Lesbian, Gay, Bisexual, and Transgender Studies

This introductory queer and feminist studies course will center the intellectual work of theorists within the traditions known as Black feminist theory and queer of color critique. The course will read scholarship by Gloria Anzaldúa, Joshua Chambers-Letson, Barbara Christian, Cathy J. Cohen, the Combahee River Collective, Roderick Ferguson, Alexis Pauline Gumbs, Saidiya Hartman, E. Johnson Patrick, Audre Lorde, Cherríe Moraga, José Esteban Muñoz, Jennifer C. Nash, C. Riley Snorton, Hortense Spillers, and Patricia Williams. The course will also explore documentary films by Marlon Riggs, fiction by Toni Morrison, creative nonfiction and poetry by Claudia Rankine, and the films Moonlight (directed by Barry Jenkins) and The Watermelon Woman (directed by Cheryl Dunye). Conference projects will emerge from archival research at the Sarah Lawrence College Archives. Students will meet every two weeks at the Sarah Lawrence College Library in one of four conference groups organized around overarching topics of concern and debate from the class, including: 1) critical fabulation, 2) institutionality and the academy, 3) violence, resistance, and care, and 4) emotion. Major writing assignments will include four brief “archival dispatches,” where students will report on their research findings to describe their intellectual, political, and emotional investments in the archives. For the course’s final assignment, students will develop an individual project proposal that envisions a future intellectual, activist, or artistic response to the archives.

Contradictory assumptions about the relation of homosexuals to groups have dominated accounts of modern LGBT life. In Western Europe and the United States, from the late 19th century onward, queers have been presented as profoundly isolated persons—burdened by the conviction that they are the only ones ever to have had such feelings when they first realize their deviant desires and immediately separated by those desires from the families and cultures into which they were born. Yet, at the same time, these isolated individuals have been seen as inseparable from one another, part of a worldwide network always able to recognize their peers by means of mysterious signs decipherable only by other group members. Homosexuals were denounced as persons who did not contribute to society. Homosexuality was presented as the hedonistic choice of reckless, self-indulgent individualism over sober social good. Nevertheless, all homosexuals were implicated in a nefarious conspiracy, stealthily working through their web of connections to one another in order to take over the world or the political establishment of the United States; for example, its art world, theatre, or film industries. Such contradictions could still be seen in the battles that have raged since the 1970s, when queers began seeking public recognition of their lives within existing social institutions from the military to marriage. LGBT persons were routinely attacked as threats (whether to unit cohesion or the family) intent on destroying the groups they were working to openly join. In this class, we will use these contradictions as a framework for studying the complex social roles that queers have occupied alongside some of the complex social worlds that they have created—at different times and places and shaped by different understandings of gender, race, class, ethnicity, and nationality—within the United States over the past century and a half. Sources will include histories, sociological and anthropological studies, the writings of political activists, fiction, and film. 

This course will address the medical, psychiatric, and psychoanalytic histories of trans, queer, and intersex experience in their convergence with the politics of madness and disability. Beginning with psychoanalytic and sexological accounts of homosexuality and sexual inversion in Western Europe in the 19th century, the course will go on to study the medicalization of trans and intersex childhood in the United States and Europe, alongside psychiatric and criminological approaches to queer and trans desire. We will consider how psychiatry and medicine—and resistance to them—informed the shifting tactics of queer and trans politics in the 20th century, from 1950s gay organizing to 1980s AIDS activism and 1990s pickets of the American Psychological Association by the transgender-rights activist group, the Transsexual Menace. The course will also look at intersections of queer, trans, and disabled-led organizing and discourses. The 1970s, for example, were marked by lesbian feminist antipsychiatry activism, as well as a decisive coalition among gay liberation, Black Power, and the nascent disability power movement that yielded the historic 504 sit-ins and which eventually contributed to the passage of the Americans with Disabilities Act. The course will situate these alliances within histories of deinstitutionalization and mass incarceration in the United States, as well as attempt to develop radical psychoanalytic and psychiatric alternatives to hospitalization in Latin America, Europe, and North America.

