Course Requirements (600 points possible)



Gender and Expressive Culture, 428Department of Gender and Women’s Studies and Comparative Literature and FolkloreSpring, 2019Professor Christine Garlough3460 Sterling HallOffice Hours: Tuesday 3:00-4:00 and by appmt.e-mail: clgarlough@wisc.eduCourse descriptionHow are gender and sexuality been expressed through cultural forms? What can we learn from studying representations of gender and sexuality in expressive cultures across the globe? Expressive culture -- dance, music, literature, visual media, and theater -- includes the practices, emotions, and ideas found within the social production of aesthetic forms and performances in everyday life. This course will examine aesthetic, pragmatic and philosophical aspects of expressive culture and explore how these forms engage with our deepest wonders and concerns as human beings. In doing so, students will be asked to explore the ideals, traditions, and norms inherent in their own cultural practices, as well as understand and appreciate the expressive cultures of others. Learning Outcomes This course aid students in developing the following learning outcomes, based on both University of Wisconsin – Madison Essential Learning Outcomes (), and the more specific outcomes developed by the Gender & Women’s Studies Department. ? Knowledge of the field of Gender and Women’s Studies, in the specific area of gender, folklore and popular culture texts and performances. ? Intellectual and Practical Skills, including: Interdisciplinarity, Critical thinking, Effective Writing and Oral Communication, and Collaboration. ? Personal and Social Responsibility, including critical self-awareness, critical social awareness and ethics.Course Readings (journal articles and chapters) on Canvas.Text available at a Room of One’s Own BookstoreCourse Requirements (600 points possible) Class Participation: 150 pointsClass participation in this course is key. You are expected to respond to course material, lecture content, and general class discussion. Please note that attendance and participation are not equivalent. Your participation is worth up to 150 points. These points are earned through your active engagement; not simply through perfunctory remarks made each class. Attendance will be taken; if you miss more than two class sessions, without preapproval, points will be deducted. If you are inclined to remain quiet in class discussions, please come to see me early in the semester. Together, we will formulate a plan that will help you to participate at increasing levels of comfort. Rather than simply considering theories or methodologies in the abstract, we often will examine their pragmatic value through small group activities held in class. The purpose of these groups is four-fold. First, they provide an immediate means to discuss issues raised in lecture. Second, when groups share their insights with the rest of the class, it will facilitate the exchange of ideas. Third, these groups will provide another means through which students can experience aspects of persuasion, intercultural communication, and deliberation. Each group will consist of three randomly selected members who will work together throughout the semester. You will be assigned your group during the first class meeting. In addition to regular activities, groups will pick two days to “spark” discussion. On the assigned day for their group, each student in the group will present one or more examples of expressive culture relevant to the day’s topic and provide 3 reflection questions for the class to discuss. Short Weekly Responses: 100 pointsAny changes to the course will be communicated in class and through email notifications. It is your responsibility to check these notices on a regular basis. I expect students to have read the assigned material and come to class prepared to discuss the readings.Reading Responses: Seven times over the course of the semester, students will compose a half page, double-spaced reading response that engages with the week’s readings. These exercises are designed to: 1) help focus your thinking about the readings; 2) give you practice in identifying and articulating the thesis of a book or article and describing briefly how that argument is developed; 3) encourage you to examine and analyze different forms of scholarly evidence; 4) ask you to identify and explore the larger conversation that these articles and books contribute to; and 5) enable you to engage and critique feminist scholarship in a variety of fields and disciplines. These will not be graded but are due at the beginning of the class period. 