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Interdisciplinary Programs and Courses

Community-Based Learning

Advisors — CORIELL, HYDE, STANEC

Community-Based Learning (CBL) is experiential education that promotes student learning in community contexts, by focusing on community concerns. It goes beyond treating the community as a mere lab by building reciprocity — be this immediate or deferred — and prioritizing participants’ mutual reflection. Courses with a CBL notation include the intention of equipping students with the skills, knowledge and experience to exercise influence toward social, cultural, environmental or civic outcomes that benefit the common good. Please contact the faculty member listed to learn more about the CBL component of the course.

AN306 Primatology (CBL). Fish.

AN380 Community-Based Field Course (CBL). Hautzinger.

CO200 Literature of the Warrior (CBL). Clare.

EC324 Business and Society (CBL). Parco.

ED100 College Aides in the Colorado Springs Schools (CBL). Gortner

ED110 Experienced Aides in the Colorado Springs Schools (CBL). Gortner.

ED150 Contemporary Educational Issues (CBL). Mendoza.

ED200 Advanced Aides in the Colorado Springs Schools (CBL). Gortner.

ED202 Teaching ESL (CBL). Emmer.

ED210 Power of the Arts in Education (CBL). Stanec.

ED211 Framework for American Education (CBL). Taber.

ED250 Youth and Empowerment (CBL). Stanec.

ED370 Arts Integration: Creating Critical Thinkers and Connected Communities (CBL). Stanec.

EN221 Introduction to Poetry (CBL). Evitt.

EV321 Environmental Management (CBL). Perramond.

GS222 Reading and Rhetoric in the Liberal Arts: The Rhetoric of Health and Illness (CBL). Dubreuil.

PH203 Topics in Philosophy (CBL). Hernandez-Lemus.

PY298 Neuroscience II (CBL). Jacobs and Driscoll.

RE190/ES200 Indigenous Religious Traditions (CBL). Coriell.

SO233 Spatial Analysis of Social Issues (CBL). Roberts.

SO235 Sociology of the Family (CBL). Murphy-Geiss.

SO290 Advanced Topics: Community-Based Research (CBL). Roberts.

Departmental Major/International Affairs Option

Advisors — KAPURIA-FOREMAN, LYBECKER, PRICE-SMITH

The departmental major/international affairs option is designed to allow students the advantage of a traditional major along with the development of an understanding of international affairs. It assumes that such an understanding begins to develop through study of a foreign language, an extended experience outside one’s own country, and a familiarity with approaches which address the affairs of nations and peoples.

The requirements of the departmental major/international affairs option are as follows:

  1. The requirements of the major.
  2. At least three units of credit for study outside the United States.
  3. Proficiency in a foreign language:

For languages that are taught at Colorado College, proficiency through the Conversation and Composition level (usually 305). For languages that are not taught at the college or are taught only to the intermediate (usually 202) level, proficiency through the intermediate level. Students may meet this requirement through placement exams.

4. Three units of credit in courses that cover in a substantial way the foundations used by a discipline to understand and compare the social affairs of nations and peoples and interactions among nations and peoples.

A course which covers certain phenomena in geographical areas other than the United States does not qualify per se. A student whose major is in a discipline which offers foundations courses must take at least one of the three units in the major. See an international affairs adviser for a list of approved courses.

Independently Designed Major/IDM (formerly Liberal Arts and Sciences/LAS)

Advisor — Associate Dean of the College EVITT

Students who wish to pursue a major other than an existing disciplinary or interdisciplinary major may propose an Independently Designed Major (IDM). This option for a major requires considerable initiative and self-discipline from students who elect it. Students pursuing the Independently Designed Major must have the independence to work outside the support and curricular framework ordinarily provided by established departments and programs. The Independently Designed Major is fundamentally interdisciplinary. The course of study within this major must be supported and approved by two faculty sponsors from two different departments/programs. It permits students working with a major advisor and associate advisor from different departments/programs to design special interdisciplinary concentrations according to particular interests and needs.

[1] The Independently Designed Major (IDM) must be interdisciplinary in its conception and as rigorous, in terms of both depth and breadth, as any departmental major.