“On or about December 1910,” Virginia Woolf observed, “human character changed.... All human relations shifted—those between masters and servants, husbands and wives, parents and children. And when human relations change, there is at the same time a change in religion, conduct, politics, and literature.” In her novels, essays, reviews, biographies, and polemics, as well as in her diaries, letters, and memoirs, Woolf charted and fostered the cultural and political forces behind those changes as they developed across the century. Over the course of that century, Woolf’s image also changed from that of the “invalid lady of Bloomsbury,” a modern, a madwoman, and, perhaps, a genius to that of a monster, a feminist, a socialist, a lesbian, and an icon. While focusing on the development of her writing, we will also consider her life and its interpretation, her politics and their implications, and the use of her art and image by others as points of reference for new work of their own. Her family, friends, lovers, and critics will all appear. We will also be reading her precursors, her peers, and those who—in fiction, theatre, and film—took up her work and image in the decades after her death. This course will serve as an introduction to 20th-century fiction, feminist literary study, lesbian/gay/queer studies, the study of sexuality, and the study of politics in literature. Conference projects might focus on one other writer, a range of other writers, one of these approaches to literary analysis, or another aspect of feminist or LGBT studies.

The television show Hoarders: Buried Alive...artist Andy Warhol’s junk collection, consisting of receipts, junk mail, and takeout menus...professional organizer Marie Kondo and her minimalist ideals...big-screen televisions, fast fashion, and floating islands of plastic trash contrasted with the promises of decluttering, downsizing, and shrinking homes. From fantastic depictions of people overwhelmed with their accumulation of things to popular self-help books that promise freedom and joy in the form of a clean home, this course will be concerned with the judgments we make about people and their relationship to their stuff. This course will begin to unpack “abject object orientations” by investigating figures like the archivist, the hoarder, the minimalist, and the collector. The course will ask how race, gender, sexuality, and class shape our judgments of people and their relationship to things. By looking to depictions of whom Scott Herring calls “material deviants” across performance art, film, and memoir, we will describe the cultural logics through which speaking of a person’s orientation toward objects becomes a way of making ethical claims about them. For major assignments, students will develop three total live performances, including two archival “show and tells,” and a final autoethnographic performance unpacking students’ own relationship to things. Archival “show and tells” will center an object from trips to the Sarah Lawrence Archives and can be either solo or group performances. Potential field-trip sites may include the Hudson River Museum, local thrift and resale stores, and the Yonkers Public Library Local History Room. No previous performance experience is required.

When we encounter dancing, what are we seeing, experiencing, and understanding? How do current representations of dance reflect, perpetuate, and/or disrupt familiar assumptions about personal and social realities? Embedded historical ideas 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 and feelings. Can they also propose or inspire alternatives? In fall, we will view samples of dancing in film, video, digital media, television programs, and commercials, as well as live performance. These viewings—along with reading 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. In spring, we will shift focus to viewing still images and live action with readings from additional fields, including art criticism and neuroscience, as well as fine-tuning approaches to writing about our subject matter. Students will complete several class assignments each semester, as well as develop one or more substantial lines of inquiry for conference work. Conference projects may draw upon multiple disciplines, including those within humanities and creative arts. The central aim of this course will be to cultivate informed discussion and to produce new knowledge, increasing both individual and collective capabilities. We will use academic research, along with personal experience, to advance our recognition of dance as an elemental art form and as a potentially important orientation in adjacent studies. In both fall and spring, students will meet weekly with the instructor for individual conferences.

