Gender, Art, and Media Minor

Women’s and Gender Studies is the academic manifestation of feminism. This interdisciplinary course interrogates the social constructions, political systems, and historical rhetorics that have produced and maintain hegemonic power structures. In this course you will examine key feminist, queer, and critical race writings and discourses, study the rise of feminist thought, and consider the history of women’s activism and the women’s rights movements from Suffrage to the present day. The course will also consider the application of feminist theory made visible through the rise of new and intersectional social identity movements. Lecture 3 (Fall).

This course aims at introducing students to the diverse ways in which feminist and gender studies practitioners (scholars, writers, artists, and activists) have critically analyzed, challenged, and creatively reinvented predominant methods, models, and practices of knowledge production in various areas of the natural and social sciences, the medical arts, the humanities, and the visual and performing arts. Questions to be considered include: What constitutes feminist practices of inquiry? How do feminist research practices approach issues of objectivity and subjectivity? How does one formulate a feminist question? What key questions guide feminist researchers and how can we apply those questions to a variety of research topics? How do feminist practices of inquiry intersect with race, class, gender, ethnicity, nationality, sexualities, identity-formation processes, (dis)abilities, age? How do feminist research practices produce transformations, emancipation, and increased fairness of representation? Lecture 3 (Spring).

This introductory course examines a broad range of gay, lesbian, bisexual, transgender, and queer issues within the historical, psychological, racial, theological, cultural, and legal contexts in which we live. Students will learn the historical and theoretical foundations of LGBTQ+ studies as well as the contemporary implications for family, work, religion, and law for LGBTQ+ people and the mainstream society. Students will have the opportunity to compare the regulation of sexual orientation across different gender, racial, and socioeconomic communities. Lecture 3 (Fall).

This course examines the main currents in contemporary feminist thought. Feminist theory explores the nature and effects of categories of sex and gender upon our ways of living, thinking and doing, while also challenging how gendered assumptions might shape our conceptions of identity and inquiry more generally. Different conceptions of sex and gender will be discussed, and the course will investigate how these concepts affect our lives in both concrete and symbolic ways. Special attention will be paid to how gendered assumptions color our understanding of knowledge production, experiences of embodiment and emotion, public and private activities, and the nature of ethical decision making. Lecture 3 (Fall, Spring, Summer).

This course brings together two of the most significant strains of recent art historical scholarship: the study of gender in representation and the critical examination of exhibitions and museums with particular focus given to key examples of curatorial practice from the late 19th century to the present day. Through readings, possible museum visit(s), class discussions, and guided individual research, questions of gender in exhibitions will be considered in relation to other aspects of identity including sexuality, race, and class. Lecture 3 (Spring).

This course will center on the contributions made by Modernist women designers. Emphasis will be placed on their unheralded pioneering efforts. Exemplars from the field will be presented, set in a historical context. Lectures are complemented by guest speakers, videos, participatory exercises, discussion, and critical essay writing. (This course is restricted to undergraduate students in CAD with at least 2nd year standing.) Lecture 3 (Fall, Spring).

In this course we examine representations of queer sexuality in art, film and popular culture beginning in the repressive 1950s, followed by the Stonewall Riots of 1969. We situate the birth of gay liberation in the U.S. in the context of the civil rights struggles, feminism and the anti-war movement. We turn to the work of Andy Warhol that looms over the post-war period, challenged subsequently by the onset of AIDS and the work of General Idea and Act-Up, on the one hand, and the more graphically provocative work of Robert Mapplethorpe, on the other. We examine the diversification of the queer community as transgendered identity asserts itself and the opening of popular culture to issues of diverse sexual identities. We explore expressions of queer sensibility outside of North America and Europe. We turn finally to the issue of gay marriage, both in the U.S. and abroad. Lecture 3 (Spring).