2 Papers (These assignments are detailed in separate handouts.)Writing is a process. Indeed, all good writing requires rewriting. Consequently, good writing takes time. One major goal of this class will be the formation of habits of writing as a multiple-draft process. You will be required to bring a draft of each of the writing assignments to class on the date drafts are due. These will be used for peer response activities. In addition, I will return drafts (ungraded) with comments about the kinds of major revisions that you will be expected to make before submitting your final paper.Papers should be typed double-spaced. A specific citation style (MLA, Chicago, APA) should be used consistently and correctly.Short Paper (100 points) Due: 3/53-4 page paper – choose ONE of the following options: 1) auto-ethnography or ethnography of expressive culture2) media analysis (film, TV, newspapers, social media etc.)3) art (traditional media like painting, printmaking, and sculpture) critique4) material culture/crafting critique5) performance critique6) novel/graphic novel/zine critique7) food studies critique8) photography critique Final Paper/Performance/ Exhibit/Social Media Project/Curriculum guide (250 points)See Instruction guide for details.Interest area and topic statement duedue 3/12 (ungraded and checked off)Peer-review duedue 4/23 (ungraded and checked off) Final product due due during the scheduled final exam Final GradeFinal grades will be determined according to the following official UW grading scale: A 93-100, AB 88-92, B 83-87, BC 78-82, C 70-77, D 60-69, F below 60 Hence, final grades will be assigned according to the following scale:A93% – 100%558-600A/B88% – 92.9%528-557B 82% – 87.9%492-527B/C 78% – 81.9%468-491C 70% – 77.9%420-467D 60% – 69.9%360-419F 00% – 59.9% 00-359Your final grade is final. Please do not request a change of grade for reasons other than mathematical error. Applying subjective standards after the fact invalidates the standards applied to the entire class and is unfair to every student.Good Things To KnowAttendance: Small group work will be announced and conducted the same day; therefore, missing lecture will prevent you from participating. In addition, material presented in class often is not available in other resources, and you will be held responsible for that material. Also, I assume you receive any announcements or any handouts during class. Help: This course is writing intensive and may require you to think and write in ways that are unfamiliar to you. I encourage you to utilize my office hours to talk about assignments. Also, I encourage all students to use the Writing Center resources.Late Assignments: Late papers will be docked 10% of the available points for each day late. The day a paper is turned in is defined by when a department secretary or I receive a hard copy of the paper, so you should always be sure to give your paper directly to one of these people. Please note: Papers submitted via email will not be accepted.Illnesses and Other Personal Emergencies: If you experience an unavoidable personal situation that prevents you from completing work on time, you must take responsibility for informing me prior to the date the work is due. A failure to contact me prior to the due date will result in the application of the late assignment policy described above. Extensions will be granted for substantiated emergencies.Religious Holidays: If you plan to miss class for religious holidays, state in writing the days you will be absent and submit that information to me by the third week of class.Incompletes: As per University policy, incompletes are reserved for students who are earning a passing grade, but are unable to complete the course due to illness or conditions beyond the control of the student.Academic Misconduct: Students sometimes take desperate measures to complete a paper, especially if they feel overwhelmed by the demands of an assignment. Please do not do this. Instances of academic misconduct will be penalized to the fullest extent in all cases. If you find yourself unable to complete an assignment and considering acts such as plagiarism, please seek help with the assignment.Course ScheduleWeek 1 - Course introduction: Gender and Expressive Culture(1/22)Questions to reflect upon: What is expressive culture? Why is it an important site of exploration for those interested in gender and women’s studies? What can it reveal about the human condition? How might expressive cultures be a site of cultural change?Required Readings:Abrahams, “Introduction to Vernacular Culture”Green, “It’s Okay Once You Get it Past the Teeth and Other Feminist Paradigms for Folklore Studies”Optional Enrichment readings:Feintuch, Eight Words for the Study of Expressive CultureHalberstam, “Queer and Subjugated Knowledges: Generating Subversive Imaginaries”Georges and Jones, “Introduction: Folklore and Is Study”Pilcher and Whelehan, “50 Key concepts