Fall Term Schedule
Fall 2022
| Number | Title | Instructor | Time |
|---|
|
GSWS 100-1
Kate Soules
MW 9:00AM - 10:15AM
|
|
Who has the right to love? Where and when? In what ways is love considered acceptable, and when is it deemed perverse, disgusting, unwarranted? What are the ways love is coded, signaled, or crosses the threshold of places it isn’t welcome? When is love subversive, when is it political, when is it outrageous, and when is it just...love? This course is a survey of 20thcentury LGBTQ+ cultural production and history where we will examine the artistic expression of queer love and sexuality in literature, art, music, drama, and film. An essential part of our investigation will be to situate these artistic expressions alongside the specific ways queerness was hidden, policed, and punished. By reading and viewing broadly in cultural production, scholarly articles, legal documents, and news accounts, we will construct a story of the ruptures, disasters, and triumphs of queer love in 20thcentury America.
|
|
GSWS 105-1
Tatyana Bakhmetyeva
M 2:00PM - 4:40PM
|
|
This course is an introduction to the interdisciplinary scholarship of Gender, Sexuality and Women's studies. As a survey course, this class is designed to give students from diverse backgrounds and disciplines a basic understanding of debates and perspectives discussed in the field. We will use gender as a critical lens to examine some of the social, cultural, economic, scientific, and political practices that organize our lives. We will explore a multitude of feminist perspectives on the intersections of sex, gender, sexuality, race, ethnicity, class, religion, and other categories of identity. In this course, we will interrogate these categories as socially constructed while acknowledging that these constructions have real effects in subordinating groups, marking bodies, and creating structural, intersectional inequalities.
|
|
GSWS 115-1
Lois Metcalf
MW 6:15PM - 7:30PM
|
|
Exploration of anthropological interpretation, research, and writing on the way different peoples understand and deal wit issues of illness and disease. Open only to First Year and Sophomore students.
|
|
GSWS 189-1
Denise Yarbrough
TR 3:25PM - 4:40PM
|
|
The study of issues surrounding human sexuality as it has been treated in world religions. Issues, such as homosexuality, transgender/transsexual, marriage, family, sexual ethics, gender in world religions will be covered. Also, the role of Eros in mystical traditions of various world religions (Sufi, Christian Mysticism, Hinduism) will be examined in those instances where the erotic and the spiritual have been manifested together. Classroom discussion about what is the connection between sexuality and spirituality and how have religious traditions dealt with that connection? College hook-up culture is also examined in light of the study of spirituality and sexuality.
|
|
GSWS 212-1
–
TR 12:30PM - 1:45PM
|
|
The goal of this course is to radically problematize the concepts of queer, gender and sexuality, fundamentally questioning the assumptions that attend the usage and deployment of these terms in quotidian discourse. This will not be your typical queer theory course as we will not move from the center to the margins, relegating racialized bodies to the position of reactionary actors responding to an epistemic erasure. Rather we will center these critiques as the basis for a new canon and thus grounds for theory.
|
|
GSWS 223-1
Bette London
MW 11:50AM - 1:05PM
|
|
The nineteenth-century novel is usually associated with Victorian values: happy marriage; wholesome homes; moral propriety; properly channeled emotions and ambitions. Many of the most popular novels, however, paint a very different picture: with madwomen locked in attics and asylums; monsters, real and imagined, lurking behind the façade of propriety; genteel homes harboring opium addicts; fallen women walking the streets; and sexual transgression and degeneracy popping up everywhere. Indeed, for novels centrally structured around marriage and society, madness and monstrosity appear with alarming regularity. The intertwining of these tropes suggests some of the cultural anxieties unleashed by the new body of women writers and women readers. We will begin with Frankenstein and end with Dracula, two novels from opposite ends of the century. We will also consider such classic marriage plot novels as Pride and Prejudice and Jane Eyre and some popular sensation fiction of the 1860s.