[2] Students who develop an Independently Designed Major must submit their applications for consideration to the Dean’s Advisory Committee during the second semester of the sophomore year. A student wishing to apply for this major after the sophomore year or to change from another major to the Independently Designed Major must present persuasive evidence that such a proposal is educationally advisable and that circumstances make it possible to design and complete a compelling major.

[3] The application should include a description of the proposed concentration of the major with a program of courses. Each course in the proposed program of courses should be listed by course number and title. The student should include a statement about how each course relates to the description of the major and how courses within the major correlate. The description of the major and proposed program of courses should be accompanied by a rationale that articulates the cohesiveness of the proposed program of courses.

[4] In order to propose an Independently Designed Major, a student must obtain the approval of two faculty advisors—a major advisor and an associate advisor—from different departments or programs for a tentative program of courses for the final two years of undergraduate study. Each faculty advisor is expected to write a letter of support for the student’s proposed program. In their support letters, faculty advisors should: [1] indicate their evaluation of the student’s past academic performance; [2] discuss the student’s ability to carry out the program of courses; [3] comment on the student’s ability to complete the program of courses with an unusual amount of independence and responsibility.

  • The major advisor works closely with the student in constructing the initial proposal as well as reviews and approves changes to the original proposed major in consultation with the associate advisor. Students should have taken a class with the faculty member they ask to be the major advisor before they begin work on the thesis in the spring semester of the junior year. This ensures that the major advisor has had previous experience working with the student proposing the major and lays the foundation for the major advisor and student to develop an effective working relationship. It is essential that the student work closely with the major advisor. The major advisor can serve as a reader for the senior thesis when appropriate. If the major advisor does not serve as a reader for the senior thesis, she or he helps the student identify the appropriate first and second faculty readers for the thesis.
  • The associate advisor reviews the initial proposal, providing critique and revision suggestions. The associate advisor may also serve as a reader for the student’s thesis when appropriate.

It is expected that the student will meet at least twice a semester with both the major advisor and associate advisor during the junior and senior years to discuss the progress of the major. At the end of the senior year, the faculty advisors will submit a report to the Dean’s Advisory Committee, evaluating what the student has accomplished in the major.

MAJOR REQUIREMENTS

1.      Students proposing the Independently Designed Major (IDM) must fulfill the appropriate all-college degree requirements as listed in the catalog. A minimum of 12 units or a maximum of 15 units may be counted toward this major. Students proposing the Independently Designed Major must explain in their applications why the proposed goals of the major cannot be achieved through a departmental major or through outside courses taken in addition to the requirements of a departmental major.

 2.      Prerequisites for more advanced courses should not be counted as a requirement for the major in most cases. The committee reserves the right to deny any major that does not meet the guidelines as stated.

 3.      Up to four units at the 100 course number level can be counted toward the major. (Language courses at the 100 level cannot be counted as part of the major). At least ten and no more than thirteen of the units designated as constituting this major must be above the 100 course number level. A student should select courses that achieve the objectives of the major. The courses above the 100-level courses required for the major must achieve both breadth and depth in the major as described. Courses should be progressively more rigorous and complex (200, 300, and 400 level courses). Prerequisites for advanced courses should not always be required in the major and can be listed as complementary to the objectives of the major. One or two of the units for the major may be general studies thesis courses: GS 400, Senior Thesis I; GS401, Senior thesis II.

 4.      Thesis Preparation and Proposal: A student declaring an Independently Designed Major should work during the spring semester of the sophomore year and fall semester of the junior year, in consultation with his or her or his major advisor, to identify potential thesis topics as well as the courses that will prepare the student to write the thesis. In particular the student should address which courses will provide the methodological and theoretical skills to write a successful thesis on the anticipated topic. 

