Current and Future courses (extended abstracts at bottom of page)
CST 210 (CRN 43098) / HMR 200B (CRN 43145) – Memory, Culture, and Human Rights
PFS298 (CRN 34660) – Performance Writing Jon Rossini. W 10a-12p Wright 222
PFS/STS 298 “Critical and Creative Embodiment: Practicing Research and Researching Practice” with Joe Dumit Tue 2-5p, Wright 222
Comp. Lit. 210 (CRN 16710) Chinese Cinema (4 units)Sheldon Lu R 2:10-5:00P 3 Wellman Hall
PFS 265D Black Performance Theory Danielle Heard TBA
STS 250 (counts as PFS 265B) – Bodies, Embodiments, Affects, Movements, Joe Dumit
DRA 251 – Scripting and Scoring
AHI 190/290 – Cultural Heritage in Wartime Professor Watenpaugh
PFS 259 – Trans Feminist Performance: Queering Ecology Jean Vaccaro
PFS 265A (CRI 200C) – History of Critical Theory, Kriss Ravetto-BiagioliE
PFS 265C (NAS 224) – Performance in the Americas Zoila Mendoza
CDM 163 – Between the White Cube and the Black Box Fiamma di Montezemolo
EDU 230 – Critical Race Theory in Education, Patricia Quijada
AHI 200A – Visual Theory, Professor Watenpaugh
TR 3:10-6 PM
STS 200 – Theories and Methods in Science and Technology Studies, Colin Milburn
T 9 AM-12 PM STS Seminar Room (SS&H 1246)
REL 230F- Visual, Cultural, Media Technology Circulation of Culture: South Asian Documentary Cinema, Gargi Sen W 3:10-6:00 PM
GER297 – Graduate Film Studies; The Case of Cinema in Germany, Professor Fisher
ENL 280: Digitizing the Early Modern M 12:10-3:00 PM
WMS 200B 001 – Feminist Research – Rana Jaleel
MUS 221 – Music and Nature/Ecomusicology – Beth Levy
FMS ??? – Graduate Film Studies: The Case of Cinema in Germany – Jaimey Fisher
DRA 158 – Tactical Performance – Lawrence Bogad
PFS 259 – Gina Bloom – Theorizing Media and Performance – W 2:10 – 5, 248 Voorhies
CST 210 (CRN 43098)/HMR 200B (CRN 43145). MEMORY, CULTURE, & HUMAN RIGHTS Professor Lazzara Hart Hall 3114, Wednesdays 1:10-4 p.m.
Although “memory” has been a topic for intellectual reflection since classical antiquity, it has experienced an upsurge in academia since the 1980s, particularly due to the rise of Holocaust Studies and the urgent need to reflect on gross human rights violations around the world. Crossing the social sciences and humanities, memory has become a category for critical inquiry as well as a political and ethical imperative that links intellectual reflection to political activism in the aftermath of authoritarian regimes, genocide, and situations of violence. Furthermore, “memory studies” now find spaces of institutional legitimacy in the U.S. and abroad as master’s programs and specialized journals promote scholarship in this area.
What are memory studies: an autonomous field, a space of inquiry that permits certain kinds of interdisciplinary work? What kinds of work can be done within the rubric of memory studies? What are the limits, drawbacks, and untapped potential of this framework? This course looks at the productivity of “memory” as a lens through which to do cultural studies work; in so doing, it explores the multiple convergences among memory, culture, and human rights. We will discuss how societal actors in different historical, cultural, and national settings construct meanings of past political violence, inter-group conflicts, and human rights struggles. We will also work to acquire the critical vocabulary that scholars working in this area regularly use.
Readings will mostly be theoretical or conceptual in nature, although we will also discuss a few “primary” texts derived largely from Latin America, an area in which memory studies have firmly taken root. Given the limited time we have in the seminar, primary texts will touch on the literary genres of fiction and testimony, although students are welcome to engage with other cultural objects—film, music, memorials, etc.—in their individual projects. Additionally, seminar participants will be encouraged to draw parallels to other contexts and geographies that are relevant to their individual research programs.
This course serves as one of the two core graduate seminars for the DE in Human Rights: https://humanrightsminor.ucdavis.edu/de.
Comparative Literature 210 Section 001. Chinese Cinema (4 units)
Sheldon Lu R 2:10-5:00P 3 Wellman Hall CRN 16710
Course Description: This quarter we focus on the rich cinematic traditions of China. We begin with early Chinese cinema and move all the way to the twenty-first century. Students will explore the themes, styles, aesthetics, stars, and socio-political contexts of particular films as well as the evolution of entire film industries. Representative directors and internationally renowned filmmakers will be discussed, such as Xie Jin, Zhang Yimou, Chen Kaige, Ang Lee, Jiang Wen, Feng Xiaogang, and Jia Zhangke. We examine Chinese cinema as an outgrowth of indigenous, national roots as well as a necessary response to international film culture. We look at how films engage in social critique and cultural reflection, and how film artists react to the conditions and forces of socialist politics, capitalist economy, tradition, modernization, and globalization in Chinese-speaking regions.
Companion course to COM 180 for graduate students.
Prerequisite: Graduate standing in Comparative Literature, English, or a foreign-language literature, or consent of instructor (firstname.lastname@example.org).
Format: Discussion – 3 hours; Term Paper.