ENROLL

Marlon Bailey

This course is an interdisciplinary examination of gender and sexualities throughout the Africa Diaspora. We will study the complexities of gender and sexual experiences, practices, identities, and community formations within various cultural contexts throughout the Black world.

Marlon Bailey

This course is an in-depth examination of intersectionality, as a theory and analytic framework, and the socio/political projects out of which it emerges. We will focus on how intersecting categories of social difference such as race, class, gender, and sexuality create and maintain social inequalities in U.S. society and abroad. Some of the other intersecting forms of social difference we will explore include, ethnicity, nation/migration, dis/ability, and HIV/disease status. 

Adriana Estill

Matt Rand

Sophomore Priority

Waitlist for Juniors and Seniors: BIOL 101.WL0 (Synonym 51087)

Jessica Leiman

The eighteenth and early nineteenth century saw the rise of the Gothic, a genre populated by brooding hero-villains, vulnerable virgins, mad monks, ghosts, and monsters. In this course, we will examine the conventions and concerns of the Gothic, addressing its preoccupation with terror, sex, and the supernatural. As we situate this genre within its literary and historical context, we will consider its relationship to realism and Romanticism, and we will explore how it reflects the political and cultural anxieties of the age. Authors include Walpole, Radcliffe, Lewis, Austen, M. Shelley, and E. Bronte.

Adriana Estill

This course engages the borderlands as space (the geographic area that straddles nations) and idea (liminal spaces, identities, communities). We examine texts from writers like Anzaldúa, Butler, Cervantes, Dick, Eugenides, Haraway, and Muñoz first to understand how borders act to constrain our imagi(nation) and then to explore how and to what degree the borderlands offer hybrid identities, queer affects, and speculative world-building. We will engage the excess of the borderlands through a broad chronological and generic range of U.S. literary and visual texts. Come prepared to question what is "American", what is race, what is human.

Megan E Sarno

Women’s music is everyone’s music. Women have filled almost every role in music activities public and private, as both businesspeople and creators. In this course, students will use feminist critical perspectives to understand how women have been marginalized and celebrated in music history. We will analyze the work of such women as Hildegaard von Bingen, Catherine the Great, Clara Schumann, Fanny Mendelssohn, Nadia and Lili Boulanger, Germaine Tailleferre, Caroline Shaw, Meredith Monk, and Julia Wolfe. Additionally, we will consider how women and gender has been represented in music, in both stereotyped and more nuanced ways.

Prerequisite: Previous classroom course in Music department or instructor permission; not open to students who have taken Music 100 Women and Classical Music

Mihaela Czobor-Lupp

Lori Pearson

Sonja Anderson

How does power flow and concentrate within the Catholic Church? What are the gendered aspects of the structure, history, and theology of Catholicism? Through a combination of readings, discussions, and conversations with living figures, students will develop the ability to critically and empathetically interpret issues of gender, sexuality, and power in the Catholic Church, especially as these issues appear in official Vatican texts. Topics include: God, suffering, sacraments, salvation, damnation, celibacy, homosexuality, the family, saints, the ordination of women as priests, feminist theologies, canon law, the censuring of “heretical” theologians, Catholic hospital policy, and the clerical sex abuse crisis.

Meryl Puetz-Lauer

Prerequisite: The department strongly recommends that 110 or 111 be taken prior to enrolling in courses numbered 200 or above.

Constanza Ocampo-Raeder

Prerequisite: The department strongly recommends that Sociology/Anthropology 110 or 111 be taken prior to enrolling in courses numbered 200 or above

Candace Moore

This course will read representations of racial, gender, and sexual minorities in popular culture through the lenses of feminist, critical race, postcolonial, and queer theories. Kimberlé Crenshaw coined the term intersectionality in the late 1980s to describe an approach to oppression that considered how structures of power act multiply on individuals based upon their interlocking racial, class, gender, sexual, and other identities. “Race, Gender, and Sexuality in Popular Culture” takes up the charge of intersectional analysis—rejecting essentialist theories of difference while exploring pluralities—to interpret diversity (or lack thereof) in film, television, and digital media.

Prerequisite: Women's and Gender Studies 110 or 112 or Cinema and Media Studies 110 or instructor consent