, along with an eagerness to read widely and to do research. There will be two short essays and, of course, the mandatory conference project.

This first research seminar in a yearlong practicum series on conducting research in psychology will introduce students to the posing of research questions and the design of methods to answer those questions. In this seminar, students will gain valuable research experience through a weekly meeting focused on qualitative and quantitative research methods, research ethics, and contemporary research questions and approaches. These topics include, but are not limited to, exploring the historical contexts that led to current guidelines for ethically conducting human-subjects testing; receiving institutional review-board approval for a proposed study; staying conversant and engaged in open science practices; maintaining a lab notebook; choosing a methodological approach and designing a study; recruiting participants; and more. The seminar component will include readings on, and discussions of, research methods and ethics that are specific to the research in which students are involved, as well as discussions of contemporary research articles that are relevant to student and faculty research projects. Weekly seminars will be led by the instructors of the course and, on occasion, invited faculty with expertise in related topics. All students involved in conducting research will also take turns leading a discussion of current research related to their group’s work. We will have individual and/or lab conference meetings with faculty supervisors on either a regular or as-needed basis. Seniors undertaking a senior thesis project are welcome to take this class alongside their senior thesis in order to work collaboratively with other students engaging in their own independent research. Students should come prepared to work collaboratively with faculty and their peers.

We have time, energy, questions, and few responsibilities. We want to push the envelope, resist compromise, lead revolutions, and turn the world upside down. Because we do not yet know quite how to be, we have not settled and will not let the dust settle around us. —Karlin & Borofsky, 2003

Many traditional psychological theories of development posit a brief transition from adolescence to adulthood; however, many people moving into their 20s experience anything but a brief transition to “feeling like an adult,” pondering questions such as: How many SLC alums can live in a Brooklyn sublet? What will I do when I finish the Peace Corps next year? In this course, we will explore the psychological literature concerning emerging adulthood, the period from the late teens through the 20s. We will examine this period of life from a unified biopsychosocial and intersectional perspective.

This community partnership course will focus on the health of humans living within physical, social, and psychological urban spaces. We will use a constructivist, multidisciplinary, multilevel lens to examine the interrelationship between humans and the natural and built environment, to explore the impact of social group (ethnic, racial, sexuality/gender) membership on person/environment interactions, and to explore an overview of theoretical and research issues in the psychological study of health and illness across the lifespan. We will examine theoretical perspectives in the psychology of health, health cognition, illness prevention, stress, and coping with illness; and we will highlight research, methods, and applied issues. This class is appropriate for those interested in a variety of health careers or anyone interested in city life. The community-partnership/service-learning component is an important part of this class. We will work with local agencies to promote health-adaptive, person-environment interactions within our community.

In recent years, scholarship in Jewish studies has recognized that much of recorded Jewish history and writing has centered the male, heterosexual, cisgender Jew as the normative Jewish figure and has failed to reckon sufficiently with the perspectives of Jewish women, queer Jews, trans Jews, and other Jews holding marginalized gender and sexual identities. At the same time, scholars have noted that Jewish literature and rabbinic sources contain fascinating resources to interrogate gender norms and, in particular, to explore how the ambiguity of gender roles contained within rabbinic sources does or does not map onto contemporary gender binaries. Building from this perspective, this class aims to explore the evolution of debates about gender and sexuality in Judaism, focusing both on textual sources and on the lived experiences of Jewish people. Topics to be covered include: the status of women under halakhah (Jewish law); gender in the Talmud and Jewish religious texts; constructions of masculinity and femininity; debates over the proper role of the body and the gendered nature of religious practice and religious authority; the role of women in Jewish emancipation and the changing nature of Jewish gender norms in the modern era; the relationship of women and queer Jews to nationalisms and citizenship; Zionist discourses on the relationship between land, rootedness, and gender; and the gendered politics of Jewish identity in both Europe and the Middle East. Throughout the course, we will read both primary and secondary sources; the primary sources will include Jewish religious texts, as well as fiction and autobiography produced by Jewish women and queer Jews. We will ask the questions: Who claims the right to speak for a tradition, and what does it mean to say that certain Jewish bodies are and are not normative? In so doing, we will also review some of the key debates surrounding gender studies and queer studies in the field of religious studies more broadly, and students will gain a basic understanding of some of the key methodological and theoretical debates in contemporary queer theory.

