UCC/UGC/ECCC Proposal for New Course Please attach proposed Syllabus in approved university format. 1. Course subject and number: WGS 470 2. Units: See upper and lower division undergraduate course definitions. 3. College: Social & Behavioral Sciences 4. Academic Unit: 3 Women’s & Gender Studies 5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning Outcomes) Students will: Build upon prior knowledge and understanding about the intersectionality between race, ethnicity, class, gender, sexuality, ability, and national citizenship. Develop rigor in critical thinking, analysis, and close reading through seminar discussions and application exercises. Develop clarity in effective writing, through creative and scholarly writing assignments. Practice effective oral communication through regular participation in class discussion and presentations. Learn to analyze and interpret queer film/video, visual art, theatre/performance, and literature alongside theoretical frameworks of the field. 6. Justification for new course, including how the course contributes to degree program outcomes, or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing Effective Program Student Learning Outcomes). This course offers to fulfill three important goals at Northern Arizona University: First, this course will support the development of a Queer Studies Minor in the Women’s and Gender Studies Program. In particular, this course provides interdisciplinary methods and queer theories that offer students opportunities to engage literary, filmic, performance-theatrical and artistic productions in multiple contexts that speak to the intersectionality of identities. The course transcends traditional academic boundaries, while applying concepts of space and temporality to open student’s critical imagination. Second, there are no courses currently offered at NAU that specifically and centrally address queer issues that focuses on the politics of space/place as they relate to time, including notions of home, immigration, and diaspora. This course offers important background in changing global and transnational relationships that ultimately affect future workplaces. Third, NAU’s focus on student retention calls for institutional and curricular strategies that deliberately support LGBTQ (Lesbian, Gay, Bisexual, Transgender, and Queer/Questioning) students. LGBTQ students face lower rates of retention and higher rates of social alienation in university contexts. Courses of this nature allow both a safe space where LGBTQ students can recognize themselves in the curriculum and where other groups of students can deepen their understanding of the wide range of human diversity and the advantages it offers us all. Effective Fall 2012 7. Effective BEGINNING of what term and year? See effective dates calendar. Fall 2013 8. Long course title: Advanced Readings in Queer Studies (max 100 characters including spaces) 9. Short course title: Adv Readings in Queer Studies 10. Catalog course description (max. 60 words, excluding requisites): Students read recent scholarship in queer studies. Readings will be focused on a particular area of expertise; some examples might include: Queering History and Memory, Transgender Scholarship, Heteronormativity, Queering Kinship, or Locating Queer in a Transnational World. 11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)? WGS Queer Studies Minor Yes No If yes, include the appropriate plan proposal. 12. Does this course duplicate content of existing courses? Yes No If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why NAU should establish this course. 13. Will this course impact any other academic unit’s enrollment or plan(s)? If yes, include a letter of response from each impacted academic unit. 14. Grading option: Letter grade Yes Pass/Fail No Both 15. Co-convened with: none 14a. UGC approval date*: (For example: ESE 450 and ESE 550) See co-convening policy. *Must be approved by UGC before UCC submission, and both course syllabi must be presented. 16. Cross-listed with: none (For example: ES 450 and DIS 450) See cross listing policy. Please submit a single cross-listed syllabus that will be used for all cross-listed courses. 17. May course be repeated for additional units? 9 units max; 16a. If yes, maximum units allowed? with different topics 16b. If yes, may course be repeated for additional units in the same term? Yes No Yes No 18. Prerequisites: WGS 250 If prerequisites, include the rationale for the prerequisites. Students need to be familiar with queer theory terms, concepts, and basic theory to be able to successfully complete this coursework. Effective Fall 2012 19. Co requisites: None If co requisites, include the rationale for the co requisites. 20. Does this course include combined lecture and lab components? Yes If yes, include the units specific to each component in the course description above. No Jaclyn Pryor, Arianne Burford 21. Names of the current faculty qualified to teach this course: Answer 22-23 for UCC/ECCC only: 22. Is this course being proposed for Liberal Studies designation? Yes If yes, include a Liberal Studies proposal and syllabus with this proposal. No 23. Is this course being proposed for Diversity designation? If yes, include a Diversity proposal and syllabus with this proposal. No Reviewed by Curriculum Process Associate Yes Date Approvals: Department Chair/ Unit Head (if appropriate) Date Chair of college curriculum committee Date Dean of college Date For Committee use only: UCC/UGC/ECCC Approval Date Approved as submitted: Yes No Approved as modified: Yes No Effective Fall 2012 College of Social and