in Gender Studies” Resource Material for Semester”Mills, “Feminist Theory and the Study of Folklore” Nenola, “Gender, Culture and Folklore”Hirsch, “What’s Wrong with These Terms? A Conversation with Barbara Kirshenblatt-Gimblett and Diana Taylor”Week 2 - Wonder: Folklore and Feminism (1/29)Questions to reflect upon: Why has the concept of “wonder” played such an important role in areas like philosophy and literature? Is “wonder” the beginning of wisdom? Why might the experience of wonder have emancipatory potential? Required Readings:Gencarella, “Constituting Folklore: A Case for Critical Folklore Studies”Wilde, “Repackaging Disney Princesses: A Post-Feminist Reading of Modern Day Fairy Tales”Gaiman, Tale of “The Sleeper and the Spindle” and “Why Our Future Depends on…” Optional Enrichment Readings:Zipes, “Breaking the Magic Spell: Politics and the Fairy Tale”Kousaleos, “Feminist theory and Folklore”Zipes, “Petronella” Bacchilega, “An Introduction to the ‘Innocent Persecuted Heroine’ Fairy Tale”Gaiman, “Diamonds and Pearls: A Fairy Tale”Week 3 - Mythology, Technology, and Gender(2/5)Questions to reflect upon: What are myths why are they significant to the study of human experience? What is the relationship between myth and meaning? How has gender been explored through mythic representations in various forms of expressive culture? Gaiman, “Some Reflections on MythDowden, “How Myths work”Larrington, Selection from “The feminist companion to mythology” Myth of MedusaOptional Enrichment readings:Haraway, “Simians, cyborgs, and women”Levi-Strauss, “Myth and Meaning” Agamben, “Unspeakable Girl”Anderson, “Myth and Feminist Philosophy”Zeitlin, “Configurations of Rape in Greek Myth”Week 4 - Crafting Rhetoric: Folklore Activism through Material Culture, and Craftmaking (2/12) Questions to reflect upon: What is the relationship between art and activism in the public sphere? What are some aims of activist artists? What makes activist art more or less effective? Required Readings:Csikszentmikalyi and Bennett, “An Exploratory Model of Play”Kodish, “Envisioning Folklore Activism”Santino, “Performative Commemoratives” Optional Enrichment Readings: Huizinga, “Homo Ludens”Mitscherling, “Gadamer’s Legacy in Aesthetics and Plato Studies: Play and Participation in the Work of Art” Bryant, “Rhetoric: Function and Scope”Week 5 - Feminist Politics of Care and Love: Storytelling and Performance(2/19)Questions to reflect upon: What makes for a good story and an engaging storyteller? When and why do audiences engage with performances? How are performance and performativity related? Why are these important concepts in GWS scholarship?Required Reading:Ahmed, "Feminism is Sensational." in Living a Feminist Life. Duke University Press: 19-42.Sevenhuijsen, “Intro” Citizenship and the ethics of care: Feminist considerations on justice, morality and politicsHamera and Conquergood, “Performance and Politics”Optional Enrichment Readings:Gerdes, Kendall. “Performativity” in?TSQ: Transgender Studies Quarterly, Volume 1, Numbers 1–2: 148-150Madison and Hamera “Performance Studies” Munoz, “Queers, Punks and Utopian Performance”Butler, Judith. 1997. “Gender Is Burning: Questions of Appropriation and Subversion”Conquergood, “Performance Studies: Interventions and Radical Research”Hamera, “Performance and Performativity”Rodriguez, Rich, Hastings and Page, “Assessing the Impact of Augusto Boal’s Proactive Performance: An Embodied Approach for Cultivating Prosocial Responses to Sexual Assault”Week 6 – Magic and Gender in Expressive Culture(2/26)Questions to reflect upon: What is magic and how has it been practiced in diverse cultures? What role does it play in human experiences of uncertainty? What is the dynamic relationship between magic and science? How has magic been explored through gendered representations in expressive culture? Required Reading: Small group pick: Magical Fiction Tatar, “From Nags to Witches: Stepmothers and other Ogres” Sullivan, “Folklore and Fantastic Literature”Optional Enrichment Readings: Randolf, “Ozark magic and folklore”Blecourt and Davies, Introduction (p.1-13) to “Witchcraft Continued”Wood, “Gipsy Witches and Celtic Magicians”Kidd, “Queer Theory’s Child and Children’s Literature Studies’Fraser, “Zosimos of Panopolis and the Book of Enoch: Alchemy as Forbidden Knowledge”Malinowski, “Magic, Science and Religion”Week 7 - Gender and Folklore in Comic books, Graphic Novels, and Film(3/5)Questions to reflect upon: How might we understand representations of gender, race, class, disability and sexuality in comic books, graphic novels, and film? How have artists, writer and scholars sought to trouble these representations? Required Readings:Matsuuchi, “Wonder Woman Wears Pants”Garland, T. S., Branch, K. A., & Grimes, M. “Blurring the