What factors determine the status of women in different societies and communities? What role is played by women’s labor, both inside and outside of the home? By cultural norms regarding sexuality and reproduction? By religious traditions? After a brief theoretical grounding, this course will address these questions by examining the economic, political, social, and cultural histories of women in the various racial/ethnic and class groupings that make up the United States. Topics to be explored include: the role of women in the Iroquois Confederation before white colonization and the factors that gave Iroquois women significant political and social power in their communities; the status of white colonist women in Puritan Massachusetts and the economic, religious, and other factors that led to the Salem witch trials of 1692; the position of African American women under slavery, including the gendered and racialized divisions of labor and reproduction; the growth of competitive capitalism in the North and the development of the “cult of true womanhood” in the rising middle class; the economic and political changes that accompanied the Civil War and Reconstruction and the complex relationships between African American and white women in the abolitionist and women’s rights movements; the creation of a landless agricultural labor force and the attempts to assimilate Chicana women into the dominant culture via “Americanization” programs; the conditions that encouraged Asian women’s immigration and their economic and social positions upon immigrating; the American labor movement and the complicated role organized labor has played in the lives of women of various racial/ethnic groups and classes; the impact of US colonial policies on Puerto Rican migration and Puerto Rican women’s economic and political status on both the Island and the mainland; the economic/political convulsions of the 20th century—from the trusts of the early 1900s to World War II—and their impact on diverse women’s paid and unpaid labor; the impact of changes in gendered economic roles on LGBT communities; the economic and political upheavals of the 1960s that led to the so-called “second wave” of the women’s movement; and the current position of women in the US economy and polity and the possibilities for more inclusive public policies concerning gender and family issues. In addition to class participation and the conference project, requirements for the course will include regular essays that synthesize class materials with written texts. Possibilities for conference work include traditional conference papers, group conference papers, “dialogue” papers, and on- or off-campus service projects.

This course will take an industrial approach to the study of global film and film history, highlighting box-office hits, fans, stars, workers, and dream factories from multiple (trans)national contexts. Foregrounding questions of labor, technology, circulation, and genre, we will examine popular cinema as an industrial film form with a particular emphasis on melodrama, comedy, and the musical. This seminar is framed by some of film history’s most persistent questions: What is “popular” culture? What is a “mass” medium? Is cinema a universal language? Can art be separated from commerce? Proceeding chronologically from the 1920s through the present, we will first explore “classical Hollywood cinema” as an exportable style and mass reproducible system. Next, we will follow the rise of other “-ollywoods” around the world, contextualizing and comparing several major film industries and their popular cinemas. Ranging from Western Europe to the Soviet Union and the Global South, topics will include the studio lot as dream site, urban film cultures, vernacular modernism, colonial film production and cultural imperialism, cine-workers as global workers, divisions of voice labor in Hollywood vs. Bollywood, the transnational feminization of film handiwork, and the relationship between new film industries and new media from polyglot talkies to Nollywood video-films.

What happened to women in the silent-film industry? How did typewriters invert the gender of writing? Can patriarchal aesthetic regimes be dismantled through “feminine” filmmaking? Should dead stars and inventors be revived as feminist icons? How do we excavate invisible women’s histories? This course offers an overview of the main questions and methods of feminist film and media history. Readings will cover a wide range of feminist film and media scholarship, from psychoanalytic feminist film theory to cyberfeminism and feminist media archaeology. The focus will be primarily on European and US film and media, but conference projects may exceed these bounds. In fall, we will study film history through the lens of female- and feminist-identifying filmmakers, workers, critics, and historians. Weekly screenings will highlight a mix of obscure and canonical narrative, experimental, and documentary films from the silent era to the end of the 20th century. In spring, we will zoom out from film to explore the relatively new field of feminist media studies. Starting in the Enlightenment, we will trace an alternative cultural history of modern gendered media, media machines, and media workers, using formative feminist conceptual frameworks to study spindles, novels, “female thermometers,” fictional androids, telegraphic romances, and computers. In place of a weekly screening, students will examine primary sources across multiple media through a mix of reading, viewing, and listening assignments.

