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Women's Studies 352: Women in Literature

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Women's Studies 352: Women in Literature Women’s Studies 352: Women in Literature Fall 2016 Instructor: Dr. Anh Hua Associate Professor, Women’s Studies Office: Arts and Letters Building, Room #313 Office Phone: 619-594-7146 Email: [email protected] Office Hours: Mondays 1:00 p.m. – 3:00 p.m. or by appointment Section 1, Mon/Wed, 9:00 a.m. – 9:50 a.m., SH 109 Section 2, Mon/Wed, 11:00 a.m. – 11:50 a.m., AL 204 In this general education course in the humanities, Women in Literature, we will examine the creative and critical writings by women writers in the U.S, Canada, and the UK. In particular, we will focus on the writings by Black women, Asian women, Aboriginal women, Chicana women, and Iranian women. We will examine a variety of genre including novels, memoirs, short stories, poetry, and narrative film. Some of the themes and issues we will explore include: gender, race, class, sexuality, memory, history, diaspora communities, identity formations, language, body, heterosexual and homoerotic desire, decolonization, anti-racist struggles, migration, nationhood, cultural reclamation, female solidarity and empowerment, relationships and love. Some of the feminist authors we will read include Jeanette Winterson, Toni Morrison, Hiromi Goto, Linda Hogan, Yasmin Crowther, Maxine Hong Kingston, Sandra Cisneros, Audre Lorde, Cherrie Moraga, Gloria Anzaldua, Rishma Dunlop, Marilyn Chin, Opal Palmer Adisa and others. Note: This is a hybrid course. We meet on Mondays and Wednesdays in the classroom, but will perform on-line activities on Fridays. Required Texts (available for purchase at SDSU Bookstore): Jeanette Winterson. Written on the Body. New York and London: Vintage, 1994. Toni Morrison. Sula. New York: Plume, 2002. Hiromi Goto. Chorus of Mushroom. Edmonton: Newest Press, 1996. Linda Hogan. The Woman Who Watches Over the World: A Native Memoir. New York: W.W. Norton, 2001. Yasmin Crowther. The Saffron Kitchen. New York: Penguin Books, 2006. 1 Other readings will be posted on Blackboard. Grading: Creative Project 20% Essay 30% Group Presentation 20% Final Exam 20% Attendance & Participation 10% Readings: Readings that are listed on the course outline are to be completed by class time on the day for which they are listed. Assignments: Hard copy of all assignments must be given to your instructor in lecture of the due date. They must be typed, stapled, double-spaced and on one side of the sheet only. All papers are to be done in MLA style and have a complete bibliography. All essays must have a clear thesis statement that is supported by the body of the paper. Electronic submissions of work will not be accepted. Guidelines for papers will be given out closer to each paper’s due date. Exam: Exam will cover material from the lectures, readings and films shown in class. Attendance and Participation: Students are expected to attend every class, keep up with readings, and participate in in- class discussions and activities. The final attendance and participation grade will be determined based on attendance and participation in class discussions. Late work/Makeup exams: Students are expected to turn in all work on time. Late papers will only be accepted in the case of documented illness, emergency, or other misadventure. Similarly, make-up exams will only be given to students with documented reasons for missing the actual exam. Students need to contact the instructor within 24 hours of the exam if they miss the exam. Plagiarism: Plagiarism will not be tolerated. Plagiarism is the use of anyone else’s ideas as your own in your written work. When using another individual’s ideas in your work, you must acknowledge this by using the appropriate citations. Students who violate the university’s policies on plagiarism or academic dishonesty will receive disciplinary and/or academic sanctions, according to university provisions. Penalties for plagiarism range from an F in the course to expulsion from the university. (See SDSU General Catalogue) 2 Course Objectives Your progress throughout the course will be demonstrated in various ways. Learning should occur both inside and outside of the classroom, through assigned readings, in class discussions and activities, group work, films, written assignments, and critical self- reflection. Anticipated Learning Outcome: - Sensitivity to intersecting concerns of a diverse set of women characters and writers. - Application of feminist theoretical ideas and terms to women’s experiences. - Cultivation of analytical thinking and close reading skills through class activities and discussions, group presentations, and a variety of writing assignments. - Analyze the intersectionality of different social identities – gender, race, class, sexuality, age, and nationality – as concepts and as lived experience. - Understanding various postcolonial and anti-racist feminist concepts and ideas such as memory, identities, migration, diaspora, and