This course explores the interconnections of Black women's creative production and Black Feminist and Womanist thought. We will explore Black women's art, performance, and creative processes as a means of physical and psychic survival. Students will be exposed to emerging and classic Black Feminist and Womanist texts as well as the creative work of emerging and established visual artists, musicians and poets. Students will have the opportunity to engage with the work closely through close reading, formal analysis as well as creative and improvisational modes of engagement.

Yue Opera, an all-female art that flourished in Shanghai in 1923, resulted from China's social changes and the women's movement. Combining traditional with modern forms and Chinese with Western cultures, Yue Opera today attracts loyal and enthusiastic audiences despite pop arts crazes. We will focus on how audiences, particularly women, are fascinated by gender renegotiations as well as by the all-female cast. The class will read and watch classics of this theater, including Dream of the Red Chamber, Story of the Western Chamber, Peony Pavilion, and Butterfly Lovers.

An exploration of the roles and values of Chinese women in traditional and modern times. Topics will include the structure of the family and women's productive work, rules for female behavior, women's literature, and the relationship between feminism and other political and social movements in revolutionary China. Readings from biographies, classical literature, feminist scholarship, and modern fiction.

This course will focus on three topics to which feminist thinking has made important philosophical contributions: pornography, objectification, and consent. We will draw on a variety of philosophical resources, ranging from liberal and feminist political theory, to speech act theory. We'll be looking at work by Simone de Beauvoir, Ronald Dworkin, Sally Haslanger, Rae Langton, Catharine MacKinnon, Martha Nussbaum, and others. The goal will be to see how careful philosophical thought can help us with pressing issues of gender.

This course explores women and Buddhism during different historical periods and in different cultures. Through a variety of sources, this course will illuminate Buddhist concepts of gender and sexuality, views of women's spiritual capacities, the diversity of women's images, roles, experiences, concerns, and contributions in Buddhist societies, and scholarly approaches to women in Buddhism. Special attention will be given to how gender is constructed in each cultural and religious context encountered, with particular emphasis on Buddhist women in Southeast Asia.

We will read a number of key feminist texts that theorize sexual difference, and challenge the oppression of women. We will then address queer theory, an off-shoot and expansion of feminist theory, and study how it is both embedded in, and redefines, the feminist paradigms. This redefinition occurs roughly at the same time (1980s/90s) when race emerges as one of feminism's prominent blind spots. The postcolonial critique of feminism is a fourth vector we will examine, as well as anti-racist and postcolonial intersections with queerness.

This capstone course brings seniors together to think through relationships among empirical research, theory, activism, and practice in gender studies. Majors with diverse interests, perspectives, and expertise (and other seniors with substantial background in the field) will have the opportunity to reflect on the significance of their gender studies education in relation to their current work (including work in 333s, 390, 395), their academic studies as a whole, and their plans for the future. Course readings and discussion will be shaped by students in collaboration with the instructor.

An introduction to the ancient Greek language and epic meter through the study of the Iliad. The grammar of the Iliad, originally an oral poem, is relatively uncomplicated. By the middle of the first semester, therefore, students will begin to read the poem in Greek. By the end of the year they will have read a portion of Iliad, Book I.

This course focuses on Attic Greek, the dialect in which the tragedies of Aeschylus, Sophocles, and Euripides, the comedies of Aristophanes, Thucydides' History, and Plato's dialogues were composed. Each year the readings will focus on a particular theme as it is treated in prose and poetry, such as: Socrates (Plato, Xenophon, Aristophanes); Athenian law courts (Lysias, Plato, Aristophanes); Medea (Euripides and Apollonius); Alcibiades (Thucydides, Plato, Plutarch).

This course focuses on Attic Greek, the dialect in which the tragedies of Aeschylus, Sophocles, and Euripides, the comedies of Aristophanes, Thucydides' History, and Plato's dialogues were composed. Each year the readings will focus on a particular theme as it is treated in prose and poetry, such as: Socrates (Plato, Xenophon, Aristophanes); Athenian law courts (Lysias, Plato, Aristophanes); Medea (Euripides and Apollonius); Alcibiades (Thucydides, Plato, Plutarch). Students in this course attend class meetings for Greek 222.