The course focuses on how traditionally feminine and domestic handcrafts have been thrust into the public sphere for social activist work in a highly visual manner. Students will examine, from both intellectual and practical perspectives, large-scale examples of craft activism both within the U.S. and internationally, focusing on the connections to political movements and how craft is made politically visual. The role of craft as an organizing force, typically enacted by women and gender minorities in situations of physical and personal vulnerability, will be investigated through readings centered on the historical ties of craft to activism and social reform in the U.S. For example, students will study the role of handwork in the Suffragist and Abolitionist movements and in the American Revolution with women’s use of “homespun” cloth. Attention will also be paid to the NAMES Project AIDS Memorial Quilt in the late 20th century. Expanding beyond the U.S., the course will analyze how craft can transform into a narrative of personal or communal identity and an ethnicity-preserving tool through case studies such as those from Chile (Arpilleras), Laos (Hmong story cloths), Argentina (Mothers of the Plaza de Mayo kerchiefs), India (Khadi cloth), England (Greenwich Commons Women’s Peace Camp and quilts), and Myanmar (street crochet for Democracy). Close attention will also be paid to the role of handcraft as a rallying force in organizing efforts relating to current issues such as reproductive justice, women’s rights, racial justice, LGBTQIA+ rights, climate and environmental justice, and to how craft activist campaigns are organized and disseminated through social media. During the course, students will work at transforming a contemporary social issue they care about into the theme of their own final project to be unveiled by the end of the semester. Lecture 3 (Fall or Spring).

This course surveys Chinese cinema from its beginning to the present with special attention to its transnational connections and gender representation. Films from the mainland, Taiwan, and Hong Kong will be examined in-depth for their aesthetic quality and techniques, and equally important, against their socio-historical, political, economic, and cultural contexts. Topics include Kungfu films, women's cinema, documentation of globalization, independent filmmaking and social activism, and more. The class is conducted in English. Assigned films will be in Chinese with English subtitles. Lecture 3 (Biannual).

This course examines the role of women in the visual arts as both images makers and subject matter in order to see how gender plays a role in the conceptualization of creativity and art. Among the topics to be discussed are: the construction of femininity and gender in the patriarchy; art as an ideological practice; women, art, and society; art history, art education, and art evaluation; women artists and their contemporaries. Lecture 3 (Spring).

This course investigates visual culture and its imagistic response to life's crises. Problems of identity and identification will be explored and confronted through works of photography, painting, mixed media, new media and film of the 19th, 20th, and 21st centuries. Beginning with the late 19th Century vogue for images of hysterical women, crippled black-sheep family members and dead loved ones (as corpses and as ghosts), we then move on to consider the last century's fascination with pain and suffering, disease and violence, struggle and survival and then the 21st century's emphasis on terrorism. Specifically, we will focus on the gendering of images and imaging as disturbing pictures work to defy the formal and theoretical distinction between private and public, personal, and collective experience and manage the often conflicting responsibilities to self, family, religion, race, nation, and society. Lecture 3 (Spring).

This course explores the experience of dying a profoundly human and universal experience as it is represented by artists who are themselves facing immanent death. The unique and deeply personal process of each dying artist is crucially informed by social, cultural and historical as well as artistic contexts. The course will focus primarily on visual artists and writers living with and dying of disease - such as AIDS, cancer and cystic fibrosis as well as mortality and age. Topics such as aesthetics, artistic media, representation, grief, bereavement, illness, care-giving, aging, and the dying process will be considered within the context of issues of race, class, ethnicity, sexuality, gender and community values. Some of the artists covered will be Jo Spence, Hannah Wilke, Elias Canetti, Bob Flanagan, Herve Guibert, Tom Joslin, Laurie Lynd, Audre Lorde, Charlotte Salomon, Keith Haring, Frida Kahlo, Bas Jan Ader, Ted Rosenthal, Felix Gonzalez Torres, Keith Haring, Eric Steel, Derek Jarman, Eric Michaels, and David Wojnarowicz. We will also explore some of the critical theory of Roland Barthes, Michel Foucault, Elaine Scarry, Susan Sontag, and Ross Chambers. Lecture 3 (Spring).

