This course will offer an introduction to 1) key concepts and definitions e.g. diaspora, Pan-Africanism, Afro-centrism, etc. 2) the classic works in the field. 3) major trends in contemporary scholarship. We will be reading a selection of works discussing the contours and history of the field as well as examples of recent scholarship. Two papers on major themes will be required. This course is required for the Graduate Certificate in African Diaspora Studies and is open both to students pursuing the certificate and to graduate students with a general interest in the subject.

What is medieval? Most people learn very little about the foggy period that lies between the end of the Classical era and the start of the Renaissance. What we do learn usually consists of stereotypes. Jousting, chivalry, repression of women, religious fervor, medical ignorance, lice, Crusades, King Arthur, economic injustice, knights, ladies, and plague: such words, concepts, images predominate. How were these stereotypes produced? How are they reinforced or challenged on-line? What is their relationship to the ways the medieval world saw itself?

This course will examine the development of Afro-American music during the twentieth century with an especial focus on links to the Harlem Renaissance and Black Arts Movement. In particular, the class will survey the variegated styles and productions of artists, including Bessie Smith, Eubie Blake, James P.

This seminar will sample the recent critical debate on truth, representation and relativism; we will look at a selection of scientists, critics, writers, and artists as well, in order to describe a variety of dances on the head of this pin. Ours will be a cross-disciplinary investigation of the claims on truth - or the will to truth - across a

Students in this workshop course will learn about the emerging field of
Social Justice Humanities by connecting with a series of case studies
that illustrate ways that historians can contribute to national
dialogues around pressing social issues.

The seminar deals with the role of the court painting and design atelier in the three late Islamic Empires: Ottoman Turkey, Safavid Iran, and Mughal India, with special attention to arts of the book and architectural decoration.