In this lecture, students will be introduced to key areas of study in the sociology of “deviance,” detention, and illegality. We will be taking a global and transnational perspective on examining the ways in which social groups define, categorize, and reinforce deviance and illegality, from the treatment of minority and persecuted groups to the detention and expulsion of populations such as undocumented migrants and refugees. Students will learn about foundational theories and concepts in the field, starting with a reading of Émile Durkheim’s classical study of suicide and the idea of anomie, followed by Robert Merton’s strain theory and then contemporary ones such as conflict theory, labeling theory, and the infamous “broken-windows” theory. The class will take a critical approach to reflecting and challenging ideas about deviance and illegality by examining global and transnational forms of population governance, such as ongoing mutations to human rights and the technocratic management of displaced populations through humanitarianism around the world. We will be reading about major sectors of transnational deviance and crime, including industrial fishing and trafficking on the high seas (Ian Urbina’s The Outlaw Ocean), exploitation and profiteering through international logistics (Carolyn Nordstrom’s Global Outlaws), and transnational sex work and trafficking (Christine Chin and Kimberly Hoang). This critical lens is intended to help us understand how different groups and populations are rendered “deviant” or “illegal” for the purposes of management and control (or political leverage) and to what extent groups themselves are able to resist or challenge those categorizations. Finally, we will be looking at how social movements and acts of resistance can produce widescale changes in societies toward the treatment and categorization of people seen as “deviants,” “criminals,” or “illegals”—including struggles against apartheid, hunger strikes in prisons, and protest movements for undocumented groups. Additionally, we will be discussing how social transformations wrought by three years of living under a global pandemic has led to the emergence of new forms of deviance related to biopolitical and biotechnological notions of population health and well-being. For conference work in this lecture, students will work in groups to produce portfolios of research on an area of study related to deviance, detention, and illegality. Each portfolio will include presentations and discussions of the chosen area of study, as well as critical essays written by each student that bring in conceptual and theoretical discussions drawn from the class.

In public discourse, we are bombarded with assertions of the newly “global” nature of the contemporary world. This assertion assumes that former stable categories of personhood, ideational systems, nation, identity, and space are now fragmented and transcended by intensified travel, digital technology, and cross-cultural contact. This seminar is based on the premise that people have traveled throughout history; current global moves are but the most recent manifestation of a phenomenon that has historically occurred in many forms and places. This long(er) view of mobility will allow us to rethink and reexamine not only our notions of travel but their shifting connotations and significance across time and space. We will explore how supposed stable categories—such as citizen, refugee, nation, and commodity—are constructed and consider several theoretical approaches that help us make sense of these categorizations, the processes accompanying their normalization and dissemination, and their underlying assumptions. Our questions will include: What are the political, navigational, and epistemological foundations that go into mapmaking and schemas of classification? How do nomads change into settled city dwellers or wageworkers? How does time become disciplined? How does travel change into tourism? How do commodities travel and acquire meaning? What is the relationship between legal and illicit moves? How do technologies of violence, such as weapons and drugs, circulate? What is the meaning of their circulation in different contexts? How do modern technologies enable time/space compression? What are the shifting logics of globalization? What is their relationship to our notions and constructions of authenticity, subjectivity, and identity? During the fall semester, we will begin by developing an analytical approach toward our topic (which we will continue to develop throughout the year). We will then consider the implications of classification, categorization, and mapping. For the remainder of the semester, we will follow the travel(s) of ideas, commodities, and people. In the process, we will begin to think about questions of time/space compression. In the spring, we will return to some of the themes of the fall semester but examine them in a different context and through a different lens. Among our concerns in the spring semester will be issues of fusion and hybridization in cultural practices regarding people and things (e.g., food, music, romance, families); shifting places (e.g., borders, travel, and tourism); time/space compression through new technologies of travel and communication; and drugs, terror, violence, and poverty. As our sources, we will rely primarily on interdisciplinary analytical writings but will also include travel narratives, literature, and films.

What does it mean to be “beautiful”? Whose bodies qualify as beautiful? This seminar will explore the social construction of beauty as a process imbued with power and violence. Our investigation begins by overviewing Michel Foucault’s concepts of “biopower” and “biolegitimacy” to understand how the state manifests social hierarchies and control through the construction of the idealized, beautiful body. We will subsequently explore in what ways beauty standards are deployed to create gendered and raced distinctions that uphold colonial powers and white supremacy. Moreover, students will study the transformation of beauty standards across time with the goal of understanding how these changes reflect broader sociohistorical transformations and political interpretations of gender and race. Our seminar will subsequently study the impact of beauty standards on a microsocial level, including to what degree individuals come to internalize or resist notions of biolegitimacy and beauty. Within this conversation, we will study various forms of body modification and plastic surgery, as both an ontological tool for self-construction and as a means for pathologizing deviance from beauty standards. For conference, students may choose to trace the historical roots and evolution of a specific beauty standard. Alternatively, conference work might focus on how individuals collectively resist a given beauty standard, potentially within the context of subcultures that substitute alternative notions of biolegitimacy.

This is a course about sports as practice, which is used here in a multiple sense. As an embodied activity, sporting practice is felt and experienced in and through the body, which is its primary but not sole “habitus”—a term the French sociologist Pierre Bourdieu popularized when elaborating on his notion of “cultural capital.” In this course, taking the sporting body and Bourdieu’s concept of habitus (taste, habits, skills, dispositions) as our point of departure, we will examine sports and its habitation of worlds that reach far beyond the individual (body) in both time and space. We will examine sports along multiple axes: as a collective and/or individuated activity; as a source of leisure and recreation; as a source of profitable employment; as a site of identity and nation-building projects; and as a space that engenders transnational mobilities and interconnections, as well as ruptures. In its commoditized contemporary form, sports is more often than not controlled by big money and/or the state and is part and parcel of what Debord refers to as the “society of the spectacle,” a site of production, consumption, and entertainment. The complex relationship between sports as experienced through the body and as a set of disciplinary practices will allow us to think through the relation of the individual, the collective, and institutionalized power, linking these to questions of body politics. Taking seriously the internal dynamics and meaning of sports, we will engage sports as a contradictory field, as both a productive space and a space of consumption. Our readings will include scholarly works, sports journalism, films, documentaries, and other primary sources. Possible conference topics include sports and politics; analysis of particular sports events (e.g., Olympics, women’s basketball, World Cup); (auto)biographies and/or oral histories of athletes; sports and protest; “fitness,” health, and the body; gender, race, sexuality, (dis)ability and sports; nationalism(s), national “styles” and sports; and the phenomenology of sports.

