This survey outlines the arts in Italy from the late thirteenth to sixteenth centuries, a time of major cultural transformation. To trace these developments, we will take a geographic approach, focusing on cities and societies in order to understand the diverse social networks that linked artists like Leonardo da Vinci and Michelangelo with their publics.

A historical survey of medieval architecture, monumental sculpture, and painting of France, England, Germany, and Italy. The course concentrates on the great church as a multimedia environment and on the religious, political and social roles of art in society.

Some of the best feature-length films of the past century have commanded our attention and imagination because of their compelling artistry and the imaginative ways they tell stories visually and verbally. This course closely studies narrative films from around the world, from the silent era to the present, and in the process it introduces students to the basic elements of film form, style, and narration.

An introduction to painting, sculpture, and architecture in Europe and America from the Renaissance to the present. Classes are organized around five focused topics: Renaissance Florence; the artist in the seventeenth century; art and revolution; nineteenth-century abstraction. Lectures will be complimented by class discussion and short films.

This course focuses on Critical Race Theory, its history and application in the field of Education. Through course readings and assignments, students will explore and discuss key issues such as race/racism, class/classism, gender/sexism among other "isms" and how they impact the teaching and learning experiences of students of color. This course is specifically designed to challenge students and make them think critically about their multiple identities, privileges and challenges as students and future leaders.

The medium of cinema has shown persistent concern with war and memory, and has constituted a heated battleground for rememberance and erasure of the past. Through cinema, in other words, we most clearly see both memories of war and subsequent wars among competing memories. The Spanish Civil War (1936-1939), the repressive military regime of Francisco Franco (1939-1975), and recent attempts to "recuperate" memory all dramatize these dynamics and raise a number of larger questions. How do destruction and devastation register through the visual?

What is Latina Feminism? How does it differ from and/or intersect with other feminisms? This interdisciplinary course explores Latina feminism in relation to methodology and epistemology through a historical lens. We will explore topics related to knowledge production, philosophies of the "self," positionality, the body, and representation. Our approach in this class will employ an interlocking analysis to feminist theory that understands the interconnectedness between multiple forms of oppression, including race, class, sexuality, and ability.

This course examines social protests from the perspective of the visual. Examining cultural productions from 1948-2015 we will focus on the geographical specificity of planned and spontaneous protests that have mobilized people into action. We will use a black studies framework to engage the possibilities present in resisting disparate power structures of race, gender, sexuality, class, and region. Artists, musicians, activists, writers, and grassroots organizers of social movements have been ever cognizant of the role of the visual in subverting power structures.

An introduction to literary and cultural theory with an emphasis on twentieth century and contemporary thought. We will focus on crucial questions that have focused, and continue to focus, critical debate. These questions may include representation, subjectivity, ideology, identity, difference, gender, sexuality, race, ethnicity, and nation. Throughout we will be particularly interested in the ways in which language and form mediate and construct social experience.

This course analyzes the concepts of race and racism from an interdisciplinary perspective. Students will be asked to bring a critical lens to the ubiquitous, yet frequently misunderstood concepts of race and racism. We will study the sociocultural, political, economic, and historical forces that collaborate and compete with one another in the production of racial categories. This approach will require us to draw connections between wide-scale processes and everyday interactions.