“History is not merely something to read,” James Baldwin wrote in August 1965. “And it does not refer merely, or even principally, to the past. On the contrary, the great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all we do.” This course will be focused not only on history—what we consciously and unconsciously carry within us—but on the acquisition of skills that will help you both as a college student and in life. Using the voices of the actors themselves, we will study the political and cultural work of Americans in order to read better, think better, write better, and articulate our ideas more effectively and persuasively. Rather than a representative survey of cultural history (which is, in this wonderfully diverse country, impossible), this course will take up the popular and the obscure, looking into the corners of American life for ideas, thoughts, and experiences of all kinds. Our focus will be on the themes of gender, race, and class but will ponder sexuality, region, religion, immigration, and migration, among other themes; it will be based on a spine of political history. The expectation is that students will come with some knowledge and will be attentive to what they do not know and will go find out about it! Class will revolve around close readings of stories, cultural criticism, speeches, novels, and memoirs—mostly, but not exclusively, published—where authors work to change the minds of their readers. Those primary sources will be buttressed by articles and chapters from history textbooks. It will be challenging! This course will ask you to read more substantial work, more carefully, than perhaps you have before. We will discuss this work in seminar in both small groups and large; and at the end of each semester, there will be an oral exhibition pulling together the themes of the course in a meaningful way. This intellectual practice will ready you for your college career to come. In fall, we will cover the late 18th century to the late 19th century; in spring, we will move from the turn into the 20th century to near its end. Texts will include short stories, poetry, memoirs, letters, and (in spring) film. Fall examples include Thomas Paine’s Common Sense; the seduction novel Charlotte Temple by Suzanna Rowson; poetry by Phillis Wheatley; an unpublished novel on gender fluidity, titled The Hermaphrodite, by Julia Ward Howe; short stories by Herman Melville; Hospital Sketches by Louisa May Alcott; and Ragged Dick by Horatio Alger. The spring book list will reflect the interests of the students. Writing will be ample and consistent—thought pieces along with short essays—with regular feedback so that you grow as both a reader and a writer. The subject of conference work can range widely within US cultural and political history: in fall, up to 1890; in spring, all the way to the present. Along the way, we will try to make sense of the way we carry history, the way that it is present in all that we do. In fall until mid-semester, students will meet weekly with the instructor for individual conferences; thereafter through spring, individual conferences may be weekly or biweekly.

A friend put her arms around Edna Pontellier, feeling her shoulder blades, in Kate Chopin’s 1899 novel, The Awakening. Why? To see if her wings were strong. “The bird that would soar above the level plain of tradition and prejudice must have strong wings,” she told Edna. “It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth.” In this course, we will read the work of US women writers who soar “above the level plain of tradition and prejudice” and study women artists, workers, and activists of all kinds over two centuries. Historians will help us understand the worlds in which these women lived and, hence, the strength they must have used to offer their voices. We will focus on women both inside and outside the worlds of privilege in which Edna lived. In fall, the focus will include the life of Martha Ballard, a Maine midwife; the poetry of Phillis Wheatley, an early African American poet; the cultural criticism of abolitionist activists like Harriet Jacobs and Lydia Maria Child; the essays of early critics of gender convention like Judith Sargent Murray, Sarah Grimke, and Margaret Fuller; and resistance among women workers and the women who wrote about their “mighty hunger and thwarted dreams.” We will also read Julia Ward Howe’s unfinished mid-century novel, The Hermaphrodite, in which she explores the constraints of the gender binary, and consider the lives and resistance of Native American women. In spring, we will look at the work and life of recent immigrants like Jewish American Anzia Yezierska, Harlem Renaissance writers like Nella Larsen, struggling white Midwestern radicals like Meridel Le Sueur, early environmentalist activists like Josephine Johnson, closeted radical women in lesbian pulps like that of Patricia Highsmith, early Civil Rights activists like Ann Petry, and powerful cultural critics like Toni Morrison and Sandra Cisneros, among others. We will analyze political cartoons and manifestas from the women’s liberation movement and watch a few notable films directed by women. Taught mainly through primary sources, this course will bracket those novels and stories with scholarship to provide a sense of historical context. Themes will include race, class, ethnicity, immigration and migration, sexuality, and, of course, gender. This is not a classic survey but, rather, readings in the cultural history of the nation framed with political and social history. Assessments will be oral as well as written, with an emphasis on developing analytic and historical arguments. There will be opportunities to explore individuals and groups, based on student interest, through historical research.

