African and African Disapora Studies Department
African and African Disapora Studies Department

AFR F321 • African Diasp In Americas-Bra

79820 • Vargas, Joao
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Course taught in Brazil!

AFR F372E • Afr Am Lit Snc Harlm Renais

79835 • Woodard, Helena
Meets MTWTHF 11:30AM-1:00PM MEZ B0.302
(also listed as E F376S)
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E f376S  l African American Literature since the Harlem Renaissance


Instructor:  Woodard, H

Unique #:  81660

Semester:  Summer 2017, first session

Cross-lists:  AFR 372E.5

Restrictions:  n/a

Computer Instruction:  No


Prerequisites:  Nine semester hours of coursework in English or rhetoric and writing.


Description:  Is the problem of the 21st century still the color line—as W.E.B. Du Bois (The Souls of Black Folks) termed it a century ago?  Or have we reached a so-called “post racial” or racially transcendent phase or era in which race has significantly declined—ideas foregrounded in writings by Julius Wilson and Paul Gilroy, among others?  How is the color line implicated in a postmodernist framework differently than in a modernist one?  For example, writers like the late Claudia Tate argue that because of the continuation of racial oppression and “the demand for black literature to identify and militate against it, black literature evolves so as to prove that racism exists in the real world and is not a figment of the black imagination.”  Such a view resists psychoanalytical readings that center the individual’s primary nurturing environment, rather than the external circumstances that precondition that environment.  Conversely, psychoanalysis readings of racism risk designating race as pathology.  Enter Epifano San Juan, who observes that race is “an unstable and decentered complex of social meanings constantly being transformed by political struggle….  It is a framework for articulating identity and difference, a process that governs the political and ideological constitution of subjects/agents in history.”  This course engages the eclectic quality of African-American literature since the Harlem Renaissance in the context of modernist to postmodernist debate.


Texts (subject to change):  Zora Neale Hurston, Their Eyes Were Watching God; Ann Petry, The Street; August Wilson, The Piano Lesson; Gwendolyn Brooks, Maud Martha; Toni Morrison, Home; Harryette Mullen, Sleeping With the Dictionary: (Poems).


Requirements & Grading:  .25 Midterm exam; .25 One critical paper (three to four pages; typed; double-spaced); .25 Reading quizzes; class participation; .25 Final exam.


Attendance: Regular attendance is required.  More than four absences will be sufficient grounds for failure in the course.  The four allowed absences will include illness, deaths of relatives, and other emergencies.  If you are more than five minutes late or leave before class ends (without permission), you will be counted absent for that class.  You are responsible for all work covered in your absence.


Papers: Papers are due at the beginning of class on the date assigned.  Late papers will not be accepted.  Do not slide papers under my door.  Use the MLA (Modern Language Association Stylebook for all papers.  Type papers on white, 8.5" x 11" paper, using one side only.  Bind pages with a paper clip.


Grading Scale:  A (94-95; A- (90-93); B+ (87-89); B (84-86); B- (80-83); C+ (77-79); C (74-76); C- (70-73); D+ (67-69); D (64-66); D- (61-63); F (0-60).

AFR F372E • Trans Lives: Film And Tv

79830 • Somers-Willett, Susan
Meets MTWTHF 1:00PM-2:30PM SZB 286
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AFR F374D • Art, Theft, And Hip-Hop

79845 • Makalani, Minkah
Meets MTWTHF 11:30AM-1:00PM GEA 114
(also listed as AMS F325, C L F323)
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The core artistic practice in Hip-Hop is the break beat, more commonly known as the sample. In the early days of the musical genre, the sample was a source of contention, as artists and record companies sued hip-hop artist for copyright infringement for the use of samples. This course approaches hip-hop as a cultural arts movement that thrived on and produced its art through modes of theft. From the break beat/sample, graffiti, the ability of sound systems to sonically invade private space, and thus allow the very words of the rapper to robbed non-hip-hop heads of their ability to not listen, theft has been a long standing artistic practice of hip-hop.

This course will explore the central artistic forms of hip-hop — the break beat, graffiti, b-boying, and its sonic levels — as practices of theft that outlined a new, radical black art form. Students in this course will analyze songs, films, and music videos as their primary texts in this course. Students will be graded on class discussions, three quizzes, two short (4-page) paper, and a final project on one of the core art forms that constitute hip-hop.


Sample Texts:

  • Jeff Chang, "Can't Stop, Won't Stop." (book)
  • Course packet of readings



Class discussion: 20%

Three quizzes: 30%

Two short paper: 20%

Final Project: 30%

AFR S317F • Music Of African Americans

79915 • Carson, Charles
Meets MTWTHF 11:30AM-1:00PM ART 1.110
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AFR S326 • Afro-Caribbean Pol/Cul-Nca

79920 • Gordon, Edmund
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AFR S372D • Sociocul Influences On Learn

79925 • Urrieta, Luis
Meets MTWTHF 1:00PM-2:30PM SZB 278
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