|
|
GSWS 235-1
Tatyana Bakhmetyeva
T 2:00PM - 4:40PM
|
|
“Be a man” or “He acted like a real man” – we hear these and similar phrases around us all the time, but what does it mean “to be a real man”? How do we define what masculinity is? Does our definition of masculinity differ from, say, the medieval or Victorian? If so, then how and why? Using primary and secondary sources, as well as film and other media, this seminar explores the historical development of the modern concept of masculinity, the strategies that are used to learn to be “men” (such as sports), and how modern ideas about masculinity affect gender relationships in general as well as men’s mental and physical health.
|
|
GSWS 235W-1
Tatyana Bakhmetyeva
T 2:00PM - 4:40PM
|
|
“Be a man” or “He acted like a real man” – we hear these and similar phrases around us all the time, but what does it mean “to be a real man”? How do we define what masculinity is? Does our definition of masculinity differ from, say, the medieval or Victorian? If so, then how and why? Using primary and secondary sources, as well as film and other media, this seminar explores the historical development of the modern concept of masculinity, the strategies that are used to learn to be “men” (such as sports), and how modern ideas about masculinity affect gender relationships in general as well as men’s mental and physical health.
|
|
GSWS 242-1
Danielle Fraenkel
F 10:00AM - 1:00PM
|
|
Dance/Movement Therapy Foundations examines the field’s approaches to (1) enhancing personal, professional, and creative development, and (2) treating a wide range of challenges (e.g., autism, anxiety, eating disorders, abuse, developmental challenges, and psychosis). To these ends, students will learn how Dance/Movement Therapy integrates natural movement, formal elements of dance, music, language, psychology, counseling, neuroscience, and concepts drawn from Asian approaches to healing. Improvisational dance, music-making, role plays, live music, and videotapes of actual sessions highlight these concepts. Dress comfortably. Be prepared to move. Participation in 3 labs during the semester will be required.
|
|
GSWS 244-1
Cilas Kemedjio
MW 12:30PM - 1:45PM
|
|
Female genital cutting encounters vaginal cosmetic surgeries at the intersection of poverty and wealth, race and class, barbaric practices and the pleasure principle. Bodies of poor, African, and mostly black women and children embody a fateful condition that can be redeemed by technologies of progress and humanitarian discourses. This course invites students to challenge assumptions related to agency, race, class, the representation of the body, and the fragmented transnational sisterhood. The discussion expands to bodies caught in domestic violence, rape, lynching, and skin whitening. Readings and films: Alice Walker's "Warrior's Marks" and "Possessing the Secret of Joy"; "Manya Mabika"; "Fantacola"; "Sarabah"; "Women with Open Eyes"; "Black Sisters, Speak Up"; "The Suns of Independence"; "Desert Flower"; and Maryse Cond's "Who Slashed Clanire Throat?" Conducted in English.
|
|
GSWS 245-1
John Thibdeau
R 2:00PM - 4:40PM
|
|
While many approaches to Islam in the modern world have tended to focus on transformations to Islamic thought and institutions, the goal of this course is to move beyond the textual, historical, and intellectual approaches to the study of Islam by engaging various genres of performance as they emerge in contemporary contexts. Moreover, the focus on so-called ‘political Islam,’ ‘Islamism,’ ‘Islamic Fundamentalism,’ and ‘Islamic Radicalism’ has reinforced a perception of Islam as primarily, if not exclusively, textual and anathema to myriad performing arts. It is therefore not uncommon to hear people claim that Islam forbids music and art even though there have been talented and novel Muslim artists of all kinds.
This course aims to counteract these tendencies in both academia and popular culture by putting multiple genres of performance front and center. For many Muslims, these genres of performance are critical not only to expressing their Muslim identity, but also to shaping that identity for themselves and for others. Such expressions of identity and piety take many forms through the world today and our goal is to look at these various embodied traditions in the Islamic world with particular attention to how global norms are localized through vernacular idioms and practices. Specifically, we will be looking at performative and ritual traditions associated with Sufism (e.g., music and festivals), television, theater, cinema, fashion, music, and comedy. Using performance as a lens for the study of Islam will enable us to consider the performing arts not only as sites for the cultivation of piety and the formation of identities, but also as sites of contestation that raise questions about religious authority and legitimacy.
