Women’s Studies 604:
Gender, Culture, and Representation
Professor Irene Lara
Fall 2015
Office: AL 353; Hrs: Mon. 11:30-12:30;
Wed. 3-4pm & by appointment
Email: ilara@mail.sdsu.edu
Telephone: 619-594-7151
Description: This seminar examines representations of “women,” “gender,” and “the
feminine” in scholarship, literature, art, film, mass media, and other cultural
productions in various cultural contexts. Our primary theoretical framework and
pedagogocal praxis is intersectional feminsm, in which gender, race, class, sexuality,
age, size, nation, ethnicity, ability, and other social categories are analyzed as
constitutive of each other and operating within systems of power, privilege, and
oppression. We explore the politics of representation, self-presentation, resistance, and
social transformation within specific historical, political, and cultural contexts. The
course traverses and bridges the local and the global, the personal and the political, and
theory and practice. *Combining the expertise of the professor with the students’ areas
of interest, “Gender, Culture, and Representation” will be partially self-designed by
students.
Course goals:
1. Identify how culture, cultural representation, cultural appropriation, and cultural
activism work to influence ideas, behaviors, and policies and shape worldviews or our
view of reality in relationship to gender, sexuality, race, ethnicity, class, size, age,
religion, nation, ablebodiedness, and other social categories
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2. Create and share critical and creative knowledge through class discussions, coteaching, writings, and a final paper-project about the diversity of feminist cultural
activism and of feminist performers, writers, visual artists, dancers, musicians, and
other cultural producers
3. Analyze culture and cultural activism from intersectional feminist approaches
4. Practice co-teaching about culture, gender, and representation from feminist
sentipensante perspectives
5. Co-create and sustain a classroom space for self-reflective exploration that works to
withhold judgment and support attentive listening across differences and similarities in
social locations and ideologies
6. Practice “engaged pedagogy” (bell hooks) and “sentipensante [sensing/thinking]
pedagogy” (Laura Rendón) by a. working to bring our whole selves, our
bodymindspirits, to all aspects of the course, b. nurturing conocimiento, “that aspect of
consciousness urging you to act on the knowledge gained” (Gloria Anzaldúa), and c.
striving to make connections between what we are learning and our participation in the
world of which we are all a part.
7. Write in your own relevant objective:
Required Course Texts (also in Course Reserves)
1. Moraga, Cherrie and Gloria Anzaldúa, eds.. This Bridge Called My Back: Writings by
Radical Women of Color. 4th edition. New York: SUNY Press, 2015.
2. Hill Collins, Patricia. Black Sexual Politics: African Americans, Gender, and the New
Racism. New York: Routledge, 2004.
3. Abdulhadi, Rabab, Evelyn Alsultany, and Nadine Naber, eds. Arab and Arab American
Feminism: Gender, Violence, and Belonging. NY: Syracuse Press, 2011.
4. Bornstein, Kate and S. Bear Bergman, eds. Gender Outlaws: The Next Generation.
Berkeley, CA: Seal Press, 2010.
5. Mata, Irene. Domestic Disturbances: Re-Imagining Narratives of Gender, Labor, and
Immigration. Austin, University of Texas Press, 2014.
6. Additional texts posted on Blackboard under “Readings”
Course Requirements
1. Engaged Attendance & Participation ( 10 points per class + Profile = 150 points)
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Your weekly attendance and engaged participation are essential to the success of the
course. Participation includes attentive listening and notetaking, thoughtfully
responding to discussion questions, and practicing course discussion guidelines.
Anyone who misses more than two classes cannot expect to receive an A for the course.
Your Profile also counts 
2. Co-Teaching Facilitations (100 points x 2 = 200 pts.)
During the semester, you will have the opportunity to co-teach two different weeks. In
groups of two or three, you will be responsible for creating a handout and presenting
the week’s text(s). Check in with me the week or two before your presentation with
your ideas and questions and I can offer guidance if need be.
You will collectively be in charge of facilitating the class based on your previously
posted discussion questions and a creative engaged pedagogy exercise that helps
further any of our course objectives and includes viewing/engaging a relevant cultural
production (e.g. documentary, film, video blog, podcast interview, dance…) or series of
cultural productions (images from an art exhibit, instagram quotes, string of poems…).