History is replete with rabid pogroms, merciless religious wars, tragic show trials, and even genocide. For as long as people have congregated, they have defined themselves, in part, as against an other—and have persecuted that other. But history has also yielded systems of constraints. So, how can we hope to achieve a meaningful understanding of the human experience without examining both the wrongs and the rights? Should the human story be left to so-called realists, who claim that power wins out over ideals every time? Or is there a logic of mutual respect that offers better solutions? This lecture will examine the history of international human rights and focus on the claims that individuals and groups make against states in which they live. 

This course will read Romanticism as a precursor to our own era of postmodernism. The starting point will be the French Deconstructionist reading of Friedrich Schlegel and his short-lived journal, Athenaeum (1798-1800). As Maurice Blanchot argues, among the many contradictions “out of which romanticism unfolds—contradictions that contribute to making literature no longer a response but a question,” perhaps most significant is that “romantic art, which concentrates creative truth in the freedom of the subject, also formulates the ambition of a total book, a sort of perpetually growing Bible that will not represent but, rather, replace the real.” We will take Blanchot’s insight as our guide in reading an otherwise disparate collection of texts ranging across Romantic time and space. From Germany, besides Schlegel’s aphorisms, we will read Hoffmann’s The Sandman (1816) and The Golden Pot (1814); from Great Britain, Scott’s The Heart of Midlothian (1818), Byron’s Don Juan (1819), and Shelley’s Frankenstein (1818); from Poland, Potocki’s The Manuscript Found in Saragossa (1814); from Russia, Pushkin’s The Captain’s Daughter (1836) and Eugene Onegin (1833), Lermontov’s A Hero of Our Time (1841), and Gogol’s Dead Souls (1842); and from the United States, Hawthorne’s The Scarlet Letter (1850) and Melville’s Moby Dick (1851). Along the way, we will periodically depart from the 19th century to emphasize the ways that Romanticism underpins what we take to be our own postmodernist thought. As a response to Don Juan, we will read Tom Stoppard’s 1993 play, Arcadia. Together with Frankenstein, we will read Jeanette Winterson’s 2019 novel, Frankissstein: A Love Story; and will end on a ship-faring note, as we juxtapose Moby Dick with Maggie Nelson’s gender- and genre-bending The Argonauts (2015).

What is in a feeling, and what does it do? This course will explore how medieval writers understood the emotions—what they called the passions—as forces that move the soul, affect the mind, transform the body, and raise pressing questions about free will and moral responsibility. Because the passions operate at the threshold of the soul and body, virtually every domain of medieval thought had something to say about them—from poetry and medicine to philosophy and contemplative devotion. For instance, physicians like Peter of Spain diagnosed lovesickness and melancholia as genuine medical conditions. Philosophers like Aquinas compiled catalogues of the passions—from joy and sorrow to fear and courage to despair and hope—and offered phenomenological descriptions of how the passions arise through both embodied sensation and ensouled experience. Occitan troubadours like Arnaut Daniel and Italian lyric poets like Cavalcanti and Dante could write of love as the bondage of mind and will or the source of ethical nobility and spiritual freedom. (Dante did both.) Mystics like Walter Hilton and Julian of Norwich explored how emotional awareness could be refined into subtler modes of spiritual attention and how, at the same time, the inmost experience of divine love could be expressed as ecstatic, passionate feeling. In addition to the themes and writers above, this course will examine how the passions open onto questions of habitus and disposition—how repeated action shapes how we feel and how the way we repeatedly feel shapes our action. We will also consider how emotion is at the center of vice and virtue—how the quality of our feeling determines the quality of our inner life and our life with others. With the help of contemporary scholarship, we will approach the medieval passions with historical and phenomenological methods of analysis. Through these lenses, we will see how the passions in the Middle Ages serve as a unique site for comparative intellectual history, spanning disciplines and bridging ancient, medieval, and modern traditions. At the same time, studying the medieval passions offers something more personal: the chance to recover forms of feeling and attention from the past that might expand the borders of our own in the present.