In addition to rethinking Islam and the performing arts, this course will also critically interrogate the role of women in Muslim societies by focusing on the lives and practices of women in public life. From the ‘orientalist’ renderings that have exoticized Muslim women (e.g., belly dancers) to the common tropes about the oppression of women in Islam, portrayals of women in Muslim societies have been integral to the cultural politics of colonial and contemporary projects. This course seeks to challenge these representations by analyzing the performing arts as sites of empowerment where women actively construct and model pious lifestyles, as well as spaces of resistance that challenge some dominant strands in modern Muslim discourses. Finally, we will consider some of the tensions between ‘secular’ and ‘Islamic’ feminisms and how women navigate the (at times) conflicting global influences of secularity on the one hand and Islamism on the other hand. In resituating the place of women in Muslim societies, we will also reconsider representations of masculinity and sexuality as they encounter these global forces.
|
|
GSWS 256-1
Joshua Dubler
MW 11:50AM - 1:05PM
|
|
The category of “guilt” floats between theology, psychology, and criminology. Sometimes as a feeling, sometimes as a purported objective condition, guilt stars in big stories moderns tell about what it is to be a member of a society, what it is to be a religious person, and how it feels to be a creature with sexual appetites. Meanwhile, for legal and mental health professions, proof of guilt is used to sort the good from the bad, the normal from the deviant, and the socially respectable from the socially disposable. Not all is so dour, however. Guilt lives in confession, denunciation, and in criminal sentencing, but it is also the stuff of jokes, of ethnic pride, and of eroticism. Toward an anatomy of guilt, in this course we will draw on the works of Freud, Nietzsche, Arendt, Foucault, Janet Malcolm and Sarah Schulman, and we will wrestle with the films—and complicated legacies—of Alfred Hitchcock and Woody Allen, two filmmakers who are preoccupied with (and implicated by) guilt, as feeling and as fact.
|
|
GSWS 266-1
Marie-Joelle Estrada
TR 2:00PM - 3:15PM
|
|
Exploration of the ways males and females differ in interaction, theories of development of sex differences, consequences for social change.
|
|
GSWS 271-1
Susan Gustafson
MW 2:00PM - 3:15PM
|
|
This course explores the same-sex desires, love, non-exclusive relationships, and adoptive families with two fathers, two mothers, etc. that were represented as ideal relationships in 18th century German literature. In contrast to traditional views of the 18th century obsession with bourgeois and aristocratic families determined by fathers interested only in economic endeavors and preserving heritage, this course will explore the counter discourses that arose in the 18th century that highlighted the fundamental need for love as the foundation of all families. This course is taught in English.
|
|
GSWS 276-1
Rachel O'Donnell
MW 2:00PM - 3:15PM
|
|
What kinds of power do words really have? What does it mean to be a writer-activist? How can we use writing as a tool for social change? Drawing on social and political concepts like community, power, justice, and democracy, and scholars who reflect on these issues, this course will engage with a variety of texts (scholarship, blogs, documentary films) as we consider how the political can inform what we believe and impact the choices we make as writers. Through experiential learning and reflective writing, students will explore the power of writing to elicit equity, inclusion, and change. Research projects may include traditional academic source material, primary research such as fieldwork, surveys, and interviews, and direct work with local community organizations. Class time will include visits from community speakers and off-campus events. This is a community-engaged course that meets the requirement for the citation in community-engaged scholarship. Prerequisite: Completion of Primary Writing Requirement
|
|
GSWS 285-1
John Downey
MW 12:30PM - 1:45PM
|
|
This course will examine the varieties of thought about, and practice of, civil disobedience within social movements, with an emphasis on contemporary activism. When, why, and how do communities choose to push back against structures of violence and injustice? Throughout the semester, we will study canonical texts? of modern resistance history speeches, writing, direct action protests, art and will consider the role of this form of counter-conduct within larger campaign strategies to build power from below and get free.