Draw from pedagogical techniques (e.g. free-writes, small group discussions,
storyteller-listener pairs, theater…) and examples inspired by the readings. Be creative
and bold!
DO: very briefly review significant points from the handout; DO NOT: read the whole
handout out loud; DO: Collaborate and work collectively in person as much as possible;
DO NOT drop the ball on your group or individually piece things together on a google
doc without meeting in person; DO outline and rehearse your co-teaching presentation;
DO NOT just show up being minimally prepared.
Specific Guidelines: You are responsible for collaborating with your partner(s) to:
on
and
I. Write a 1.5 to 2 page (single-spaced) handout that
a. briefly lists 3 or so main points of the article/chapter
b. briefly defines 3 or so main key terms/concepts/theories
c. summarizes each members sentipensamientos, thoughts and feelings,
one of the main arguments (one paragraph each, include why you think
feel the way you do)
d. lists two to three “good” discussion questions
Good discussion questions:
 are open-ended (do not ask a question that can be answered yes or no)
 refer to major themes of the reading (not minor points)
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 include context that provides background &/or leads up to the
question
 bring up constructive critiques of the readings (with an eye toward
improving the argument, making the points more complex, etc.)
 relate the readings to other sources and/or make connections to other
class materials
 result in class discussion and debate
II. You must email the handout to everyone no later than 5pm on the
Monday before you are scheduled to co-teach so fellow students can reflect on
your notes and discussion questions. All students are responsible for bringing
the handout to class and their own handwritten or typed notes responding to
the discussion questions in addition to any other relevant questions and/or
comments.
III. For the day of your presentation, as a group write a 1.5 – 2 page single-spaced
teaching outline or script that includes: 1. a description of your pedagogical
exercise; 2. an explanation of its intended purpose, its relationship to the
readings, and class learning goals in general; and 3. a brief discussion about your
co-teaching experience. Optionally, you can submit an individual reflection
evaluating the extent of your and other’s contributions to the success of the coteaching project.
3. Sentipensante Writing/Creative Engagement (50 points x 12 = 600 points)
Engage the week’s readings via a sentipensante approach almost every week.
These reading notes should be labeled with the name of the reading and
author(s) listed on top of the page. They must be proofread and be 2 to 3
double-spaced typed pages long total. Due in class.
They should either:
A. Answer the discussion questions; OR
B. Discuss the principal theoretical question(s) addressed by the author and the
author’s answer(s) to the question and personally reflect on the readings by
responding to one or more of the following:
1. What was the author’s main idea in relation to culture, gender, and
representation and did they make a compelling argument? How so?
(what was their scholarly method, what evidence did they provide, and
was it effective?)
2. What do you think and feel about the readings? Why?
3. What did you specifically learn about culture, gender, and
representation that was particularly significant for you? From an
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intersectional feminist lens, discuss how do the readings help to
illuminate your life and the world around you?
4. How do the readings contribute to achieving at least one of our course
objectives? OR
C. Explore the reading through poetry, a comic strip, artwork, a letter/blog post,
a performance, or another creative medium. If you choose this third creative
option, also include at least one paragraph that discusses the reason the
particular reading inspired you to create this specific work. *Note, this option
can be used up to three times throughout the semester.
4. Course Discussion Board (1o reflections & comments x 10 pts = 100 points)
By Friday, integrate 10 minutes or so after every class to write your sentipensante
reflections on how the seminar went that day and respond to your classmates’
reflections. Consider at least two of the following questions: What stood out for you
and why? What troubled you and why? What do you wish you would have said but
didn’t? What do you wish you had not said or had perhaps worded differently? Why?
What is something you would like to raise or see addressed in the next class and why? If
you co-taught that week, make sure to constructively reflect on your experience.
[Review Course Discussion Board Guidelines posted in Syllabus & Guidelines Folder.]
You may decide to raise any pending issues via email or office hours or during the next
class, thus these post-class reflections can serve as a bridge that sustains our engaged
pedagogy from class to class.
This is also a space to share relevant news, websites, links to artist’s work… what else?
5. Final Research and/or Cultural Activist Project-Paper (250 points)
The guidelines of this final project-paper will collectively be determined by the class.