  • A student pursuing an Independently Designed Major must submit a written thesis prospectus, approved by both the first and second thesis readers, by the end of the junior year.
  • A student pursuing the Independently Designed Major should, in consultation with her/his major advisor, identify a first and second reader for the senior thesis by the beginning of spring semester of the junior year. (The major advisor for the IDM major can serve as one of the readers for the thesis. A student may also identify faculty other than the major advisor and associate advisor as thesis readers because of their expertise in the thesis topic the student is developing.)
  • Students may take an optional thesis workshop adjunct course (GS 399) during the spring semester of their junior year or fall semester of their senior year.
  • The thesis for the Independently Designed Major must be completed and turned in to the first reader for the thesis no later than the last day of Block 7 of the senior year.
  • The first reader for the thesis, in consultation with the second reader, determines the grade for the thesis.
  • If the thesis involves human subjects research (interviews, surveys, focus groups, participant observation) the student works with the IRB (http://www.coloradocollege.edu/other/irb/) to ensure that the research is carried out in an ethically and legally acceptable way. The student should contact the IRB chair as soon as she/he determines that such research methods will be used, and completes an IRB proposal (reviewed and approved by the major advisor) as soon thereafter as possible. Research cannot begin until this proposal has been approved by the IRB and the major advisor informed of IRB approval.

5.      The registrar will designate courses on the student’s transcript that constitute the Independently Designed Major.

North American Studies

Advisor — Price-Smith

The North American studies program is designed to create an understanding of the complex regional forces shaping North America. Political, social, cultural, and economic ties among Mexico, the United States, and Canada are transforming all three countries, creating a region which is ever more closely related and interdependent.

The North American studies program includes:
  1. A thematic minor.
  2. Block visitors from Mexico, Canada, and the United States.
  3. A North American institute during the Summer Session. This first part of this course is taught at Colorado College, followed by travel to Canada and Mexico. In order to help students interested in North American studies to locate courses of interest, we have cross-listed those departmental courses which deal with North America under the course heading, North American studies.

They are listed below:

ANTHROPOLOGY:

  • 204 Prehistory: North America.
  • 211 The Culture Area: Eskimos.
  • 242 The Anthropology of Food.
  • 290 American Indian Music.

ART HISTORY:

  • 180 Native American Art.
  • 200 Topics: Art of Mexico.

HISTORY:

  • 105 Civilization in the West: The Atlantic World.
  • 203 Native American History (Canada).
  • 267 History of the Southwest under Spain and Mexico.

MUSIC:

  • 290 American Indian Music.

POLITICAL SCIENCE:

  • 103 Western Political Tradition.
  • 341 International History of North America, 1754–1867.
  • 410 Tutorial in International Relations.

ROMANCE LANGUAGES:

  • SPANISH 338 Latino Literature in the United States.

SOCIOLOGY:

  • 234 Sociology of 20th-Century Mexico.

SOUTHWEST STUDIES:

  • 275 The American Southwest: The Heritage and the Variety.

SPANISH:

  • 339 Chicano Literature.

Race and Ethnic Studies

Affiliated Faculty— BANAGALE, CHAN, GARCIA, GUERRA, HERNANDEZ-LEMUS, HYDE, JOHNSON, Lewis, MONROY, MONTAÑO, PADILLA, Riley Scholar-in-Residence JOHNSON.

The race and ethnic studies program offers a minor. Students are encouraged to consult with race and ethnic studies faculty and with their faculty advisor in their pursuit of a race and ethnic studies thematic minor. 5 units minimum.

All students are required to complete:

1.) ES185 – Introduction to Race and Ethnic Studies.

2.) One approved course on the theorizing of race, such as ES 212 Theories of Race and Ethnicity or ES 200/PH 285 Philosophy and Race. Other courses offered in a given block may be considered in consultation with members of the RES steering committee;

3.) One approved methods course (e.g., ES215/AN 215 Research Design: Method and Theory or ES321/AN 321 Rio Grande: Culture, History, and Region), suitable to the student’s focus, chosen in consultation with the RES advisor;

4.) Two units of approved electives (all to be cross-listed with race and ethnic studies, such as ES200/HY217 American Frontiers, ES200/SW 200 Topics in Southwest Studies: The Student’s Role in the Sixties Southern Civil Rights Movement, ES253/EN 280 Literature of the American Southwest: Mexican-American Literature, ES223/SO113 Racial Inequality, and ES220/FS 220 Blacks and the Cinema;

5.) An Integrative Experience, capstone project demonstrating the student’s ability to conduct a critical examination of racial and ethnic groups. Students can choose to focus on social issues (e.g., racial disparities in housing, health care, employment, education, income, or criminal justice) that affect racial and ethnic groups, cultural and artistic expressions associated with a particular racial and ethnic group, or the ways racial and ethnic groups have challenged social inequality. It could consist of a paper, presentation, internship with reflective component, or other independent work, to be completed after other requirements have been fulfilled. Proposals for the Integrative Experience are approved by members of the RES committee and evaluated by the director and a faculty advisor assigned to the student.