This course traces the historical development of women’s activism in the art world from the 1970s to the present. We will interpret how this art activism, which artists and scholars alike have referred to as the feminist art movement, has examined how gender informs the ways art is made, viewed, conceptualized in history and theory, and exhibited in museums and visual culture, in a range of cultural contexts. We will also analyze how current artists, critics, and curators continue to build on this history, in particular how they use the concept of gender intersectionality to develop a variety of new creative practices, theories, modes of exhibition and social engagement. Lecture 3 (Fall, Spring).

This course is for students who want to practice and explore the vast and varied history, craft, and techniques of queer and transgender creative writing. Through reading and discussion, students will contextualize their own writing in a vital lineage and in the contemporary moment. We will read, analyze, reflect, generate, write, edit, and revise throughout the semester. We will create a polished body of creative works by honing those stylistic and craft techniques general to the field and specific to queer and transgender writers. Peer editors and group critiques will provide regular feedback, which will aid in the refinement of each writer’s own work and improve their capacity for supporting a creative work from germinating idea to final draft. Each class will rely extensively on the creative writing workshop model, and will survey the rich variety of genres, styles, forms, and philosophical approaches that QT literature takes. (Prerequisite: ENGL-150 or ENGL-211 or ENGL-212 or WGST-200 or WGST-205 or WGST-210 or equivalent course.) Seminar 3 (Biannual).

This variable topic course examines one or more themes, figures, movements, or issues associated with the representation of women and gender in literature and media, and/or associated with the historical, cultural, and theoretical questions provoked by women as producers and consumers of media and texts. The topic for the course is chosen by the instructor, announced in the course subtitle, and developed in the syllabus. The course can be taken multiple times provided that the topic being studied has changed. Lecture 3 (Fall, Spring).

This course brings together two of the most significant strains of recent art historical scholarship: the study of gender in representation and the critical examination of exhibitions and museums with particular focus given to key examples of curatorial practice from the late 19th century to the present day. Through readings, possible museum visit(s), class discussions, and guided individual research, questions of gender in exhibitions will be considered in relation to other aspects of identity including sexuality, race, and class. Lecture 3 (Spring).

Sociologists look to cyberspace to test theories of technology diffusion and media effects on society. This course explores the Internet’s impact on communities, political participation, cultural democracy, and diversity. How have digital technologies and electronic information flows shaped or diminished inequalities of gender, sex, and race? For instance: new electronic technologies have pushed the cultural and physical boundaries of how we have sex; with whom we have sex; and with what we have sex and/or have observed having sex, such as sex toys and avatars. The sociological implications of this new technology depend on economic, legal, and policy decisions that are shaping the Internet as it becomes institutionalized. The course analyzes such new forms of cyber-democracy with a focus on issues of gender, sex, and race. Lecture 3 (Spring, Summer).

In this course we examine representations of queer sexuality in art, film and popular culture beginning in the repressive 1950s, followed by the Stonewall Riots of 1969. We situate the birth of gay liberation in the U.S. in the context of the civil rights struggles, feminism and the anti-war movement. We turn to the work of Andy Warhol that looms over the post-war period, challenged subsequently by the onset of AIDS and the work of General Idea and Act-Up, on the one hand, and the more graphically provocative work of Robert Mapplethorpe, on the other. We examine the diversification of the queer community as transgendered identity asserts itself and the opening of popular culture to issues of diverse sexual identities. We explore expressions of queer sensibility outside of North America and Europe. We turn finally to the issue of gay marriage, both in the U.S. and abroad. Lecture 3 (Spring).

This class is a critical, theoretical, and practical examination of the constitution and performance of personal identity within popular media as it relates to identity politics in everyday life. Through lectures, readings, film, and critical writing, students will examine elements of personal identity and diversity in popular media in order to foster a deeper understanding of how identity is constructed and performed in society. Lecture 3 (Fall).