This substantial project should develop and apply ideas of the seminar to some aspect
of cultural representations and self-presentations of women and/or gender. A twothree page proposal and working bibliography of at least ten texts will be due on 10/15
(50 pts). You may not change your topic after 10/29. The Paper/Project is due by Final’s
Week and may include presentations (200 pts).
Class Outline
Week 1
Welcome: Introduction to Course and Pedagogy
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8/27
In-Class: Review Syllabus & Discuss Readings; Introductions; Co-create Class Guidelines;
Storyteller/Listener Exercise; Co-teaching Sign-ups
Readings: 1. bell hooks’ “Engaged Pedagogy” in Teaching to Transgress: Education
as
the Practice of Freedom
2. Laura I. Rendón’s “Sentipensante (Sensing/Thinking) Pedagogy” in Sentipensante
(Sensing/Thinking) Pedagogy: Educating for Wholeness, Social Justice & Liberation
3. Sharon Doetsche-Kidder’s “Loving Criticism: A Spiritual Philosophy of Social
Change”(Feminist Studies v. 38, n. 2 [Summer 2012])
Optional: AnaLouise Keating’s “Dialogue: Some of My Presuppositions” &
“Listening with Raw Openness;” “Triggers” (BB)
Assignment Due: Post Student Profile by Thursday, 8/27 noon; Post Comments by
Friday, 8/28 11:59pm. Directions on Blackboard.
Week 2
9/3
Cultural Theory and Intersectional Feminist Frameworks
Readings: 1. Anne Donadey with Françoise Lionnet’s “Feminisms, Genders,
Sexualities.” Introduction to Scholarship in Modern Languages and Literatures. Ed.
David G. Nicholls. New York: Modern Language Association, 2007. 225-244.
2. Cherríe Moraga and Gloria Anzaldúa’s introductory selections from This Bridge
Called My Back: Writings By Radical Women of Color, 4th ed. xv-xlvii.
3.
Rabab Abdulhadi, Evelyn Alsultany, and Nadie Naber’s “Arab and Arab American
Feminisms: An Introduction” [to book of the same title] (xix-xxxix) 4. Irene
Mata’s “Intoduction” to Domestic Disturbances: Re-Imagining Narratives of
Gender, Labor, and Immigration. 1-25.
5. Kate Bornstein and S. Bear Bergman’s “Introduction” to Gender Outlaws: The
Next Generation. 9-24.
6. Patricia Hill Collins’ “No Turning Back” Introduction to Black Sexual Politics. 121.
Week 3
9/10
This Bridge Called My Back: Writings by Radical Women of Color
Selections from first 3 parts; (additional essay?)
Group:
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Week 4
9/17
This Bridge Called My Back: Writings by Radical Women of Color
Selections from last 3 parts
Group:
Week 5
9/24
Arab and Arab American Feminisms
Selections from first 3 parts
Group:
Week 6
10/1
Arab and Arab American Feminisms
Selections from last 3 parts (some overlap)
Group:
Week 7
10/8
Gender Outlaws: The Next Generation
First half, to p. 152
Group:
Week 8
10/15
Gender Outlaws: The Next Generation
Second half, to p. 302
Group:
Week 9
Passions Week (?)
10/22
See a topic in the syllabus that you’d like to learn more about? Notice a gap in the
syllabus that you’d like to address? Need to read a book or pair of articles from your
annotated bibliography to get rolling on your final paper? Know of a novel, film, spoken
word troupe, or other cultural work that you would love to analyze? Are you interested
in investigating the work of a relevant cultural activist organization? This week’s
assignment is to follow your passion and share it with the class. Submit a two-page
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reflection that addresses the following questions from a sentipensante approach: 1.
What did you analyze and why? 2. What does it contribute to the knowledge about
“culture, gender, & representation”? 3. What are its limitations/your criticisms? 4.
Would you recommend that the material be taught in this course? Why or why not?
Week 10
10/29
Black Sexual Politics: African Americans, Gender, & the New Racism
First half p. 25-180
Group:
Week 11
11/5
Black Sexual Politics: African Americans, Gender, & the New Racism
Second half p. 181-307
Group:
Wk 12 Domestic Disturbances: Re-Imagining Narratives of Gender, Labor, &
Immigration
11/12
Ch 1, ch 2, film Maid in America?
Group:
Wk 13 Domestic Disturbances: Re-Imagining Narratives of Gender, Labor, &
Immigration
11/19
Ch 3, ch 4, film Maid in America?