104 World Music. Surveys the musical cultures of the world in their social, historical, and theoretical contexts; develops comprehension of the essential philosophies and aesthetics of the music studied and the ability to identify, describe, and discuss various musical styles, compositional forms, and techniques through listening and performance exercises; emphasizes an interdisciplinary approach. 1 unit.

113 Racial Inequality. The study of race as a dimension of inequality in the United States, Western Europe, Africa and Latin America. Individual and institutional forms of racism and discrimination. Historical, comparative and theoretical perspectives. (No credit if taken after SO/CS233). (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Sociology 113.) 1 unit

120 The American Past. Two block course that introduces the full sweep of American History from its pre-contact, “New World” beginnings to the recent past. Students will experience how history is made, understood, revised, and debated. Themes include cultural encounters and adaptation complexities of ethnicity and immigration; movement; the success and failures of republican ideology, capitalism, individualism and community; and the formation of American cultures. (Meets the Critical Perspectives: The West in Time requirement.) 2 units.

130 World Music Ensemble: Mariachi Tigre. .25 unit.

175 The American Southwest: The Heritage and the Variety. An interdisciplinary and intercultural introduction to the heritage of the American Southwest: its histories, its peoples, its cultures, its conflicting ethnic demands and common social problems. Through the use of a variety of anthropological, historical, and literary materials, the seminar examines the major Southwestern cultures in isolation and in relation to one another. No prerequisites. 1 unit.

182 Prejudice and Intergroup Relations. What are racism and sexism? Why are people prejudiced? What can be done to improve the strained relationship between groups? This course will introduce students to various frameworks for understanding prejudice, intergroup perception/relations, and the management of conflict between social groups. Students will examine case studies, psychology theories, and will think about their own perceptions of and interactions with people from different social groups. Students will also reflect on the notions of multiculturalism and social justice. (Proposed cross-listing with American Cultural Studies.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Feminist and Gender Studies 182 and Psychology 182.) 1 unit — Chan.

183 Community Organizations in the Southwest. .5 unit.

185 Introduction to the Comparative Study of Race and Ethnicity. Examines those social forces, both historical and contemporary, that have brought about racial and ethnic “diversity” and “difference” in the U.S. Attention to the histories and experiences of Native Peoples, African Americans, Latinos and Asian Americans. Taking a comparative approach, it puts into focus the shared histories of racialization among these groups without losing sight of asymmetrical relations of power informing these histories. The course sheds light on the ways these groups position themselves and are positioned as racial subjects in distinct and historically specific ways but also in relational and mutually constitutive ways.

200-Topics in Race and Ethnic Studies

Block 2: Language and Culture. Examines the interconnectedness of language and culture from ethnographic and sociolinguistic perspectives. Comparative study of speaking in cultural context aimed at understanding the ways in which people use talk to cooperate, manipulate, structure events, and negotiate identities. Cross-cultural focus, with examples from such languages as Japanese, Navajo and Apache, African-American Vernacular, and French. 1 unit – Leza

Block 3: Black Public Intellectuals. 1 unit – Harris

Block 4: Introduction to Jazz.  Musicians, critics, and historians have struggled to define jazz for a hundred years. This introduction to the history of jazz focuses on the musical processes and cultural concerns that have come to define this genre. Emphasis on the ways that social issues such as racial segregation, discrimination and the African-American struggle for civil rights have contributed to the aesthetics and political power of jazz music. No previous experience required. Writing in the Discipline. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Meets the Critical Perspectives: Social Inequality requirement.) (Also listed as Race and Ethnic Studies 200.) 1 unit - Banagale. 

Block 4: Folklore Theory. This course will emphasize the basic folklore and cultural theoretical frameworks and practical skills for doing library, archival and field-based research in folklore. Students will be expected to apply these theories to original research on the following topics: material culture, belief, custom, occupational groups, folklore cultural regions, and expressive behavior. 1 unit – Montano.