Behavioral Sciences Women’s & Gender Studies WGS 470: Advanced Readings in Queer Studies: Queering History and Memory (sample syllabus of topics course) Fall 2013 3 credit hours Dr. Jaclyn Pryor, (or Dr. Arianne Burford) Office: SBS West 222 Office hours: Tuesdays and Thursdays 2-3:30 and by appointment Prerequisites: WGS 250 or permission of the instructor Course Description, Structure, and Approach: In the last decade, the field of queer studies has made a turn towards re-thinking the politics of temporality, history, and memory. From Judith Halberstam's In A Queer Time and Place: Transgender Bodies, Subcultural Lives (2005) to Elizabeth Freeman's Time Binds: Queer Temporalities, Queer Histories (2010), scholars are investigating the ways in which heteronormativity—and related dominant frameworks such as capitalism and colonialism—produce and reproduce an idealized sense of time that is linear and progress-oriented. At the same time, scholars are examining the ways in which LGBTQI subcultures “produce alternative temporalities by allowing their participants to believe that their futures can be imagined according to logics that lie outside of those paradigmatic markers of life experience-namely, birth, marriage, reproduction, and death” (Halberstam 1). How do queers queer time-through sex, art, gender, ritual, and kinship? Why do the politics of temporality matter at this historical moment? In this course, we will read recent scholarship in queer studies and look at case studies within queer subcultural practices and production. Attention will be paid to the politics of space/place as they relate to time, including notions of home, immigration, and diaspora. Student Learning Expectations/Outcomes 1) Build upon prior knowledge and understanding about the intersectionality between race, ethnicity, class, gender, sexuality, ability, and national citizenship. 2) Develop rigor in critical thinking, analysis, and close reading through seminar discussions and application exercises. 3) Develop clarity in effective writing, through creative and scholarly writing assignments. 4) Practice effective oral communication through regular participation in class discussion and presentations. 5) Learn to analyze and interpret queer film/video, visual art, theatre/performance, and literature alongside theoretical frameworks of the field. Effective Fall 2012 Required Texts and Materials: Books: Samuel Delaney, Time Square Red, Time Square Blue Douglas Crimp, Melancholia and Moralism: Essays on AIDS and Queer Politics Judith Halberstam, In A Queer Time and Place: Trangender Bodies, Subcultural Lives Gayatri Gopinath, Impossible Desires: Queer Diasporas and South Asian Public Cultures Ann Cvetkovich, An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures Jasbir Puar, Terrorist Assemblages: Homonationalism in Queer Times Elizabeth Freeman, Time Binds José Esbeban Muñoz, Cruising Utopia: The Then and Now and Queer Futurity Lauren Berlant, Cruel Optimism Judith Halberstam, The Queer Art of Failure Films/Videos: Fast Trip Long Drop By Hook or By Crook Fire The Bee Movie Plays: Peggy Shaw, Must: The Inside Story Additional texts are available as downloadable .pdfs on Blackboard. Students are responsible for printing out assigned readings; reading them in hard copy; taking notes in/on the readings (it’s yours: mark it up!); organizing them in binder or notebook; and bringing the readings to class. Note: Students are expected to have all course readings to date with them in each class meeting, organized for easy reference in class discussions. Films/videos are available on Blackboard or on reserve at the library. Effective Fall 2012 Grading System: Critical Reaction Papers Author Presentation Annotated Bibliography Application Exercise Final Paper (take-home) Attendance and participation Grading Scale: 90-100% 80-89 70-79 60-69 Less than 60% 10% 15% 15% 15% 15% 30% A B C D F Critical Reaction Papers: Critical Reaction Papers are opportunities for you to practice your critical thinking and analytical writing, through short, regular writing assignments connected to the course texts. Periodically throughout the semester, I will assign a Critical Reaction Paper, posing a question I’d like you to write about for the next class. These short papers will range from 1-3 pages, and they will typically interrogate a lingering question or idea from the evening’s class, or anticipate a question/idea for the next. You cannot make up missed Critical Reaction Papers: the idea behind this is that you are present for the discussion to present your ideas. They will be graded on your ability to analyze, communicate your perspective, and think about the implications of the readings. Author Presentation: The Author Presentation is an opportunity for you demonstrate advanced skills of research and to practice expressing your ideas orally. Each student will present a biography/bibliography on an author/artist we are studying this semester. This oral presentation will 5 minutes max. in length, and will typically take place at the start of class. Each oral presentation should be accompanied by a 1-2 page handout that summarizes the key points that you make in your presentation. You should come prepared with enough copies to distribute to everyone in the class. At the bottom of your handout, remember to cite the sources you used to compile your research. The purpose of this assignment is to give you an opportunity to research an author/artist in depth. The presentation also gives your peers an opportunity to learn about the author and frame our class discussion. Finally, your written handout