|
|
GSWS 389H-1
Tatyana Bakhmetyeva
R 2:00PM - 4:40PM
|
|
For GSWS majors completing an honors project in their fourth year, typically taken in the fall to be followed by 393H in the spring
|
|
GSWS 391-1
–
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
|
GSWS 392-1
–
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
|
GSWS 394-1
Tatyana Bakhmetyeva
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
|
GSWS 395-1
–
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
Fall 2022
| Number | Title | Instructor | Time |
|---|---|
| Monday | |
|
GSWS 105-1
Tatyana Bakhmetyeva
|
|
|
This course is an introduction to the interdisciplinary scholarship of Gender, Sexuality and Women's studies. As a survey course, this class is designed to give students from diverse backgrounds and disciplines a basic understanding of debates and perspectives discussed in the field. We will use gender as a critical lens to examine some of the social, cultural, economic, scientific, and political practices that organize our lives. We will explore a multitude of feminist perspectives on the intersections of sex, gender, sexuality, race, ethnicity, class, religion, and other categories of identity. In this course, we will interrogate these categories as socially constructed while acknowledging that these constructions have real effects in subordinating groups, marking bodies, and creating structural, intersectional inequalities. |
|
| Monday and Wednesday | |
|
GSWS 100-1
Kate Soules
|
|
|
Who has the right to love? Where and when? In what ways is love considered acceptable, and when is it deemed perverse, disgusting, unwarranted? What are the ways love is coded, signaled, or crosses the threshold of places it isn’t welcome? When is love subversive, when is it political, when is it outrageous, and when is it just...love? This course is a survey of 20thcentury LGBTQ+ cultural production and history where we will examine the artistic expression of queer love and sexuality in literature, art, music, drama, and film. An essential part of our investigation will be to situate these artistic expressions alongside the specific ways queerness was hidden, policed, and punished. By reading and viewing broadly in cultural production, scholarly articles, legal documents, and news accounts, we will construct a story of the ruptures, disasters, and triumphs of queer love in 20thcentury America. |
|
|
GSWS 223-1
Bette London
|
|
|
The nineteenth-century novel is usually associated with Victorian values: happy marriage; wholesome homes; moral propriety; properly channeled emotions and ambitions. Many of the most popular novels, however, paint a very different picture: with madwomen locked in attics and asylums; monsters, real and imagined, lurking behind the façade of propriety; genteel homes harboring opium addicts; fallen women walking the streets; and sexual transgression and degeneracy popping up everywhere. Indeed, for novels centrally structured around marriage and society, madness and monstrosity appear with alarming regularity. The intertwining of these tropes suggests some of the cultural anxieties unleashed by the new body of women writers and women readers. We will begin with Frankenstein and end with Dracula, two novels from opposite ends of the century. We will also consider such classic marriage plot novels as Pride and Prejudice and Jane Eyre and some popular sensation fiction of the 1860s. |
|
|
GSWS 256-1
Joshua Dubler
|
|
|
The category of “guilt” floats between theology, psychology, and criminology. Sometimes as a feeling, sometimes as a purported objective condition, guilt stars in big stories moderns tell about what it is to be a member of a society, what it is to be a religious person, and how it feels to be a creature with sexual appetites. Meanwhile, for legal and mental health professions, proof of guilt is used to sort the good from the bad, the normal from the deviant, and the socially respectable from the socially disposable. Not all is so dour, however. Guilt lives in confession, denunciation, and in criminal sentencing, but it is also the stuff of jokes, of ethnic pride, and of eroticism. Toward an anatomy of guilt, in this course we will draw on the works of Freud, Nietzsche, Arendt, Foucault, Janet Malcolm and Sarah Schulman, and we will wrestle with the films—and complicated legacies—of Alfred Hitchcock and Woody Allen, two filmmakers who are preoccupied with (and implicated by) guilt, as feeling and as fact. |
|
|
GSWS 244-1
Cilas Kemedjio
|
|
|