Block 4: Islam in the Americas.  Examines the historical role that varieties of Islam have played in North America as well as in the Caribbean and South America. Topics include: the trans-Atlantic slave trade that brought West African Muslims to North and South America; slave religion in the antebellum South; the complicated role that Islam has played in African-American identity and that race and religion have played in White (Euro-American) conceptions of Islam in the U.S. and abroad; Black Nationalist critiques of Christianity; and issues of race, ethnicity, socio-economic class, and religion affecting immigrant Muslim communities in the U.S. since 1965, (Also listed as RE243.) 1 unit - Wright. 

Block 5: African Literature.  In his novel, Arrow of God, Chinua Achebe writes “The world is like a Mask dancing. If you want to see it well you do not stand in one place.” The literature of the vast and varied continent of Africa will not allow us to stand in one place as we examine the historical, political, social and economic ramifications of colonization and neo-colonization through literature. African writers are among the most forceful and vibrant in the world today. Their engagement with the pressing issues of their times, and their inventive and imaginative approaches, make for exhilarating as well as edifying reading. In this course we will read short novels and poems by contemporary Anglophone African writers from all parts of the continent: north, south, east, west and central Africa, writers such as Chinua Achebe, Chris Abani, Ngugi wa Thiong’o, Sindiwe Magona, J.M. Coetzee, Fatima Mernissi and others. The course will afford an understanding of the literature, but we will also gain an understanding of the momentous concerns of the continent through theoretical and non-fiction readings. Films will supplement the literature. 1 unit – Singh

Block 6: History of Native America. Introduces students to the history of native peoples primarily in North America. The course includes histories of individual native groups as well as the relationship between American Indians and a variety of Europeans from before contact until the present. Examines a variety of primary and secondary materials to see patterns in the ways that Native Americans have been affected by the process of conquest, the ways in which Anglo-Europeans have responded to Native Americans, and in the ways in which American Indians have become a part of and remained apart from 'mainstream' American culture. As a broader goal, we also look at the way 'history' is made, understood, and used by very different cultural traditions. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as HY210 and Southwest Studies 214.) 1 unit - Hyde.

Block 6: Cultural Perspectives in Dance. 1 Unit – Kedhar

Block 7: From the Fringe to the Spotlight: An Intercultural Study of Alternative Playwriting.  In this course we explore the principal aesthetics practiced by Hip Hop artists over the last 40 years. This is not a "how-to-for-dummies / step-by-step" on rapping or scratching records or breakdancing. Students will instead research the origins of these forms, making connections with their own artistic interests. How does the practice of reciting improvised rhymes over re contextualized music inform us as writers? How can the application of spray paint to moving surfaces inspire the way we write poetry? In this course we explore these questions through research expeditions, writing and performance exercises.

Block 7: Reading Caribbean Feminisms through the Arts.  This course approaches feminist studies in the Caribbean and Caribbean diaspora through multiple forms of artistic production, including cinema, visual art, creative fiction, dance, and music. The selected readings and audio-visual texts we will study represent a range of forms of expression and ideological positions produced in late nineteenth through early twenty-first century Cuba, Puerto Rico, and Dominican Republic. Through these texts students will become acquainted with a variety of ways of understanding knowledge production—art epistemologies—and will gain tools for approaching studies of the Caribbean and the Caribbean-diaspora using the arts as a point of theorization. In addition to gaining increased linguistic fluency in the realm of Spanish-language production, students will acquire the capacity to read feminisms through the lens of artistic production. By the end of the course students will be expected to focus on one artistic method and engage it as a methodological tool for studying one aspect of Hispanic Caribbean feminist expression. 1 unit - Wood

Block 8: Caribbean Literature. Perhaps more than any other region, the Caribbean still bears witness to the legacies of colonialism, slavery, and transatlantic and transpacific migrations. Both the region and individual islands are multilingual and multicultural, formed by communities of the African, Asian, and European diasporas who each brought a variety of rich traditions, languages, philosophies, religions, and cultural practices to the small islands. This class will explore the challenges and opportunities of developing both individual and national identities in the context of cultural richness and economic and political challenges of this region. We will read authors such as Jamaica Kincaid, CLR James, Monique Roffey, Edouard Glissant, Aimé and Suzanne Césaire, Junot Diaz, and Andrea Herrera among others, as well as studying films such as Sugar Cane Alley, The Sweetest Mango, and Once in an Island. 1 unit – Garcia