Group:
*11/26
Fall Holiday. Enjoy!
**Student Designed
Week 14
12/3
Week 15
12/10
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Final’s Week - Final Presentations?
12/17 Final Paper/Project Due
Appendix 1: Grading Policies, Course Policies and Additional Information
Grading Policies
Grades are calculated on a standard scale, with pluses and minuses as appropriate. Late
submissions are only allowed for exceptional circumstances and with previous approval from
instructor; a 10% lower grade penalty may be implemented. I will make an effort to return
assignments within one to two weeks. Criteria for assigning grades is as follows:
A = outstanding, available for highest accomplishments
B = praiseworthy, above average
C = average, satisfactory performance
D = minimally passing, below average
F = failing
(The cut-off grade for students taking the course for credit/no credit is a C. If you receive 73%
or below you get a “no credit.”)
The assignment of letter grades is as follows:
A = 94-100
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- = 60-63
F = < 60
No curves
Course Resources and Policies
STUDENTS WITH DISABILITIES: Students who need accommodation of disabilities should
contact me privately to discuss specific accommodations for which you have received
authorization. If you have a disability, but have not contacted Student Disability Services at 619594-6473 (Calpulli Center, Third Floor, Suite 3101), please do so before making an appointment to
see me.
STATEMENT REGARDING MATURE CONTENT, INCLUDING ABOUT SEX, SEXUALITY, &
VIOLENCE:
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*Warning
Some of the assigned readings, films and/or visual images studied in this course may
contain sexual content and/or graphic violence, which may be perceived as offensive or
disturbing to some viewers. Any students with concerns about this should meet with
the instructor as soon as possible.
SEEKING HEALING RESOURCES: Throughout the class we will have emotionally intense
readings and discussions that address experiences that impact one’s health and
wellbeing, such as violence, including racism, homophobia, and other forms of
oppression. If you would like to speak further about these issues, I am available during
office hours and email and can also refer you to relevant organizations and trained
counselors. I have also gathered some local resources for your information and in the
service of healing. I encourage you to consult trained counselors at:
•SDSU’s Counseling and Psychological Services: 619-594-5220
•Family Justice Center: 619-533-6000
•San Diego Domestic Violence/Sexual Assault 24-hour Hotline: 1-888-DVLINKS or 1888-385-4657
STUDENTS IN ECONOMIC CRISIS
SDSU has an Economic Crisis Response Team (ECRT) that helps SDSU undergraduate students
who need immediate support due to an unforeseen financial crisis (e.g., death or major illness
of a relative who supported the student financially, loss of housing due to a violent or harassing
situation, etc.). This support could include short-term provision of food, shelter, or other items.
In many situations, campus personnel will coordinate with community social service agencies
to support our students in these situations. If you are in an immediate economic crisis
situation, please ecrt@mail.sdsu.edu or call (619) 594-1630.
CENTER FOR INTERCULTURAL RELATIONS (619) 594-7057 or
http://www.sa.sdsu.edu/intercultural/ccc.html
The Center for Intercultural Relations serves as a support and advocacy network in order to
help foster intellectual inquiry, identity development, social change, and acceptance of all
people and cultures. Location: Aztec Student Union, Suite 250.
THE PRIDE CENTER (619) 594-3520 or http://go.sdsu.edu/student_affairs/pridecenter/ at
SDSU creates, sustains, and strengthens an open, inclusive, safe, and affirming gathering
space and campus environment for persons of all sexual and gender identities and their
allies. Location: on the corner of Campanile Drive & Lindo Paseo Ave., across from KPBS.
SDSU WRITING CENTER: Is a free resource open to any SDSU faculty, staff, or student. The
Writing Center staff consists of peer (student) tutors who assist student in understanding
writing assignments and criteria and can help students with any stage of the writing process,
from brainstorming topics to revision of rough drafts. The Writing Center’s purpose is to teach
writers strategies to navigate complex situations for writing, both in and outside of the
University.
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To make an appointment, visit the Writing Center’s webpage, www.writingcenter.sdsu.edu.
By accessing the webpage, students can schedule tutoring appointments online at their
convenience, or they can simply stop by for a drop-in appointment. The Writing Center is
located in the Dome, LLA 1103, next to the circulation desk.
