In the wake of Obama's historic presidency, the American media triumphantly declared that we are living in post-racial times. But is race dead? Are we color-blind? If so, how do we explain the resurgence of white supremacy during and after the Trump presidency? Utilizing an interdisciplinary amalgam of Ethnic Studies, Critical Race Theory, Media Studies, US Third World Feminism, Sociology, Cultural Studies, Political Philosophy, and Post-Colonial Theory, this course will investigate how "race" continues to shape American society in the post-civil rights era.

This seminar delves into the dynamics, debates, and desires that drive pop fandom. In this class, we ask: What is fan culture? Does it build community? Are fans different from other consumers? What are the ethics and politics of fandom? What are the aesthetic, social, and legal ramifications of fan-produced forms such as mash-ups, remixes, youtube videos, and fanfic/slash that borrow, customize, and reinterpret pop commodities? How do such textual appropriations call into question the boundaries between high and low, production and consumption, intellectual property and fair use?

Welcome to Shakespeare's England, where music could truly enchant its listeners! Music could be fodder for love, or melancholy (or better yet, both at once . not so unlike Taylor Swift or Billie Eilish.). It could summon up war-faring blood, or calm uncivil seas. It could lift minds to celestial climes, or incite limbs to keep time with its measure. Shakespeare himself clearly succumbed to the charms of the music surrounding him.

It was in the midst of grieving the loss of her most beloved fish, Telly, that poet Toi Derricotte wrote, "Joy is an act of resistance." Poet Lucille Clifton closes her oft-anthologized "won't you celebrate with me" with "come celebrate / with me that everyday / something has tried to kill me / and has failed." Both poets understand that we only know joy within the context of sorrow, but they choose to center their joy rather than be present only for Black pain or death.

16mm Film Workshop: Experiments with Light and Shadow is an introductory filmmaking course, introducing students to the fundamental skills of working with a 16mm Bolex camera, analog editing, optical printing, camera-less techniques, animation, projection, and digitization, demonstrating a fully analog and hybrid workflow. In addition to technical workshops, students will critically engage with a wide variety of analog moving-image practices, meeting the works of filmmakers such as Barbara Hammer, Paige Taul, Su Friedrich, and Edward Owens.

Automated Images: Moving-Image Collaborations with Nonhumans explores artistic practices that engage with animals, plants, and technologies to question the possibilities, limitations, and politics of entangled authorship. Surveying artists and filmmakers working with chance operations, collaborating with nonhuman animals, and engaging with machine learning algorithms, we will examine the complexities of entangled authorship.

Negotiation is a key skill at every level of every organization, in every age and every country. We negotiate with potential employers, co-workers, bosses, landlords, merchants, partners, parents, children, friends, roommates, and many others. Our negotiation skills affect the prices we pay, the salary we earn, the movies we watch, and who cleans up the kitchen. Despite its universal appeal, the subject is mostly taught to graduate-level business students. But why should MBAs be the only ones who learn how to negotiate? Let's cut some deals.

This course will explore handmade photographic techniques such as cyanotype, platinum/palladium, gum printing, and carbon printing. We will examine photographic imagery made using these techniques by historic and contemporary figures in photography. Workshops, readings, and critique will be integrating into the technical aspects of this course. While there will be a healthy emphasis placed on technical application, the overall objective here is for students to actively explore alternative processes so as to incorporate these options into photographic practice.

How do we create environments that lead to good learning? What is the relationship between curriculum and pedagogy? How do good educators promote deep learning despite the current political climate that emphasizes content mastery and efficient instruction? Should curriculum and instruction differ between school and non-school contexts? In this course, you will learn research-based curriculum design practices, how to focus on conceptual understanding and the development of higher order thinking (e.g.

To know a thing well, you should know its history. Unfortunately, the history of psychology is often obscure, and what is written in textbooks tends to be a simplified, if not distorted, version of events. To understand what really happened, we need to go back to the primary sources, and see what people thought, what they said, and who they argued with. In this course, we'll start by reading several foundational books and papers. Then, we'll split up into groups to study various periods in the history of psychology more intensely.