Block 8: Art in the Making of Brazil. The goal of this course is to introduce students to a variety of artistic productions—film, fiction, popular music, contemporary choreographies, etc.—and the role that they play in the internally produced and externally consumed vision of Brazilian culture. We will focus on the ways that sexuality has been portrayed and displayed in the production of Brazilian culture. Students will be expected to read both historical and theoretical texts to inform their approach to various artistic productions and socio-historical contexts. The emphasis of the course will be the 19th-21st centuries with special attention to moments of transition, from the end of slavery in 1888 to the First and Second Republics that followed, as well as the impact of dictatorship and transition to democracy in more recent years. This course will explore the role of the sexualized body as a site of national identity formation and will engage feminist and queer theories to read “nationalized” culture forms such as samba, capoeira, and carnaval. Taught in English.  1 unit - Wood   

Block 8: Anthropology of Food. This course will explore food concepts, analytical methods, and the food habits of different ethnic groups. The class will have a field trip to the San Luis Valley, and to Northern New Mexico to document the production of food among farmers, cattle ranchers and restaurateurs. (Limited to 12 students.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Race and Ethnic Studies 200.) 1 unit - Montano.

Block 8: Transnational Origins of Black Power Movement. 1 unit – Johnson.

209 Youth, Power and Social Movements. Examines how youth-based and youth-led social movements emerge, how youth conceptualize and frame issues of social justice, and how youth who occupy marginal positions provide critical perspectives on social change based on their race, class, gender and sexuality. Explores the role of expressive forms such as art and music in the formation, development, and trajectory of social movements and political activism. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 208.) 1 unit – Rios.

212 Theories of Race and Ethnicity. Examines various theoretical and conceptual approaches to the study of race and ethnicity. Attention is given to the various ways race and ethnicity have been defined and understood including the ethnicity paradigm, class-based perspectives, and racial formation theory. Examines debates and controversies in the study of race and ethnicity as well as emergent themes and recent developments in the scholarship. Possible topics include a focus on the interrelations among race and other axes of difference such as gender, class, and sexuality, race and the structuring of space, the legal construction of race, race and media culture, and race and the prison-industrial complex.

215 Research Design: Method and Theory. (Also listed as Anthropology 215 and Feminist and Gender Studies 218.) 1 unit — Montaño.

218 Introduction to Africa. 1 unit.

220 Blacks and the Cinema. An introduction to the relationships Blacks have had to the American cinema: as filmmakers, performers, audiences and as “characters” whose images have formed a critical vocabulary for American race relations. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Film Studies 220.) 1 unit

223 Racial Inequality. The study of race as a dimension of inequality in the United States, Western Europe, Africa and Latin America. Individual and institutional forms of racism and discrimination. Historical, comparative and theoretical perspectives. 1 unit. 

227 Black Religion in America. Studies in the religious life of African-Americans from the 17th century to the present. Particular attention to religious organizations, theological formulations and experiential patterns of Black Americans and the relationship of those phenomena to American religious life in general. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit. 

241 Hispanic Folklore of the Southwest. (With Emphasis on Writing). This course is designed to introduce students to several approaches in folklore studies and to Mexican material culture, religion, music, and prose narratives in the Southwest region of the United States. We will examine how the different approaches used by historians, literary critics, anthropologists, and folklorists can enhance the study of Hispanic folklore and material culture. (Limited to 12 students.) (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit.

243 Slavery and Antislavery Movements to 1860. African cultural backgrounds, African slavery in colonial British America and the U. S. to 1860; free Black people from 1790 to 1860 and antislavery movements. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit.

244 Black People in the U.S. since the Civil War. Since the Civil War. Black Reconstruction; Black urban settlement; literary and artistic movements in the 1920s; civil rights struggles; recent social and political expressions. 1 unit.

245 Martin Luther King, Jr. and Malcolm X. 1 unit.

250 Asian American Literature. 1 unit.

253 Literature of the American Southwest. Mexican American Literature. This course provides a broad overview of movements in Mexican American literature in the twentieth century, from Revolutionary corridos, to Chicano movement documents, through the development of Chicana feminism. This interdisciplinary course emphasizes a relation between historical events and literary production. Authors to include Americo Paredes, Tomas Rivera, and Sandra Cisneros. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as English 280 and Southwest Studies 253.) 1 unit — Padilla.