This interdisciplinary course will examine queer/trans artistic and activist practices in global digital cultures. We will explore how queerness and transness are performed and constructed in digital media across different cultures and regions. How do queer and trans folx create an alternative space in order to survive and thrive in the hostile world? How do queer and trans DIY cultures shape the critical study of digital media today? Topics will include queer/trans politics of representation, the discourses of visibility and violence, the role of social media in trans and queer activism, and the digital culture’s relationship to trans and queer identity and knowledge production. Through critical analysis and hands-on projects, students will gain a deeper understanding of queer and transgender issues in the global media culture, reimagining their own individual and collective pasts, presents, and future possibilities.

Western philosophy originated in Ancient Greece more than 2,500 years ago, addressing fundamental questions about being and time, about the human condition, and about ethics and politics, science and religion. Despite the universal nature of these questions, for most of these 2,500 years philosophy was practiced (at least publicly) mostly by men. It was not until the 20th century that this convention began to be significantly challenged, both practically (by the fact that more and more women entered the forefront of philosophical work) and theoretically (by questioning the historical contents of this male-dominant tradition). This yearlong course will be a survey of continental philosophy in the 20th and 21st centuries that, countering the aforementioned tradition, focuses exclusively on the work of women in philosophy. Among the authors we may read are Sarah Ahmed, Hannah Arendt, Simone de Beauvoir, Karen Barad, Talia Bettcher, Judith Butler, Donna Haraway, bell hooks, Luce Irigaray, Melany Klein, Julia Kristeva, Audre Lorde, Maria Lugones, Simone Weil, Sylvia Wynter, and Virginia Woolf. Some of these philosophers are feminist or consider sexual difference as philosophically pertinent, and some are not. One way or another, surveying their thought will be our means for acquiring a comprehensive view of key developments in continental philosophy in the last and present centuries, including phenomenology, existentialism, psychoanalysis, critical theory, structuralism and poststructuralism, feminism, Black feminism, decolonial, and queer theories. This is a reading- and writing-intensive course (readings will not normally exceed 30 pages per week, but philosophical texts can be extraordinarily demanding). Students will be evaluated based on weekly reading assignments, participation in group work and group discussions during class, and timely submission of three short papers each semester, as well as demonstrable investment in conference work throughout the year. Biweekly in fall, students will alternate between individual conferences with the instructor and group conferences that may include academic skill development such as time management and effective communication, as well as research, reading, writing, and editing. Biweekly in spring, students will meet with the instructor for individual conferences.

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. We will also highlight research, methods, and applied issues. This class is appropriate for those interested in a variety of health careers or for anyone interested in city life. The community-partnership/service-learning component is an important part of this class; for one morning or afternoon per week, students will work in local community agencies to promote health-adaptive, person/environment interactions within our community. Biweekly in fall, students will alternate between individual conferences with the instructor and group conferences that will include discussion of the nature of academic work and research, reading, writing, and editing skills. Biweekly in spring, students will meet with the instructor for individual conferences.

When is sex not a natural act? Every time a human engages in sexual activity. In sex, what is done by whom, with whom, where, when, why, and with what has very little to do with biology. Human sexuality poses a significant challenge in theory. The study of its disparate elements (biological, social, and individual/psychological) is inherently an interdisciplinary undertaking; from anthropologists to zoologists, all angles of study add something to our understanding of sexual behaviors and meanings. From an intersectional perspective, in this course, we will study sexualities in social contexts across the lifespan, from infancy to old age. Race, ethnicity, gender, and social class, among other identities, impact sexuality both individually and structurally. Within each period, we will examine biological, social, and psychological factors that inform the experience of sexuality for individuals. We will also examine broader aspects of sexuality, including sexual health and sexual abuse. Conference projects may range from empirical research to a bibliographic research project.

