ENROLL

Richard Keiser

In this course students will engage race and other forms of identity (including class and disability) using both social scientific and humanistic approaches to examine how the process of building place in the U.S. has historically meant discarding lives, excluding communities, and maintaining caste. Subtopics include: Art's impact on gentrification, POC suburbanization, Disposable lives in America, Apartheid from architectural design, and Comparative memoir.

Michael Kowalewski

"If you remember the Sixties, you weren't there."  We will test the truth of that popular adage by exploring the American youth counterculture of the 1960s, particularly the turbulent period of the late sixties. Using examples from literature, music, and film, we will examine the hope and idealism, the violence, confusion, wacky creativity, and social mores of this seminal decade in American culture. Topics explored will include the Beat Generation, the Vietnam War, Civil Rights, LSD, and the rise of environmentalism, feminism, and Black Power. 

Extra Time Required

Anita Chikkatur

Prerequisite: 100 or 200-level Educational Studies course or instructor permission

Extra Time Required

Deborah Appleman

Prerequisite: 100 or 200-level Educational Studies course

Extra Time Required

Elizabeth McKinsey

Meredith McCoy

Carleton's new campus land acknowledgement affirms that this is Dakota land, but how did Carleton come to be here? What are the histories of Indigenous faculty, students, and staff at Carleton? In this course, students;will investigate Indigenous histories on our campus by conducting original research about how Carleton acquired its landbase, its historic relationships to Dakota and Anishinaabeg people, histories of on-campus activism, the shifting demographics of Native students on campus, and the histories of;Indigenous faculty and staff, among others. Students will situate these histories within the broader context of federal Indian policies and Indigenous resistance.

Andy Flory

Andy Flory

A survey of rhythm and blues from 1945 to 1975, focusing on performers, composers and the music industry.

Not open to students who have taken MUSC 132

Kristin K. Lunz Trujillo

Wes Markofski

American sociology has a rich tradition of focusing the ethnographic eye on the American experience. We will take advantage of this tradition to encounter urban America through the ethnographic lens, expanding our social vision and investigating the nature of race, place, meaning, interaction, and inequality in the U.S. While doing so, we will also explore the unique benefits, challenges, and underlying assumptions of ethnographic research as a distinctive mode of acquiring and communicating social knowledge. As such, this course offers both an immersion in the American experience and an inquiry into the craft of ethnographic writing and research.

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

Wes Markofski

Does social difference always lead to conflict and inequality? Can we forge common ground with justice across deep differences? What forms of respect, recognition, reciprocity, and redistribution do democratic citizens owe one another? We will explore these and related questions through a roughly equal mix of democratic theory and empirical studies of race/class/gender/religion diverse grassroots democratic movements in the U.S. We will consider the demands and challenges of "different types of difference" (racial-ethnic, gender-sexuality, class-culture, citizenship, language, and religion) for fighting inequity and pursuing ethical democracy in the United States (and beyond). 

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

Not open to students who took SOAN 350

Andrew Carlson

This class is an examination of significant artists who use theatre as a tool for envisioning and enacting social change. We will study the justice-making strategies of a variety of artists, including Augusto Boal, Cherríe Moraga, Anna Deavere Smith, among many other contemporary artists whose work continues to shape American society.  We will also examine influential methods of using theatre for social change, including documentary theatre, Theatre of the Oppressed, theatre for young audiences, and theatre in prisons. The class will include a number of guest artist visits from people making work in the field. The final project will be an original theatrical creation that uses the strategies studied in class to address a contemporary social issue.  

Extra Time Required