“As a twenty-three-year-old faggot, I get no affirmation from my culture,” wrote Gregg Bordowitz in 1987. ”I see issues that affect my life–the issues raised by AIDS–being considered in ways that will probably end my life.” When AIDS entered the national consciousness in the US during the early 1980s, public discussion consisted primarily of, on the one hand, misinformed reports by a homophobic news media and, on the other, the resounding silence of a government that deemed many of its citizens disposable. Against this backdrop, writers, visual artists, and intellectuals responded with a rush of activism that effectively redefined art and scholarship’s relationship to politics. This course will explore some of the works that, in the throes of an epidemic, took forms like the memoir, the comic book, the essay, as well as photography, painting, performance, and video and used them to protest the government’s neglect and the public’s indifference. Intellectuals like Bordowitz, Douglas Crimp, and Leo Bersani examined the public discourse surrounding AIDS, raising questions about pathology, sexuality, and the politics of representation, and in the process they helped to inaugurate what would come to be known as “queer theory.” The syllabus will also include writings by Paul Monette, Susan Sontag, Edmund White, and David Wojonarovicz, in addition to plays by Larry Kramer and Tony Kushner. We will look at video from the Real World Season II, ACT UP’s DIVA-TV collective, Derek Jarman, Marlon Riggs, Isaac Julien, and John Greyson, and graphic works by Wojonarovicz, Félix Gonzaléz-Torres, and Keith Haring alongside ACT-UP’s guerrilla marketing campaigns and protest materials, which created the iconography of a population whose suffering would have otherwise remained unseen.
(Cosponsored by the American Sephardi Federation.)
Depending on the source, it’s common to hear that the “Jews of Islam” either lived in conditions of intolerable oppression or within a multicultural utopia. As elements of the past are mobilized to justify both anti and pro-Zionist worldviews, the history of Jews who lived in Islamic lands has been refracted through the lens of recent political clashes.
By exposing students to the difficulties (and political stakes) involved in narrating this history, this seminar offers both a historical and theoretical introduction to the history of Jews in the Middle East and North Africa. Particular attention will be paid to the era of European colonialism and the impact of colonial rule on Jewish-Muslim relations. Merging historical studies with literary, philosophic and biographical writings, this seminar will expose students to the major debates regarding the nature of Jewish identity, the proper orientation of Jewish culture and the appropriate forms of Jewish political activism.
The final weeks of the seminar will trace the legacy of this historical experience to contemporary “Mizrachi” politics in Israel, paying particular attention to how the past is put to use by both by both right and left wing forces. Readings will amount to approximately 100 pages per week and include selections from the following texts, all of which will be provided.
Hannah Arendt, “Why the Crémieux Decree was abrogated”
Albert Memmi, The Colonizer and the Colonized
Bernard Lewis, The Jews of Islam
Mark Cohen, Under Crescent and Cross and Jews Among Arabs
Julia Phillips Cohen, Becoming Ottomans: Sephardi Jews and Imperial Citizenship in the Modern Era
Ella Shohat, “Taboo Memories, Diasporic Voices: Columbus, Palestine and Arab-Jews”
Moshe Behar and Zvi Ben-Dor Benite (eds), Modern Middle Eastern Jewish Thought
Amnon Raz-Krakotzkin, “The Zionist Return to the West and the Mizrachi Jewish Perspective”
This course will introduce students to one of the most creative figures of the Hasidic movement, and one of the key figures in the conceptualization of a Jewish literary modernity. Rabbi Nachman of Braslav (1772—1810) is widely recognized as a unique figure among Hasidic rabbis. His associative and speculative teachings, coupled with highly imaginative stories, set him apart from traditional modes of Hasidic expression. We will begin by outlining the historical and ideological context of Rabbi Nachman’s work and familiarizing ourselves with his major texts and themes, then turn to selections from his teachings and tales. Throughout the course, our readings will track the theme of emancipation in Rabbi Nachman’s work. We will read and discuss the multiple levels on which he understood the operations of the political project we call “emancipation”: as a project of rethinking the social limits of inclusion and exclusion; of losing the public markers and designations that are essential for communal (in Nachman’s case, Jewish) identity; of parsing the relation between public and private, and the disruptive role of secrecy in this relation; and of reshuffling social elements of visibility and invisibility. A contemporary of Kant and Mendelssohn, the Hatam Sofer and Joseph Perl, Rabbi Nachman’s short life spanned the American and French revolutions, the three divisions of the Polish-Lithuanian Commonwealth and the establishment of the Russian Pale of Settlement. The insights Nachman offers into the prospects and perils of political emancipation raise timely questions about our present globalizing world and its political order.
(No prior knowledge of Hebrew or Braslav Hasidism is necessary and all readings will be in English.)
Feminism has always been interested in science and technology. Twitter feminists, transgender hormone therapy, and women in STEM are only more recent developments in the long entangled history of tech, science, and gender. And because feminism teaches that technology embodies societal values and that scientific knowledge is culturally situated, it is one of the best intellectual tools for disentangling that history. In this five-week course, we will revisit foundational texts in feminist science studies and contextualize current feminist issues. Hashtag activism and cyberfeminism, feminist coding language and feminized labor, and the eugenic past of reproductive medicine will be among our topics. Readings will include work by Donna Haraway, Maria Fernandez, Lisa Nakamura, Beatriz Preciado and more. Participants of all genders are welcome. No prior knowledge in feminist theory is required.
During the fall 2014 semester, courses similar to this one are taking place across North America in a feminist learning experiment called the Distributed Open Collaborative Course, organized by the international Feminist Technology Network (FemTechNet). As a node in this network, our class will open opportunities for collaboration in online feminist knowledge building—through organizing, content creation, Wikipedia editing, and other means. Together, we will discuss how these technologies might extend the knowledge created in our classroom to audiences and spaces beyond it.
Historically, documentary has been a genre known for championing disinterested objectivity in the pursuit of truth. Personal experience was considered a suspicious and illegitimate subject matter for documentary, relegating autobiographical filmmaking to the avant-garde or the home movie. However, since the 1980s personal documentary has emerged as a robust film mode with wide mainstream appeal, as evidenced by the success of such films as Ross McElwee’s Sherman’s March and Nathaniel Kahn’s My Architect. In this course, we will survey the terrain of personal documentary in all its complexity—its experimental roots, and its current mainstream appeal. We will ask a number of important questions: is personal filmmaking inherently narcissistic? What tools—such as voice-over, archival materials, and interviews—do filmmakers employ and why? What is the relationship between personal and collective memory? Why has the personal register been so central for feminist filmmaking? And perhaps the question every personal filmmaker has to answer—why should anyone care about my life? Drawing from readings in documentary studies as well as cultural theory, we will examine concepts such as the performance of identity, the archive, and collective memory, as well as related documentary modes such as the home movie, the video diary, and the essay film. From the wry self-deprecation of Alan Berliner’s Nobody’s Business, to the DIY confessionalism of Sadie Benning’s Pixelvision video diaries, to the genre-bending fantasy of Guy Maddin’s My Winnipeg, we will develop a sophisticated understanding of a filmic tendency that has been around as long as the camera, but is rarely given the depth of study it merits.Screenings included.