EMERGENCIES: If you have an unexpected emergency and miss turning in a major
assignment, you can notify me via email. Documentation of emergency is required.
ABSENCES: You do not have to notify me about the circumstances surrounding your absence
in general, unless you have special circumstances and/or an extended absence. By
the end of the second week of classes, students should notify me regarding planned
absences for religious observances, athletic competitions, or academic conferences
or meetings.
EMAIL COMMUNICATION: Professors receive a lot of email from students, as well as
colleagues. When you write to me I expect you to follow these guidelines:
1. Write in a courteous and professional manner. For example, address me as Dr. or
Professor Lara; use correct grammar and spelling (spell check); sign your full name.
2. Be patient and do not expect a response on the same day/night, especially if you write
after 4pm or during the weekend.
3. Carefully consult the syllabus, assignment prompts, announcement memos on email or
Blackboard, and other course-related material first before emailing me with questions
about the course. Oftentimes, you can find the answers you need there.
APPEALING A GRADE: You can appeal a grade by using these guidelines:
1. Must be appealed within one week after assignments have been handed back.
2. Must include a typed explanation thoroughly outlining the reasons why you think
your assignment was not graded properly.
3. Must include the original copy of your graded paper.
CHEATING & PLAGIARISM: Violations of academic integrity will be reported to the university
Disciplinary office. This includes: "recycling” or “borrowing” papers or parts of papers from
other courses or students, purchasing papers on-line or from other paper brokers,
plagiarizing and other forms of academic dishonesty. Plagiarism will not be tolerated. Do
not copy someone else’s work or ideas without giving them credit, and do not summarize
someone else’s ideas without giving them credit. Be very careful when 0researching on
the Internet. Always consider the source of the material, and make sure to explicitly cite
the website from which you gathered the information. Penalties for plagiarism range from
an “F” grade to expulsion from the university. If you have questions about what might be
considered plagiarism, please ask. See the SDSU General Catalogue for more information
at this website: http://coursecat.sdsu.edu/catalog/up.pdf or SDSU’s High Tech Center
website: www.sa.sdsu.edu/htc/Plagiarism.pdf
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CLASSROOM BEHAVIOR: Come to class with your readings, books and/or notes, readings
completed, and be prepared to discuss them. Expect that we will cover a wide range of
topics and will not always agree on which interpretations are best. But be prepared to
defend your point of view. At the same time, whenever you agree or disagree with me or
with other students, do so respectfully by drawing on course materials and informed
reflections.
It is important that you have a desire to participate in this class. You have a choice in
the courses you take. The nature of this rigorous sentipensante course requires that you
have foundational knowledge of women’s studies theories and concepts and an
engaged and open-minded approach. Your participation is defined as being actively
engaged in lectures and class discussion through informed speaking, attentive
listening, and taking notes. You must maintain an attentive class presence. Class
participation is absolutely essential to the success of the course. Students must come to
class prepared to actively contribute to the class discussion.
OFFICE CONFERENCES: Use office hours as an opportunity to discuss any issue raised in the
class. I am more than happy to meet with any student to discuss course concerns (grades,
assignments, papers, projects, absences) and academics in general. If you cannot make my
scheduled hours, just let me know and we can schedule an appointment.
COURTESY REMINDERS:
*ARRIVE ON TIME.
*Being late is distracting. If it cannot be helped, be quiet and sit close to the door.
*Let me know if you MUST leave early or arrive late and, if so, sit close to the door.
*Do not start getting ready to leave until the class has ended.
*Follow our Class Guidelines & respectfully hold one another accountable to doing so.
*How to address me in person and via email: Irene, Professor Lara or Dr. Lara. I expect
professionally appropriate email messages (i.e. no “hey there” or text-speak).
Appendix 2: Women’s Studies Class Guidelines
These are the guidelines that students and I have collectively come up with throughout the
years. They are suggested with the aim of creating a class to which we can strive to bring our
whole selves and our “sentipensamientos [feelings and thoughts]” (Laura Rendón). It is every
person’s responsibility to adhere to these guidelines & encourage others to observe them to
maintain a “brave space” for practicing “engaged pedagogy” (bell hooks) that encourages
everyone’s participation and learning. Creating “brave space” means we do not presume the
classroom is always a comfortable space; indeed, learning is often uncomfortable and that’s
okay. Let’s be critically and compassionately aware of these guidelines as we move through the
semester and build a respectful learning community together.