What role does speculation play in subverting the past, rethinking the present, and building different futures within the Americas? The field of speculative fiction uses multiple forms of arts and media to craft fictional imaginaries that have become a vehicle to narrate historical horror by studying Merla-Watson and Olguín and to criticize versions of modernity imposed across the Americas by studying Colanzi. While these speculative imaginaries use the codes of fiction—such as space-time travel, horror, robots, alternative realities, zombies, and genetics—they also expand upon them to address struggles of the Americas’ history of colonialism, dispossession, and mestizaje. In this advanced seminar, we will engage in a cross-cultural trajectory of contemporary speculative fiction in multiple forms, such as literature, comics, film, and performance within the US-Mexico border, the Caribbean, and the Southern Cone. Topics studied may range from Anzaldúa’s Borderlands to her theory on Queer Futurities and from critical race theory to movies such as La Llorona, Juan de los muertos, and Sleep Dealer. This trajectory will also range from mainstream franchises, such as Marvel and Star Wars, to superheroes depiction in El Alto and Tierra del Fuego. We will focus on transdisciplinary works by Rita Indiana and Luis Carlos Barragán and artwork by Marion Matínez, Amalia Ortiz, and Edgar Clement. We will also reflect on Futurisms made by mestizos, Indigenous, and Afro-Caribbeans while assessing the scopes of climate change and environmental crisis within these communities. Throughout this course and biweekly conference meetings, students will develop communication skills in Spanish and critical-thinking abilities. Students will further advance their research skills through a semester-long multimedia project that enhances multiliteracy and public humanities competencies. The course also contemplates one field research trip to relevant local museum exhibits and artist conventions, such as the Center for Fiction, Feria Internacional del Libro de la Ciudad de Nueva York, and Museum of the Moving Image. Sources will be in Spanish, English, and Spanglish, while class discussions and assignments will be conducted entirely in Spanish.

Over the last 50 years, ecofeminist artists have used means such as photography, performance, and community engagement as a way to approach ecological crises, using the body as a site of resistance, kinship, and violence. Methods such as deep listening, endurance performance, slow cinema, foraging and gathering, cartography, and communal urban gardens are just a few of the approaches of ecofeminist artists. These artworks address ecological issues of sustainability, extraction, and marginalization that impress both upon vulnerable bodies and the nonhuman world. Many of these works fall within an economy of care, which we will examine as gendered and racialized work. This course is an art class, with an emphasis on reading and discussion. This course will research and discuss artists whose work combines feminist and ecological themes. We will look, listen, and read seminal works of artists, with a focus on primary sources such as artist and theorist writings, artwork, and interviews—and with a goal in mind to synthesize and respond to this subject in our own works. Each week will introduce a new topic or category of ecofeminist methodology. Each week will include a discussion board and a thematic exercise. The course will culminate in a final project.

In this generative creative-writing course, we will study the way child narrators and child protagonists are made real on the page through a close reading of authors such as Jesmyn Ward, Jeanette Winterson, Joy Williams, Ha Jin, Mariana Enríquez, Sandra Cisneros, Truman Capote, and others. Through experimentation and play, we will write short fiction pieces featuring different child narrators and protagonists. Intended output will consist of a portfolio of exercises, including at least one completed story. This course is suitable for students curious about creative writing and fiction but who do not know where to begin, as well as for committed creative writers looking for a lab to try something new and outside the box of a traditional workshop. 

This course will use the family, broadly defined, as the prism through which we analyze and write memoir. Open to writers and non-writers alike, students will learn the craft and tools to write their own 15-page memoir narrative.