Intersectional Voicing: Modern US Women Novelists

This course will look closely at a small selection of plays adapted from other works. At its core this is a dramaturgical practice and methods course. Students will investigate impulses and processes for re-envisioning, re-working, re-purposing another’s text. We will read and discuss some theories of adaptation (mostly, but not exclusively, as they pertain to collaborative art making practices) as well as a sampling of contemporary criticism. A central goal of the course will be to better understand how the term adaptation is understood across disciplines and to fuel a complex discussion about what might make a theatrical adaptation feel relevant or effective in a given context. We will also look closely at moments in history that have instigated a serious 'looking back', spurring a collective creative impulse to re-visit and re-invent previously established works. One could argue that we are currently living in such a cultural moment. Please note: this course requires a significant reading load. Students will be required to close read/view all adapted texts, all original source materials and a variety of supporting texts (as described above). We will also draw from film, visual art and music for this study. Evaluation will be based on a sequence of short practical assignments and demonstrated engagement with the course materials through live discussion and a shared class blog.

The Monster is real, and it’s calling. -Michelle Mcnamara

Grew up reading Nancy Drew and Miss Marple? Can’t let a day go by without listening to a murder mystery podcast like Serial or My Favorite Murder? Love binge-watching shows like Killing Eve and Big Little Lies? Consider watching true crime documentaries your hobby? Then this is the class for you.

This college seminar will allow you to delve into the world of murder, mysteries, and the mayhem caused by these through a woman’s eyes. Be it a woman sleuth, a femme fatale, or a damsel in distress, women have been inextricably related to the world of crime. It is no wonder that they make up almost 75% of the listeners of true-crime podcasts and 80% of CrimeCon attendees (Times.com). We will study this phenomenon by paying close attention to not only literary genres like novels, short stories, and non-fiction writing but also non-literary (and multimodal) genres that include pop-culture favorites like TV shows, documentaries, and podcasts, some of which are mentioned above. Other works that we might consider are Sharp Objects (fiction), Dial A for Aunties (fiction), I’ll be Gone in the Dark (non-fiction), Mommy Dead and Dearest (documentary), and The Keepers (documentary).

Since this class also meets the writing requirement, part of your focus will be understanding writing as a dynamic literate activity by composing varied works. For example, you’ll write short reflection posts responding to questions like “Why women kill”?, opinion or review pieces that could appear in The New York Times, conduct interviews, and work on a term-long genre evolution project. All these are different genres and might target a specific audience: me, online readers, fans, or your peers. You will be evaluated on class participation, written work, and a final project.

Students will be evaluated on class participation, written work, and a final project. Lots of attention will be paid to peer review and revision as well.

As a Pakistani-American teenager from New Jersey, Kamala Khan must contend with being a non-white female offspring of an immigrant family, a reality further complicated by her newfound superhero abilities. In this college seminar course, we will dive into the world of Kamala Khan as she follows in the footsteps of her role model and the first Ms. Marvel, Carol Danvers, one of the few female superheroes in the universe. She’ll change your idea of a superhero and what it means to be one as she balances her personal and superhero identity and navigates questions of race, religion, culture, power, and teenage angst.

We will explore all the abovementioned ideas and more as we read three to four volumes of Ms. Marvel comics (2014 onwards), paying attention to storytelling through the genre of sequential art. We will also watch the recent TV adaptation (2022) and finally pair the two with theories of race, Islamophobia, gender, and current world politics. Since this class also meets the writing requirement, part of your focus will be on understanding the writing process by composing varied works. For example, you’ll write short blog posts responding to questions like, “Are comics literature?”, opinion pieces that could appear in The New York Times, and fan fiction. All these are different genres and targeted at a specific audience, me, online readers, fans, and your peers. You will be evaluated on class participation, written work, oral presentation, and a final project.

Picture this: you and your friends are grabbing burgers and you overhear someone order a pop. You instantly get the urge to correct them because soda is the proper word you were taught. Later, the server brings the coke they ordered, which further increases your urge to intervene because they actually ordered Sprite. After all, soda is the correct word. Or is it? Which word is correct? Actually, they all are.