lines: reinforcing rape myths in comic books”Peters, “Qu(e)erying Comic Book Culture and Representations of Sexuality in Wonder Woman”Examples of Tank Girl Enrichment Reading: Zolkover, “Corporealizing Fairy Tales: The Body, the Bawdy, and the Carnivalesque in the Comic Book Fables” Edwards, “Transformations of the Woman Warrior Hua Mulan: From Defender of the Family to Servant of the State” Iron JohnEmad, “Reading Wonder Woman’s Body"Week 8 - Ritual and Communitas: Carnivalesque, and Festivals(3/12) Questions to reflect upon: Tourism? Heritage events? Essentialism and tokenism? Santino, “The Carnivalesque and Ritualesque” Negra, “The Irish in Us” Wang, “Authenticity in TourismOptional Enrichment Readings:Dallen. “Tourism, Religion and Spiritual Journeys”Turner, “Liminality and Communitas”Eliade, “Sacred Space and Making the World Sacred”Halewood and Hannen “Viking Heritage Tourism” Byler, "Curious Images from Northwest China: Ethics and Poetics in Carolyn Drake's Travel Photography" Week 9: SPRING BREAK(3/19)Week 10 - Missing and Murdered Indigenous Women (MMIW) Art and Activism(3/26)Questions to reflect upon: What is haunting? What is uncanniness? How are these concepts used to work through trama? How can we conceptualize absence or create images of the missing? Required Readings:Razack, "Sexualized Violence and Colonialism: Reflections on the Inquiry into Missing and Murdered Indigenous Women" Flowers, "Refusal to forgive: Indigenous women's love and rage"?Gordon, A. F. (2011). Some thoughts on haunting and futurity.?borderlands,?10(2).Optional Enrichment Readings:Derrida, “The Uncanny” Freud, “The Uncanny”Hearne, “John Wayne’s Teeth”Beniuk, "Indigenous Women as the Other: An Analysis of the Missing Women's Commission of Inquiry"?Clark, "Perseverance, determination and resistance: An Indigenous intersectional-based policy analysis of violence in the lives of Indigenous girls"?Week 11 - Food Studies and Feminism(4/2)Questions to reflect upon: What practices and beliefs can we see in the creation and consumption of food? What can food studies contribute to research in GWS? What are issues of sustainability?Required ReadingsNestle & McIntosh, “Writing the food studies movement”?Belasco, “Why Food Matters”Ketchum, “Counter Culture: The Making of Feminist Food in Feminist Restaurants, Cafes, and Coffeehouses”?Optional Enrichment ReadingsAvakian, “Cooking up lives: Feminist food memoirs”Long, “Culinary Tourism: A Folkloristic Perspective on Eating and Otherness”Lysaght, “Women, Milk and Magic at the Boundary Festival of May”Shuman, “The Rhetoric of Portions”Week 12 - Crafting and Feminist Zines(4/9)Questions to reflect upon: What is the relationship between crafting and zines? What is the political potential? Required Readings: Katriel, Tamar, and Thomas Farrell. 1991. “Scrapbooks as Cultural Texts: An American Art of Memory.” Text & Performance Quarterly 11.1 (1991): 1-17.Piepmeier, "Pedagogy of hope: Feminist zines."?Jones, “Pintrest, Yearning and Self-Surveillance”Optional Enrichment Readings:Freeman, “Grrrl Zines”Harris, Anita. "Riding my own tidal wave: young women's feminist work."Tamas, “Scared Kitless: Scrapbooking Spaces of Trauma”Berger and Del Negro, “Bauman’s Verbal Art and the Social Organization of Attention: The Role of Reflectivity in the Aesthetics of Performance” Week 13 - Humanity and Animality and Sexuality(4/16)Questions to reflect upon: What does it mean to be human? What is the connection between animality and otherness? Required Readings: Agamben, “The Ban and the Wolf” from Homo Sacer, p. 63-66Zipes, “A Second Gaze at Little Red Riding Hood’s Trials and Tribulations” Lau, “Erotic Infidelities: Angela Carter’s Wolf Trilogy”Optional Enrichment Readings: Wyatt, “The violence of gendering: Castration images in Angela Carter's The magic toyshop, The passion of new Eve, and “Peter and the Wolf”Bonner, “Visualizing Little Red Riding Hood”Cavell, Diamond, McDowell, Hacking, Wolfe, “Philosophy and Animal Life” Martin, “The Power of Monstrous Women” Cohen, “Monster Culture”Fulmer, “Men Ain’t All”Week 14 - Music and Dance in Feminist Circles(4/23)Questions to reflect upon: How have moments of social and political progress been linked with musical sites of resistance? How can music, through its abstract language, transform how perceive the world?Required Reading:Firth, “Music and Identity”Davis, “Should a feminist dance tango? Some reflections on the experience and politics of passion”Pedersen, “The Raging Grannies: Activist Grandmothering for Peace”Optional Enrichment ReadingsRoy, “Pesky Raging Grannies: Speaking Truth to Power”Hamera, “The answerability of Memory: Saving Khmer Classical Dance”Week 15 - Course Review and Celebration(4/30) ................
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