Female genital cutting encounters vaginal cosmetic surgeries at the intersection of poverty and wealth, race and class, barbaric practices and the pleasure principle. Bodies of poor, African, and mostly black women and children embody a fateful condition that can be redeemed by technologies of progress and humanitarian discourses. This course invites students to challenge assumptions related to agency, race, class, the representation of the body, and the fragmented transnational sisterhood. The discussion expands to bodies caught in domestic violence, rape, lynching, and skin whitening. Readings and films: Alice Walker's "Warrior's Marks" and "Possessing the Secret of Joy"; "Manya Mabika"; "Fantacola"; "Sarabah"; "Women with Open Eyes"; "Black Sisters, Speak Up"; "The Suns of Independence"; "Desert Flower"; and Maryse Cond's "Who Slashed Clanire Throat?" Conducted in English. |
|
|
GSWS 285-1
John Downey
|
|
|
This course will examine the varieties of thought about, and practice of, civil disobedience within social movements, with an emphasis on contemporary activism. When, why, and how do communities choose to push back against structures of violence and injustice? Throughout the semester, we will study canonical texts? of modern resistance history speeches, writing, direct action protests, art and will consider the role of this form of counter-conduct within larger campaign strategies to build power from below and get free. |
|
|
GSWS 271-1
Susan Gustafson
|
|
|
This course explores the same-sex desires, love, non-exclusive relationships, and adoptive families with two fathers, two mothers, etc. that were represented as ideal relationships in 18th century German literature. In contrast to traditional views of the 18th century obsession with bourgeois and aristocratic families determined by fathers interested only in economic endeavors and preserving heritage, this course will explore the counter discourses that arose in the 18th century that highlighted the fundamental need for love as the foundation of all families. This course is taught in English. |
|
|
GSWS 276-1
Rachel O'Donnell
|
|
|
What kinds of power do words really have? What does it mean to be a writer-activist? How can we use writing as a tool for social change? Drawing on social and political concepts like community, power, justice, and democracy, and scholars who reflect on these issues, this course will engage with a variety of texts (scholarship, blogs, documentary films) as we consider how the political can inform what we believe and impact the choices we make as writers. Through experiential learning and reflective writing, students will explore the power of writing to elicit equity, inclusion, and change. Research projects may include traditional academic source material, primary research such as fieldwork, surveys, and interviews, and direct work with local community organizations. Class time will include visits from community speakers and off-campus events. This is a community-engaged course that meets the requirement for the citation in community-engaged scholarship. Prerequisite: Completion of Primary Writing Requirement |
|
|
GSWS 115-1
Lois Metcalf
|
|
|
Exploration of anthropological interpretation, research, and writing on the way different peoples understand and deal wit issues of illness and disease. Open only to First Year and Sophomore students. |
|
| Tuesday | |
|
GSWS 235-1
Tatyana Bakhmetyeva
|
|
|
“Be a man” or “He acted like a real man” – we hear these and similar phrases around us all the time, but what does it mean “to be a real man”? How do we define what masculinity is? Does our definition of masculinity differ from, say, the medieval or Victorian? If so, then how and why? Using primary and secondary sources, as well as film and other media, this seminar explores the historical development of the modern concept of masculinity, the strategies that are used to learn to be “men” (such as sports), and how modern ideas about masculinity affect gender relationships in general as well as men’s mental and physical health. |
|
|
GSWS 235W-1
Tatyana Bakhmetyeva
|
|
|
“Be a man” or “He acted like a real man” – we hear these and similar phrases around us all the time, but what does it mean “to be a real man”? How do we define what masculinity is? Does our definition of masculinity differ from, say, the medieval or Victorian? If so, then how and why? Using primary and secondary sources, as well as film and other media, this seminar explores the historical development of the modern concept of masculinity, the strategies that are used to learn to be “men” (such as sports), and how modern ideas about masculinity affect gender relationships in general as well as men’s mental and physical health. |
|
| Tuesday and Thursday | |
|
GSWS 212-1
–
|
|
|
The goal of this course is to radically problematize the concepts of queer, gender and sexuality, fundamentally questioning the assumptions that attend the usage and deployment of these terms in quotidian discourse. This will not be your typical queer theory course as we will not move from the center to the margins, relegating racialized bodies to the position of reactionary actors responding to an epistemic erasure. Rather we will center these critiques as the basis for a new canon and thus grounds for theory. |