This course surveys Chinese cinema from its beginning to the present with special attention to its transnational connections and gender representation. Films from the mainland, Taiwan, and Hong Kong will be examined in-depth for their aesthetic quality and techniques, and equally important, against their socio-historical, political, economic, and cultural contexts. Topics include Kungfu films, women's cinema, documentation of globalization, independent filmmaking and social activism, and more. The class is conducted in English. Assigned films will be in Chinese with English subtitles. Lecture 3 (Biannual).

This course examines the relationship between gender and media communication with specific attention to how gender affects choices in mass media and social media practices. Students explore how gender, sexual orientation, sexuality and social roles, affect media coverage, portrayals, production and reception. They consider issues of authorship, spectatorship (audience), and the ways in which various media content (film, television, print journalism, advertising, social media) enables, facilitates, and challenges these social constructions in society. The course covers communication theories and scholarship as it applies to gender and media, methods of media analysis, and topics of current interest. Lecture 3 (Biannual).

This course investigates visual culture and its imagistic response to life's crises. Problems of identity and identification will be explored and confronted through works of photography, painting, mixed media, new media and film of the 19th, 20th, and 21st centuries. Beginning with the late 19th Century vogue for images of hysterical women, crippled black-sheep family members and dead loved ones (as corpses and as ghosts), we then move on to consider the last century's fascination with pain and suffering, disease and violence, struggle and survival and then the 21st century's emphasis on terrorism. Specifically, we will focus on the gendering of images and imaging as disturbing pictures work to defy the formal and theoretical distinction between private and public, personal, and collective experience and manage the often conflicting responsibilities to self, family, religion, race, nation, and society. Lecture 3 (Spring).

This course traces the historical development of women’s activism in the art world from the 1970s to the present. We will interpret how this art activism, which artists and scholars alike have referred to as the feminist art movement, has examined how gender informs the ways art is made, viewed, conceptualized in history and theory, and exhibited in museums and visual culture, in a range of cultural contexts. We will also analyze how current artists, critics, and curators continue to build on this history, in particular how they use the concept of gender intersectionality to develop a variety of new creative practices, theories, modes of exhibition and social engagement. Lecture 3 (Fall, Spring).

Our bodies are more than mere physical entities; they are conditioned by culture, society, and history. We will take a comparative approach to the cultural construction of bodies and the impact of ethnic, gender, and racial ideologies on body practices (i.e. surgical alteration, mutilation, beautification, surrogacy, erotica). We will critically investigate the global formation of normative discourses of the body (regarding sexuality, AIDS/illness, reproduction, fat/food) in medical science, consumer culture, and the mass media. The course features discussion, writing, and project-oriented research, encouraging students to acquire a range of analytic skills through a combination of text interpretation and research. Lecture 3 (Fall or Spring).

This course brings together two of the most significant strains of recent art historical scholarship: the study of gender in representation and the critical examination of exhibitions and museums with particular focus given to key examples of curatorial practice from the late 19th century to the present day. Through readings, possible museum visit(s), class discussions, and guided individual research, questions of gender in exhibitions will be considered in relation to other aspects of identity including sexuality, race, and class. Lecture 3 (Spring).

This course will center on the contributions made by Modernist women designers. Emphasis will be placed on their unheralded pioneering efforts. Exemplars from the field will be presented, set in a historical context. Lectures are complemented by guest speakers, videos, participatory exercises, discussion, and critical essay writing. (This course is restricted to undergraduate students in CAD with at least 2nd year standing.) Lecture 3 (Fall, Spring).