serves as a useful archival tool: at the semester’s end, each student will have a useful biographical/bibliographical chronicle of every author we’ve studied, for future use/research. Some questions your presentation and handout should consider: Who is this person? Where did s/he come from? What is her/his prior work? Current work/projects/investments? Accomplishments? History or scholarship, activism, service, and/or creative/cultural work? What is the significance of this work to the broader field(s)? What is the relationship of her/his work to other works we are studying this semester? Be sure to include both a biography and a bibliography. The biography is a narrative about who the author is; the bibliography is typically a list of what s/he has published. Include books, essays, published speeches, films, plays— Effective Fall 2012 whatever public work is relevant to her/his field. Feel free to allow your presentation style/format to be inspired by the author’s work. If your author is living, try to get in touch with her/him. See Blackboard for some creative examples. Remember, this assignment is a substantial component of your overall grade in this course. It is not an overnight research project, beginning and ending with wikipedia. Start with the internet, but don’t end there. Go to the library! Read/familiarize yourself with the authors’ other works and key themes/arguments and be prepared to explain this to us. Become the expert and then teach us. Annotated Bibliography: The Annotated Bibliography assignment will provide you will an opportunity practice concisely summarizing and analyzing course texts in writing. It also asks you to draw connections and conclusions between and across disparate texts, themes, theories, and methods. “An annotated bibliography is a list of citations to books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance […] of the work cited.” (http://olinuris.library.cornell.edu/ref/research/skill28.htm) Throughout this semester, you will be building an annotated bibliography covering all the works we study, including both the written works as well as the film/video/other media. The purpose of this assignment is to give you an opportunity to concisely and critically describe the work, its significance, and its relationship to other works we are studying. It also gives me an opportunity to evaluate your understanding and analysis of the work. Directions: First, cite the article, chapter, speech, film, or other document using a consistent style (MLA, APA, or Chicago all fine). This may require some online or library research to locate. Example: Reagon, Bernice Johnson. “Coalition Politics: Turning the Century.” Home Girls: A Black Feminist Anthology. Latham, NY: Kitchen Table Women of Color Press, 1983. Next, write a concise annotation of the work, or 1-2 descriptive paragraphs. This annotation summarizes the central theme and scope of the work. Include one or more sentences that (a) describe the author’s argument; (b) comment on the author’s methodology (how s/he goes about accomplishing her/his argument/goal); (c) give examples from the text that illuminate (a) or (b); (d) connect this work with another you have cited. You will hand in this annotated bibliography at midterms at finals (see syllabus for due dates). When you hand in the AB at midterms, you should list the works alphabetically. When you hand it in at finals, you are asked to list the works not alphabetically but in thematic categories of your choosing, e.g., “The Politics of Desire.” See the work sample posted on Blackboard for more ideas and examples. Be creative. Organize the readings in a way that is meaningful to you. After you have organized the works thematically, add a sentence to your annotation that (e) explains how this work illuminates the bibliographical category in which you have placed it. You should update this document weekly with new entries. You will be sharing this work periodically with your peers, and I may also collect them at any time in the semester to review your progress. Final Paper: Effective Fall 2012 Your Final Paper is an opportunity for you to practice your research, critical thinking and analytical writing skills, through a longer form writing assignments inspired by the course texts. I will provide you with a prompt for your final paper (see schedule for dates), or you may chose a topic with approval of the instructor. The final is expected to be 8-10 pages double-spaced and typed. Application Exercise: You are required to collaboratively co-conduct one presentation in class beginning the week of February 16th. This presentation is guided by the question: “How might the ideas or practices within the weekly readings help us interpret another text, event, site, or performance?” Thus, for this exercise, the facilitator will demonstrate or suggest possibilities for an application of the issues, methods or theoretical frameworks presented in the assigned readings for 20 MINUTES. This exercise can include but is not limited to: interpreting/teaching a performance, film/video, historical event, memorial, activist intervention, artwork, phenomena, or other cultural text not otherwise included in the course syllabus –OR-- creating a original performance, film/video, event […] that directly engages with or is inspired by the readings. Whichever form it takes, this application exercise should be expand upon/apply the theoretical premise or methodological choices deployed within the weekly readings. You are encouraged to use teaching technology such as PowerPoint etc. to make your presentation clear to your classmates, and