In the 1600s, political leaders in Salem, Massachusetts, infamously executed more than 25 members accused of witchcraft. Almost 400 years later, the “satanic panic” swept across America, as parents feared for the spiritual well-being of their children. More recently, protestors in the 2017 Women’s March brandished signs reading, “We are the daughters of the witches you could not burn.” What do these disparate examples have in common? This seminar will study the “witch” as a shared cultural symbol. We will explore why the witch emerges into the American cultural zeitgeist at particular moments in history and what their emergence (and public reception) tells us about the cultural and sociopolitical contexts of our time. We will draw upon the works of theorists like Karl Marx, Antonio Gramsci, Emile Durkheim, Sylvia Federici, and Stanley Cohen to guide our discussions and explore the capitalist, hegemonic, and gendered meanings of the witch. In the latter half of the semester, students will explore contemporary literature within the sociology of culture, as well as the sociology of social movements, to understand how the witch has been simultaneously co-opted and used as a figurehead of collective resistance to these very same systems. Throughout these conversations, we will also discuss the ways in which the witch has been strategically racialized, consequently villainizing women of color and misrepresenting indigenous practices such as Voodoo or Santería. For conference, students may unpack a particular moment in history when magic or witchcraft emerged in the public discourse. Alternatively, students may explore how the witch—or another shared cultural archetype—has been used to express group identity during moments of resistance. Finally, students are encouraged to think about these topics in non-American contexts, if they so choose.

This drawing class creates works on paper in watercolor, ink, and collage using the human form while considering the ways in which the body has been depicted in art of the 21st century. Feminist artists and BIPOC artists have transformed the way we see and construct the world and how the figure is used in art. Borrowing a conceptual frame, in part from an exhibition curated by Apsara Di Quinzio at Berkeley Art Museum (2022), student assignments will include the following: returning the gaze, the body in pieces, absence and presence, gender alchemy, activism, domesticity, and labor. In the first half of the class, students can draw directly with a model present in the classroom; the second half will introduce alternative substrates, including medical textbooks, fashion magazines, and collage. Artists will be introduced to the work of Louise Bourgeois, Jenny Holzer, Lynn Hershman Leeson, Luchita Hurtado, Sarah Lucas, Mary Minter, Kiki Smith, Lorna Simpson, Karen Finley, Kara Walker, Rona Pondick, Simone Leigh, Zanele Muholi, Wangechi Mutu, Mary Kelly, Janine Antoni, Carolee Schneeman, Kerry James Marshall, Lyle Ashton Harris, Bob Flanagan, and Féliz Gonzalez Torres.

This course is for students interested in the relationship between nonfiction and reality; that is, how nonfiction writers—that’s us—construct reality on the page rather than assume its coherence. Each week, in class, we will discuss nonfiction by writers like Ursula Le Guin and Samuel Delany, alongside a wide array of writers who trouble the distinction of what we consider possible. Our aim in reading as writers will be in metabolizing the formal strategies of language situated across “genres” in order to make something new through short exercises and longer workshops. Likely writers we will read include Jami Lin Nakamura, Saidiya Hartman, Tanya Tagaq, and Fernanda Melchor, among others. We will pay special attention to the relationship between difference and truth across a range of perspectives, making difficulty our focus and vantage point.

From Milton (Satan) to Dryden to Dr. Johnson to Coleridge to De Quincey to Melville (Ahab) to Woolf to Auden to Jerome Robbins, Leonard Bernstein, and Stephen Sondheim to Kurosawa (Throne of Blood and Ran) to Peter Brook (The Mahabharata) to Julie Taymor to Taylor Swift...writers, artists, performers, and thinkers in the West, the East, and the South have gained enormous mileage by appropriating, purloining, replying to, adapting, being enraged by, and escaping Shakespeare—or merely by living under his shade. We will plunge into the enormous and still billowing artistic energy generated by this person. We will look at eight major plays, one a week, from every phase of his career—with a sampling of their critical and scholarly paraphernalia—and examine the writerly problems he faced and how he solved them and examine closely his incomparable rhetorical skills. We will try to pluck the heart out of the mystery of this most mysterious artist in order to help ourselves as artists. Conference projects, designed to be presented to the class, can comprehend poetic responses, fictive or dramatic responses, films and multimedia concoctions, or critical or essayistic responses to the entire body of work or to one of its many elements. It has been said that Shakespeare invented the idea of the human. We will think about this. Sonnet sequences are welcome.