Be courageous and take risks by trusting each other with our thoughts, feelings, and
experiences–even if we may feel awkward, confused, vulnerable, afraid or not sure how to
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articulate them–and by participating although you may not be feeling 100% confident or
fearless.
Be honest with self and others (for example, ask yourself if what you are saying is really true &
coming from a place of integrity AND don’t try to fake having done the reading or lie about
reasons for missing class, an assignment, etc.)
Privacy: When we share personal experiences within the class, we agree to ask the person who
shared their story for permission to refer to it in class. We agree not to discuss other people’s
personal stories with others or among ourselves outside of class if this is the person’s wish.
Be open to examining our beliefs, assumptions, expectations, & knowledge that we might
resist, deny, or cause us fear–what Anzaldúa calls willful ignorances or desconocimientos
to differences and new or differing viewpoints, and thus possible tension in the class
to changing our own perspectives and views of “reality”
to reflecting on our internalized dominance and oppression, and their effects
to disagreement and constructive criticism without taking it personally
Respect each other’s ideas and feelings inside and outside of the classroom by:
giving each person our full attention as they speak (no side-talking, texting, reading nonclass materials, etc. and maintaining awareness of your internal dialogue & getting
distracted so you can refocus on attentive listening)
not interrupting whomever is speaking (raise our hands and use a speaker’s list when
possible)
being mindful of monopolizing the discussion and/or shying away from the discussion
(“move up” your listening or “move up” your speaking, as need be)
being mindful of your choice of language; don’t use offensive slang or euphemisms
attentively listening & speaking without judgment (use “I think…”; “I feel…;” “What I
understand you to mean is…”)
not making stereotypical assumptions or generalizing; not defining people by their view,
body, or identity (i.e. “you wear X, so you are y;” “you are a certain race or ethnicity, so
you are…”; “You are ‘old,’ so you must think a and b…”); ask a person’s preferred
gender pronoun
understanding one’s right to be silent
not being verbally or physically aggressive with one another
not talking down to each other
knowing we all have valuable ideas to contribute from diverse social locations/identities
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In order for the class to be successful we need to work towards
understanding across our differences and commonalities, not necessarily agreeing
about what’s right or wrong
cultivating a “sentipensante” approach to asking/discussing genuine, intellectually
curious, exploratory, & informed questions
being prepared for class w/completed reading, paper or digital copies of articles/notes,
questions, & materials for taking notes
bringing our whole selves to class by being “present”- alert, awake, & engaged, which is
distinct from simply being in attendance
being responsible for the energy we bring into the classroom (Cynthia Dillard) (What
difference does it make to learning if you are tired, pessimistic, hopeful, generous,
kind…? What can you do before class to put you in a mood that’s conducive to
learning?)
integrating our minds and hearts, or bodymindspirits, when we think, speak, listen, teach,
learn, write, and other “erotic” acts as Audre Lorde would say
Appendix 3: Dr. Irene Lara’s working list of presuppositions and beliefs
(adapted from the National Latina Health Organization)
* We are good
* We are intelligent
* We are precious
* We are capable
* We are powerful
* We are complex
* We have the ability to act in the moment with new creative responses
* We have within us the internal resources to make healthy life choices
* We are doing the best we can in the moment given social & personal contexts
* We know how to relate to each other in a cooperative way
* We have the ability to change – our ideas, our behaviors, our selves, the world…
* We have the ability to heal
* We are related to all that lives–In Lak Ech, you are my other me, tu eres mi otro yo, Ubuntu, I
am because we are
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ITEMS TO DISCUSS:
Self-Designed Component
Additional themes/scholarship? (Gender, Race, & Class in Media: A Critial Reader;
Transforming a Rape Culture; Feminist Theory & Pop Culture…)
Novels?
Memoirs?
Films/Docs?
Fieldtrip?
Guest Speakers? (WS faculty or grads? Feminist and Queer Comic Book Culture; The
Art of Ana Mendieta & Coco Fusco; Dr. Anne Donadey and Dr. Huma Ghosh on
interpreting and writing about international/transnational films; My scholarship on
Brujas, “Goddesses,” and Healers in the Cultural Imaginary…)
Final Paper-Project?
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