Linguistic variation is inherent to all languages and from a linguistic standpoint, all languages are equal. Yet, humans are continuously judged, evaluated, and discriminated against based on how they speak and write in professional, academic, and everyday settings. These seemingly innocuous comments about correctness have harmful effects on people who don’t conform to perceived language standards. As a result, various forms of discrimination and policies that exist continue to marginalize people due to misinformation and in some cases, disinformation. In this class, we will examine the intersections of language, ideology, and discrimination in everyday, educational, and professional settings while developing our research practices.

Classes will be facilitated through weekly reading discussions and discourse analysis of data (i.e., data sessions) in small and whole group activities. Readings will address the intersections of language and discrimination, such as accentism, racialization, language subordination, and social identities. The class will provide foundational concepts from applied linguistics and related fields, such as sociolinguistics and linguistic anthropology. The course is also focused on developing your research literacies and project management skills. You will learn how to develop and carry out a project, evaluate the credibility of information, and various types of data. Labs will be used to create space for data sessions and peer-reviews.

Through discourse analysis, you will apply concepts you learned in class to develop your understanding of linguistic diversity and language related issues. Projects can utilize print and digital media to address, for instance, monolingual policies and their impact in educational or workplace settings, intersections of language and gender or race, and various forms of linguistic discrimination in the US or other contexts.

There are no prerequisites and this course is suitable for students who are curious about language, discourse, social issues, as well as research. Students will be evaluated based on completed assignments, such as readings and other homework, research projects, peer-review, and overall class contributions, including lab sessions. You must be prepared to reflect on implicit biases and perceptions of language and rethink how you approach and conceptualize research. This course meets both the writing requirement and HS requirement as it develops genre knowledge, rhetorical awareness, understanding of writing as dynamic and iterative processes, and research literacies grounded in social sciences.

This course is designed for science students developing their professional communication skills. It will improve the students' writing ability by introducing them to writing for the scientific community and for the lay public. The course involves understanding the protocols for writing a scientific paper based on lab or field data, including learning to write an abstract and literature review. Students will also learn and apply visual and oral communication skills to construct and present a scientific poster. In addition to working with the instructor and in-class peer reviews, students will work on the content of their writing and grammar with writing tutors.

This course will explore heroines from two Hindu epics, Mahabharata and Ramayana, alongside the Greek mythological figures Ariadne, Medusa, Circe, and Galatea. Both sets of heroines have generated deeply rooted cultural archetypes. Central to the upbringing of more than half of the Indian population through comic books, TV shows, movies, and the like, the Hindu epics have set the standard for what an ideal Hindu woman should be, bolstering the patriarchal system in the name of religion and culture. Much like Helen of Troy, “the face that launched a thousand ships” in Greek mythology, some of these women have been the cause of wars of “epic proportions.” Others have become infamous archetypes for women’s witchiness and trouble-making, especially in Greek epics Western authors have retold. Myths of their beauty or its opposite have long been part of these narratives, but do we hear them speak? What do we know about the power they yield? Epics and mythologies have been unable to provide us with concrete answers.

Therefore, we will turn to female authors like Chitra Banerjee Divakaruni, Kavita Kané, Volga, and Vaishnavi Patel for the Hindu epics and Madeline Miller, Jennifer Saint, and Rosie Hewlett for the Greek tales. These authors have created spaces where women’s voices can be heard and analyzed, where archetypal and epic types can be studied as multifaceted humans. We’ll not only read their novels closely but also supplement their work with feminist theory and short videos. Eventually, we’ll trace how these epics stay relevant with regard to the construction of gender and sexuality in the modern Indian and Western world.

Students will be evaluated based on class participation, an oral presentation, response posts, final paper, and a multimodal project. This class will be good for students who are interested in reading feminist literature and theory and understanding the enduring power of epics and myths as well as the contemporary feminist purpose in giving their heroines voice. Reading the Indian epics alongside the Greek tales will provide an opportunity for ample comparison of patriarchal systems and how they developed in representative cultures from the East and West.