Sociologists look to cyberspace to test theories of technology diffusion and media effects on society. This course explores the Internet’s impact on communities, political participation, cultural democracy, and diversity. How have digital technologies and electronic information flows shaped or diminished inequalities of gender, sex, and race? For instance: new electronic technologies have pushed the cultural and physical boundaries of how we have sex; with whom we have sex; and with what we have sex and/or have observed having sex, such as sex toys and avatars. The sociological implications of this new technology depend on economic, legal, and policy decisions that are shaping the Internet as it becomes institutionalized. The course analyzes such new forms of cyber-democracy with a focus on issues of gender, sex, and race. Lecture 3 (Spring, Summer).

Women’s and Gender Studies is the academic manifestation of feminism. This interdisciplinary course interrogates the social constructions, political systems, and historical rhetorics that have produced and maintain hegemonic power structures. In this course you will examine key feminist, queer, and critical race writings and discourses, study the rise of feminist thought, and consider the history of women’s activism and the women’s rights movements from Suffrage to the present day. The course will also consider the application of feminist theory made visible through the rise of new and intersectional social identity movements. Lecture 3 (Fall).

This course aims at introducing students to the diverse ways in which feminist and gender studies practitioners (scholars, writers, artists, and activists) have critically analyzed, challenged, and creatively reinvented predominant methods, models, and practices of knowledge production in various areas of the natural and social sciences, the medical arts, the humanities, and the visual and performing arts. Questions to be considered include: What constitutes feminist practices of inquiry? How do feminist research practices approach issues of objectivity and subjectivity? How does one formulate a feminist question? What key questions guide feminist researchers and how can we apply those questions to a variety of research topics? How do feminist practices of inquiry intersect with race, class, gender, ethnicity, nationality, sexualities, identity-formation processes, (dis)abilities, age? How do feminist research practices produce transformations, emancipation, and increased fairness of representation? Lecture 3 (Spring).

In this course we examine representations of queer sexuality in art, film and popular culture beginning in the repressive 1950s, followed by the Stonewall Riots of 1969. We situate the birth of gay liberation in the U.S. in the context of the civil rights struggles, feminism and the anti-war movement. We turn to the work of Andy Warhol that looms over the post-war period, challenged subsequently by the onset of AIDS and the work of General Idea and Act-Up, on the one hand, and the more graphically provocative work of Robert Mapplethorpe, on the other. We examine the diversification of the queer community as transgendered identity asserts itself and the opening of popular culture to issues of diverse sexual identities. We explore expressions of queer sensibility outside of North America and Europe. We turn finally to the issue of gay marriage, both in the U.S. and abroad. Lecture 3 (Spring).

This introductory course examines a broad range of gay, lesbian, bisexual, transgender, and queer issues within the historical, psychological, racial, theological, cultural, and legal contexts in which we live. Students will learn the historical and theoretical foundations of LGBTQ+ studies as well as the contemporary implications for family, work, religion, and law for LGBTQ+ people and the mainstream society. Students will have the opportunity to compare the regulation of sexual orientation across different gender, racial, and socioeconomic communities. Lecture 3 (Fall).

The course focuses on how traditionally feminine and domestic handcrafts have been thrust into the public sphere for social activist work in a highly visual manner. Students will examine, from both intellectual and practical perspectives, large-scale examples of craft activism both within the U.S. and internationally, focusing on the connections to political movements and how craft is made politically visual. The role of craft as an organizing force, typically enacted by women and gender minorities in situations of physical and personal vulnerability, will be investigated through readings centered on the historical ties of craft to activism and social reform in the U.S. For example, students will study the role of handwork in the Suffragist and Abolitionist movements and in the American Revolution with women’s use of “homespun” cloth. Attention will also be paid to the NAMES Project AIDS Memorial Quilt in the late 20th century. Expanding beyond the U.S., the course will analyze how craft can transform into a narrative of personal or communal identity and an ethnicity-preserving tool through case studies such as those from Chile (Arpilleras), Laos (Hmong story cloths), Argentina (Mothers of the Plaza de Mayo kerchiefs), India (Khadi cloth), England (Greenwich Commons Women’s Peace Camp and quilts), and Myanmar (street crochet for Democracy). Close attention will also be paid to the role of handcraft as a rallying force in organizing efforts relating to current issues such as reproductive justice, women’s rights, racial justice, LGBTQIA+ rights, climate and environmental justice, and to how craft activist campaigns are organized and disseminated through social media. During the course, students will work at transforming a contemporary social issue they care about into the theme of their own final project to be unveiled by the end of the semester. Lecture 3 (Fall or Spring).