267 History of the Southwest under Spain and Mexico. The pre-contact history of Anasazi and Athabascan peoples from anthropological and mythological perspectives; the causes and consequences of the Spanish entrada and attempts at missionization of the Indian peoples of New Mexico and the California coast; development of mestizo society; the arrival of the Anglo-Americans and the Mexican-American War. 1 unit.

268 History of the Southwest since the Mexican War. The adaptation of Native American and Hispanic peoples to Anglo-American culture and politics; the causes and consequences of the loss of Hispanic lands; the evolution of family life and religious practices; indigenous views of modernity. Films, artistic expressions, and works of fiction as well as historical sources. 1 unit.

273 Southwest Arts and Culture. 1 unit.

285 Philosophy and Race. Race is a social construct that invites a number of philosophical questions, such as those of identity, inter-subjectivity, justice, rationality, and culturally different ways of knowing. The course will examine, among others, philosophical reflections on race by the following thinkers: Douglass, West, Fanon, Vasconcelos, Appiah, Bernsaconi, Outlaw, Levinas, and Mendieta. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit. – Hernandez-Lemus.

290 Racial and Ethnic Identities (with Emphasis on Writing). 1 unit.

306 Women of Color Feminisms. Examines the contours and trajectory of women of color feminisms in the United States. It considers how women of color feminisms broaden the parameters of feminism and how a critical consideration of race, class, sexuality and nation complicates the we think about feminist theory and politics. Examines the nature of the relationships among women of color feminisms. Draws from Chicana feminism, Black feminism, indigenous feminism, Asian American feminism, and transnational feminism. Prerequisite: ES 312 or consent of instructor. 1 unit

310 Anthropology and the History of Ideas. Prerequisite: Anthropology 102 or consent of instructor. 1 unit – Montano.

321 Rio Grande: Culture, History and Region. Prerequisite: Anthropology 102 or consent of instructor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 2 units.

323 Minority Politics. A comparative analysis of the political experience and responses of major ethnic minorities and women to the American political process. 

330 Independent Readings. Study for advanced students who wish to do work supplementary to that offered in the Catalog. Prerequisites: ES 185 and COI. 1 unit—Department. 

337 Latino Literature in the U.S. Comparative study of works of Chicano, Puerto Rican, and Cuban authors, as well as Latin American writers in exile in the United States, including political essays of Marti and Flores Magun and the contemporary works of Hinojosa, Mohr, Laviera, Rivera, Alegra, and Valenzuela. Prerequisite: Consent of instructor or Spanish 306. 1 unit.

339 Chicano Literature. Critical study of the literary production of authors of Mexican heritage in the United States from 1848 to the present, with emphasis on contemporary Chicano works including Rivera, Anaya, Valdez, El Teatro Campesino, Cisneros, Castillo, and Moraga. (Offered alternate years.) 1 unit.

351 Advanced Topics in Race and Ethnic Studies. 1 unit.

370 Stds Literature Periods: Literature of Harlem Renaissance. Selected fiction, poetry, and non-fiction prose which looks at a problem or theme in 19th-century British and/or American literature such as narratives of identity, archetypes of city and nature, the politics of genre, comparisons of British and American culture, and the nature of literary periods themselves. 1 unit.

380 Topics.

Block 3: Black Writers in Paris.  In this course, we explore Paris and its significance in the lives, work, and thought of African, Antillean, and African American writers during the first half of the twentieth century. From the American slaves who came to Paris to get an education denied to them in the United States, to the architects of the New Negro movement, to the jazz artists who charmed the French, to the African and Antillean francophone colonial subjects who, inspired by their encounters with other intellectuals from the Black Diaspora, returned to their native countries to loosen the bonds of colonialism, to the alienated young Arabs and Africans burning cars in the suburbs in 2005 and 2007, the city of Paris has played a central role in black diasporic culture, discourses of identity and freedom, and global conversations between black intellectuals. We will walk the historic streets, explore relevant museums, cultural sites, and monuments of the city which for generations has symbolized all the promises and betrayals of humanism, modernism and urban culture. In conversations with African American, Antillean, and African expatriate writers and artists, we gain insight into the work of writers such as Langston Hughes, Aimé Césaire, the Nardal sisters, Claude McKay and Cheikh Hamidou Kane as well as into still simmering debates about the power of literature, the legacies of colonialism, diasporic culture, the values of humanism, and social justice. 1 unit – Garcia.