|
|
GSWS 266-1
Marie-Joelle Estrada
|
|
|
Exploration of the ways males and females differ in interaction, theories of development of sex differences, consequences for social change. |
|
|
GSWS 189-1
Denise Yarbrough
|
|
|
The study of issues surrounding human sexuality as it has been treated in world religions. Issues, such as homosexuality, transgender/transsexual, marriage, family, sexual ethics, gender in world religions will be covered. Also, the role of Eros in mystical traditions of various world religions (Sufi, Christian Mysticism, Hinduism) will be examined in those instances where the erotic and the spiritual have been manifested together. Classroom discussion about what is the connection between sexuality and spirituality and how have religious traditions dealt with that connection? College hook-up culture is also examined in light of the study of spirituality and sexuality. |
|
| Thursday | |
|
GSWS 245-1
John Thibdeau
|
|
|
While many approaches to Islam in the modern world have tended to focus on transformations to Islamic thought and institutions, the goal of this course is to move beyond the textual, historical, and intellectual approaches to the study of Islam by engaging various genres of performance as they emerge in contemporary contexts. Moreover, the focus on so-called ‘political Islam,’ ‘Islamism,’ ‘Islamic Fundamentalism,’ and ‘Islamic Radicalism’ has reinforced a perception of Islam as primarily, if not exclusively, textual and anathema to myriad performing arts. It is therefore not uncommon to hear people claim that Islam forbids music and art even though there have been talented and novel Muslim artists of all kinds.
This course aims to counteract these tendencies in both academia and popular culture by putting multiple genres of performance front and center. For many Muslims, these genres of performance are critical not only to expressing their Muslim identity, but also to shaping that identity for themselves and for others. Such expressions of identity and piety take many forms through the world today and our goal is to look at these various embodied traditions in the Islamic world with particular attention to how global norms are localized through vernacular idioms and practices. Specifically, we will be looking at performative and ritual traditions associated with Sufism (e.g., music and festivals), television, theater, cinema, fashion, music, and comedy. Using performance as a lens for the study of Islam will enable us to consider the performing arts not only as sites for the cultivation of piety and the formation of identities, but also as sites of contestation that raise questions about religious authority and legitimacy.
In addition to rethinking Islam and the performing arts, this course will also critically interrogate the role of women in Muslim societies by focusing on the lives and practices of women in public life. From the ‘orientalist’ renderings that have exoticized Muslim women (e.g., belly dancers) to the common tropes about the oppression of women in Islam, portrayals of women in Muslim societies have been integral to the cultural politics of colonial and contemporary projects. This course seeks to challenge these representations by analyzing the performing arts as sites of empowerment where women actively construct and model pious lifestyles, as well as spaces of resistance that challenge some dominant strands in modern Muslim discourses. Finally, we will consider some of the tensions between ‘secular’ and ‘Islamic’ feminisms and how women navigate the (at times) conflicting global influences of secularity on the one hand and Islamism on the other hand. In resituating the place of women in Muslim societies, we will also reconsider representations of masculinity and sexuality as they encounter these global forces. |
|
|
GSWS 389H-1
Tatyana Bakhmetyeva
|
|
|
For GSWS majors completing an honors project in their fourth year, typically taken in the fall to be followed by 393H in the spring |
|
| Friday | |
|
GSWS 242-1
Danielle Fraenkel
|
|
|
Dance/Movement Therapy Foundations examines the field’s approaches to (1) enhancing personal, professional, and creative development, and (2) treating a wide range of challenges (e.g., autism, anxiety, eating disorders, abuse, developmental challenges, and psychosis). To these ends, students will learn how Dance/Movement Therapy integrates natural movement, formal elements of dance, music, language, psychology, counseling, neuroscience, and concepts drawn from Asian approaches to healing. Improvisational dance, music-making, role plays, live music, and videotapes of actual sessions highlight these concepts. Dress comfortably. Be prepared to move. Participation in 3 labs during the semester will be required. |
|