This course examines the main currents in contemporary feminist thought. Feminist theory explores the nature and effects of categories of sex and gender upon our ways of living, thinking and doing, while also challenging how gendered assumptions might shape our conceptions of identity and inquiry more generally. Different conceptions of sex and gender will be discussed, and the course will investigate how these concepts affect our lives in both concrete and symbolic ways. Special attention will be paid to how gendered assumptions color our understanding of knowledge production, experiences of embodiment and emotion, public and private activities, and the nature of ethical decision making. Lecture 3 (Fall, Spring, Summer).

Love is indeed one of the most central concerns in everyone’s life; yet, we spend very little time thinking conceptually about love in its various forms, aspects, implications, nuances, benefits, detriments, and harms. In this course, we will examine views from classical, medieval, modern, and contemporary thinkers on various kinds of love, including some controversial versions of it; we will consider the relation of love in its various forms to desire, emotions, physical intimacy, seduction, sex, sexuality, sexual orientation, and the construction of personal identity; and we will analyze how the various forms of love affect and are affected by gender norms, roles, and images. Lecture 3 .

This class is a critical, theoretical, and practical examination of the constitution and performance of personal identity within popular media as it relates to identity politics in everyday life. Through lectures, readings, film, and critical writing, students will examine elements of personal identity and diversity in popular media in order to foster a deeper understanding of how identity is constructed and performed in society. Lecture 3 (Fall).

This course introduces students to the study of gender and sexuality in cultural production from the Hispanic world. Students will read, view, and discuss diverse works from a variety of historical periods and geographical regions that deal with gender identity, sexuality, and interrelated social movements. This course refines students' skills through discussions, presentations, and writing exercises on readings, lectures, and film screenings. Students will also develop research skills as they complete a project on a topic chosen in consultation with the instructor. The critical approach that will inform this course is feminist thought. Lecture 3 (Fall).

This course surveys Chinese cinema from its beginning to the present with special attention to its transnational connections and gender representation. Films from the mainland, Taiwan, and Hong Kong will be examined in-depth for their aesthetic quality and techniques, and equally important, against their socio-historical, political, economic, and cultural contexts. Topics include Kungfu films, women's cinema, documentation of globalization, independent filmmaking and social activism, and more. The class is conducted in English. Assigned films will be in Chinese with English subtitles. Lecture 3 (Biannual).

This course examines the relationship between gender and media communication with specific attention to how gender affects choices in mass media and social media practices. Students explore how gender, sexual orientation, sexuality and social roles, affect media coverage, portrayals, production and reception. They consider issues of authorship, spectatorship (audience), and the ways in which various media content (film, television, print journalism, advertising, social media) enables, facilitates, and challenges these social constructions in society. The course covers communication theories and scholarship as it applies to gender and media, methods of media analysis, and topics of current interest. Lecture 3 (Biannual).

This course examines the role of women in the visual arts as both images makers and subject matter in order to see how gender plays a role in the conceptualization of creativity and art. Among the topics to be discussed are: the construction of femininity and gender in the patriarchy; art as an ideological practice; women, art, and society; art history, art education, and art evaluation; women artists and their contemporaries. Lecture 3 (Spring).