so on. - Comprehending the power of creativity, invention, and imagination for the less privileged and how the arts and critical writing can become a form of activism and social change. Class Policies - Students are responsible for all assignments and announcements presented in class. If you are late or absent, it is your responsibility to contact another student. - Be in class on time and prepared to participate in class discussion. - Racist, sexist, homophobic, crude, or inappropriate remarks of any kind will not be tolerated. Respect your classmates and instructor. Always use civil discourse in class. - Please turn off and stow away all electronic devices, such as cell phones, text messengers, iPods, pagers etc. at the beginning of the class. - Computer laptops will not be permitted in class. - If you are caught texting in class, I may have to ask you to leave the classroom. Grades will also be deducted if caught texting in class. Blackboard Most handouts given in class, as well as announcements, will be posted on Blackboard. If this is your first time using Blackboard, go to the Blackboard login page at http://blackboard.sdsu.edu and enter your username and password. If you have questions, visit SDSU e-Services at http://sdsu.edu/e-services. Contesting Your Grade If you choose to contest a grade you received on an assignment you must first submit in writing an explanation of why you think your grade should be improved along with a copy of the assignment in question within 2 weeks after the graded assignment was returned to you. Please bear in mind that when seeking a change in grade it is possible that your mark will be lowered just as well as increased. 3 Students with Special Needs Students who need accommodation of their disabilities should contact me privately to discuss specific strategies for accommodation; however, they must have received authorization beforehand. If you have a disability, but have not contacted Student Disability Services (619-594-6473, Calpulli Center, Suite 3101), please do so before making an appointment with me. Major and Minor in Women’s Studies Thinking about a Major or Minor in Women's Studies? The program offers exciting courses, is committed to women's issues and social justice, and is adaptable to your interests and concerns. Women's Studies is not impacted! For more information contact the Undergraduate Advisor, Dr. Irene Lara, at [email protected], 619-594-7151, 353 Arts and Letters. Schedule Week 1: August 29 & 31 Introduction to the Course: Women, Creativity and Writing Week 2: Sept 5 (Labor Day – no class), Sept 7 Jeanette Winterson: Ambiguous Gender, Sexuality and Romantic Love Jeannette Winterson. Written on the Body. New York and London: Vintage, 1994. Week 3: Sept 12 & 14 Women and Poetry I Audre Lorde. The Black Unicorn. New York: W.W. Norton & Company Inc., 1978. - Read “The Black Unicorn” (3); “A Woman Speaks” (4-5); “A Litany of Survival” (31-32); “Meet” (33-34); “Sister Outsider” (106) Cherrie Moraga. Loving in the War Years. 2nd ed. Cambridge, MA: South End Press, 2000. - Read “Loving in the War Years” (23-24); “Passage”(38); “Feed the Mexican Back into Her” (135-136) Gloria Anzaldua. Borderlands: La Frontera. 2nd ed. San Francisco: Aunt Lute Books, 1999. 4 - Read “To live in the borderlands means you” (216-217); “Poets have strange eating habits” (162-3); “Don’t Give In, Chicanita” (224-225); “Creature of Darkness” (208-209); “Cihuatlyotl, Woman Alone” (195) Week 4: Sept 19 & 21 Toni Morrison: Black Women, Female Empowerment and Friendship Toni Morrison. Sula. New York: Plume, 2002. Week 5: Sept 26 & 28 Contemporary Feminist Cinema: Room Film Screening: Lenny Abrahamson, dir. Room. Telefilm Canada, 2015. DVD. 118 min. * Creative Project due: Wed Sept 28 Week 6: Oct 3 & 5 Hiromi Goto: Japanese Canadian Women, Storytelling, Cultural Reclamation, Language, and Sexuality Hiromi Goto. Chorus of Mushroom. Edmonton: Newest Press, 1996. Week 7: Oct 10 & 12 Women and Poetry II Rishma Dunlop. The Body of My Garden. Toronto: Mansfield Press, 2002. - Read “What the Heart Knows” (16-19); “City of Dreams” (23-24); “The Body of My Garden” (41-42); “The Garden of My Familiar” (105-106) Marilyn Chin. Rhapsody in Plain Yellow. New York and London: W.W. Norton & Company, 2002. - Read “That Half Is Almost Gone” (17-19); “Take a Left at the Waters of Samsara” (22-23); “Tonight while the Stars Are Shimmering” (72-74); “Summer Sonatina” (88-91) Opal Palmer Adisa. I Name Me Name. Leeds, UK: Peepal Tree, 2008. - Read “I Name Me Name” (99-100); “Speak and Speak and Speak Again” (43-46); “Enough” (71-72) 5 Week 8: Oct 17 & 19 Linda Hogan: Aboriginal Women and Life Writing Linda Hogan. The Woman Who Watches Over the World: A Native Memoir. New York: W.W. Norton, 2001. Week 9: Oct 24 & 26 Contemporary Feminist Cinema: Carol Film Screening: Todd Haynes, dir. Carol. Number 9 Films, 2015. DVD. 118 min. Week 10: Oct 31 & Nov 2 Yasmin Crowther: Iranian British Women’s Writing Yasmin Crowther.
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