Block 3: Cultural Theory Hegemony, Resistance and Culture Change.  This course will focus on the concept of hegemony, examining its weaknesses and strengths as it is applied to several scholarly contributions. First, the latent notion of hegemony as discussed by Marx and Lenin will be examine, along with Antonio Gramsci’s three models of hegemony. Next, we will cover the concept of hegemony from a historical perspective and analyze the different meanings and uses in cultural anthropology. Then, we will apply the concepts of hegemony, class, and resistance to the work of James C. Scott. Finally, students will apply these concepts to an original research project. 1 unit – Montano 

Block 4: Unpacking the Invisible Knapsack: Critical Whiteness Studies.  This course is designed to introduce students to Critical Whiteness Studies (CWS), the scholarly interrogation of the social construction of whiteness, its interaction with gender, socioeconomic status, and other social markers, as well as the historical and contemporary social, cultural, and political resistance to white privilege. The premise of CWS is that historically, as well as in contemporary societies, whiteness, like gender and class, has been a fundamental source of societal stratification. It also recognizes that other forms of inequality have been or are based on age, religion, sexual orientation, and other social markers. Especially in the United States, customs and laws perpetuate discrimination and inequality based on white privilege. Hence, this course will also entail an interdisciplinary and intersectional critique and historical examination of the origins of white privilege in U.S. culture. Throughout the course, students will gauge the economic and political forces responsible for the construction and maintenance of whiteness. In addition, they will critique the multiple axes of race, gender and class in order to gain an understanding of the function of various mechanisms of privilege. 1 unit - Lewis

Block 5: Topics: Borderlands Theory, Song, and Literature. This course is an in depth examination of the theoretical and literary productions of the U.S.-Mexico borderlands. Readings of foundational theorists such as Jose Vasconcelos, Americo Paredes, Octavio Paz, and Gloria Anzaldua will provoke discussions of rapidly evolving concepts of race, gender, and language. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Comparative Literature 351 and English 380 and Southwest Studies 308.) 1 unit — Padilla.

Block 8: African American Feminist Thought. The Black Feminist Movement grew out of, and in response to, the Black Liberation Movement and the Women's Movement. In an effort to meet the needs of black women who felt they were being racially oppressed in the Women's Movement and sexually oppressed in the Black Liberation Movement, the Black Feminist Movement was formed. All too often, "black" was equated with black men and "woman" was equated with white women. As a result, black women were an invisible group whose existence and needs were ignored. The purpose of the movement was to develop applicable theory that could adequately address the ways race, gender, and class were interconnected in the lives of black women and to take action to stop various kinds of discrimination based on social markers, such as race, gender, sexuality and class. 1 unit - Lewis 

384 The Negritude Movement: African and African-American Intellectuals and Artists in Paris 1900–1950. Paris as a center for American, Caribbean, and African intellectuals from the black Diaspora. Readings from work of Aime Cesaire, Langston Hughes, Jessie Redmon Fauset, President Leopold Senghor, Eugene Bullard, Birago Diop and Cheikh Anta Diop. Emerging African and African American cultural identities; ideas of black nationalism within European, American and African society. Taught in Paris. Extra Expense $$$. Also taught as EN 385 and FR 308. (Students enrolling in FR 308 will do readings and write papers in French.) Prerequisite: Consent of instructor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) 1 unit.

385 20th Century African-American Literature. Readings in black American writers such as. W. E. B. Dubois, Ralph Ellison, Nella Larsen, and Rita Dove. Organized around aesthetic and cultural issues such as feminism, the “anxiety of influence,” pressures of the marketplace, identity politics, and post-modern theory. 1 unit.

387 African-American Women Writers and Literary Tradition. Three centuries of texts by African-American women who have conspired with, rebelled against, and created literary traditions, such as Zora Neale Hurston, Pauline Hopkins, Rita Dove, Andrea Lee, and Nella Larsen. 1 unit.