This course investigates visual culture and its imagistic response to life's crises. Problems of identity and identification will be explored and confronted through works of photography, painting, mixed media, new media and film of the 19th, 20th, and 21st centuries. Beginning with the late 19th Century vogue for images of hysterical women, crippled black-sheep family members and dead loved ones (as corpses and as ghosts), we then move on to consider the last century's fascination with pain and suffering, disease and violence, struggle and survival and then the 21st century's emphasis on terrorism. Specifically, we will focus on the gendering of images and imaging as disturbing pictures work to defy the formal and theoretical distinction between private and public, personal, and collective experience and manage the often conflicting responsibilities to self, family, religion, race, nation, and society. Lecture 3 (Spring).

This course explores the experience of dying a profoundly human and universal experience as it is represented by artists who are themselves facing immanent death. The unique and deeply personal process of each dying artist is crucially informed by social, cultural and historical as well as artistic contexts. The course will focus primarily on visual artists and writers living with and dying of disease - such as AIDS, cancer and cystic fibrosis as well as mortality and age. Topics such as aesthetics, artistic media, representation, grief, bereavement, illness, care-giving, aging, and the dying process will be considered within the context of issues of race, class, ethnicity, sexuality, gender and community values. Some of the artists covered will be Jo Spence, Hannah Wilke, Elias Canetti, Bob Flanagan, Herve Guibert, Tom Joslin, Laurie Lynd, Audre Lorde, Charlotte Salomon, Keith Haring, Frida Kahlo, Bas Jan Ader, Ted Rosenthal, Felix Gonzalez Torres, Keith Haring, Eric Steel, Derek Jarman, Eric Michaels, and David Wojnarowicz. We will also explore some of the critical theory of Roland Barthes, Michel Foucault, Elaine Scarry, Susan Sontag, and Ross Chambers. Lecture 3 (Spring).

This course traces the historical development of women’s activism in the art world from the 1970s to the present. We will interpret how this art activism, which artists and scholars alike have referred to as the feminist art movement, has examined how gender informs the ways art is made, viewed, conceptualized in history and theory, and exhibited in museums and visual culture, in a range of cultural contexts. We will also analyze how current artists, critics, and curators continue to build on this history, in particular how they use the concept of gender intersectionality to develop a variety of new creative practices, theories, modes of exhibition and social engagement. Lecture 3 (Fall, Spring).

This course is for students who want to practice and explore the vast and varied history, craft, and techniques of queer and transgender creative writing. Through reading and discussion, students will contextualize their own writing in a vital lineage and in the contemporary moment. We will read, analyze, reflect, generate, write, edit, and revise throughout the semester. We will create a polished body of creative works by honing those stylistic and craft techniques general to the field and specific to queer and transgender writers. Peer editors and group critiques will provide regular feedback, which will aid in the refinement of each writer’s own work and improve their capacity for supporting a creative work from germinating idea to final draft. Each class will rely extensively on the creative writing workshop model, and will survey the rich variety of genres, styles, forms, and philosophical approaches that QT literature takes. (Prerequisite: ENGL-150 or ENGL-211 or ENGL-212 or WGST-200 or WGST-205 or WGST-210 or equivalent course.) Seminar 3 (Biannual).

This small-group, discussion-oriented, intensive-writing seminar examines some area of Women’s, Gender, and Sexuality Studies (chosen by the instructor, announced in the course subtitle, and developed in the syllabus). The seminar is based on collaborative learning, discussions, and various forms of formal and informal writing understood as an integral part of the critical exploration of WGSS-related topics. (Prerequisites: Must have completed at least 2 WGST courses (core or co-listed) or equivalent courses.) Seminar 3 (Spring).

This variable topic course examines one or more themes, figures, movements, or issues associated with the representation of women and gender in literature and media, and/or associated with the historical, cultural, and theoretical questions provoked by women as producers and consumers of media and texts. The topic for the course is chosen by the instructor, announced in the course subtitle, and developed in the syllabus. The course can be taken multiple times provided that the topic being studied has changed. Lecture 3 (Fall, Spring).