to be imaginative. You will be evaluated on the basis of your preparedness, organization, and clarity, rigorous engagement with the text, and creative risk-taking. Attendance and Participation: The most important aspect of this course is attendance and participation. Attendance is essential, as is completing all of the assigned reading and writing assignments on time. Except in rare cases of emergency, late assignments will not be accepted. I do not accept any assignments via e-mail or slipped under my office door. Assignments should be brought to class and handed directly to me. You are expected to fully participate in discussions and exercises on a regular basis. You will be evaluated not only on the frequency of your contributions, but on the ways in which your participation rigorously engages with the course material. I encourage you to read and listen closely so that you can to refer to, build upon, disagree with, and engage with the course texts as well as your classmates’ insights. Participation is the most significant and important aspect of this course. In advance of each class, you will prepare (1) question that emerges from your engagement with the week’s readings. The question should be “real”—pose a question that you would authentically like us to tackle as a group. I will call upon students in class to share their question and spark our engagement. Failure to have a question prepared will be reflected in participation grade. More than two absences will be reflected in lowering your participation grade; more than four absences will negatively impact your overall grade in this course. Punctuality is expected. It is best to arrive to class early. Course Policies: In class work and Critical Reaction Papers cannot be made up unless you have an institutional excuse. In the case of illness, you may request turning in exams late if you provide documentation. Computer and Cell Phone Policy: Effective Fall 2012 This class is run like a discussion seminar; full participation, active listening, co-presence, and a sense of community are key to our success. It is my experience that laptops and cell phones in classrooms interfere with these goals. So: unless a student is registered with disability services and needs a laptop or other technological device as accommodation (see more below), all computers and cell phones are prohibited during this class. Computers should be left at home or out of sight in your backpack; cell phones must be OFF. I encourage you to take notes in a paper notebook; you may chose to transcribe those notes to your computer after class. READING SCHEDULE: Unless otherwise noted, students are assigned on average one book per week. Students are expected to read closely the introduction, 1-2 body chapters as assigned by the instructor, and the conclusion. Week 1: Welcome and course overview Walter Benjamin, “Thesis on the Philosophy of History” Tom Boellstorff, “When Marriage Falls” Week 2: Reviewing Relevant Foundations in Queer Theory Michael Warner, “Introduction,” Fear of a Queer Planet Gayle Rubin, “Thinking Sex” Eve Sedgwick, “The Epistemology of the Closet” Gloria Anzaldúa, “Movimientos De Rebuildia Y Las Culturas De Tradicional” Judith Butler, “Performative Acts” David Eng, “A Dialogue on Racial Melancholia” Week 3: Current Discourses in Queering Time, History, and Memory Elizabeth Freeman, “Introduction,” GLQ: Queer Temporalities Carolyn Dinshaw, Lee Edelman, Roderick A. Ferguson, Carla Freccero, Elizabeth Freeman, Judith Halberstam, Annamarie Jagose, Christopher Nealon, and Nguyen Tan Hoang, “Theorizing Queer Temporalities: A Roundtable Discussion” Week 4: The Temporality of Space: Work & Pleasure Read: Samuel Delaney, Times Square Red, Times Square Blue Read: E.P. Thompson, “Time, Work Discipline, and Industrial Capitalism” Week 5: Queer Magic Guest: Dori Midnight Gina Badger, “In And Out of Time: An Interview With Dori Midnight” Effective Fall 2012 Week 6: Emergence(ies) Douglas Crimp, Melancholia and Moralism: Essays on AIDS and Queer Politics Watch: Fast Trip Long Drop Week 7: Trans/gressions Judith Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives Watch: By Hook or By Crook Due: Annotated Bibliography to date (place in my box by 5pm) Week 8: Diasporas Gayatri Gopinath, Impossible Desires: Queer Diasporas and South Asian Public Cultures Watch: Fire Week 9: Archives Ann Cvetkovich, An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures Week 10: Nationalisms Jasbir Puar, Terrorist Assemblages: Homonationalism in Queer Times Week 11: Utopias José Muñoz, Cruising Utopia: The Then and Now of Queer Futurity Week 12: Eroto/histories Elizabeth Freeman, “Time Binds” Week 13: Worldmaking Jaclyn Pryor, Time Slips Peggy Shaw, Must Week 14: Hauntings Guest: Randa Mirza, www.randamirza.com Readings TBA Week 15: Precarity Lauren Berlant, Cruel Optimism Week 16: Refusal Effective Fall 2012 Judith Halberstam, The Queer Art of Failure Watch: The Bee Movie Due: Final Take-Home Essay and Annotated Bibliography (place in my box by 5pm) TIPS FOR SUCCESS: Don’t miss class. Do all of the readings (actively) and take notes in the reading. Bring all your readings to class. Watch all the assigned films/videos. Ask questions in class—when you are confused, curious, or trying to make connections between ideas. Talk about readings with your colleagues from the class, as well as your other friends and family. Come see me in my office hours, early in the semester, or whenever questions or inspirations arise. NORTHERN ARIZONA UNIVERSITY POLICY STATEMENTS SAFE ENVIRONMENT POLICY NAU’s Safe Working and Learning Environment Policy seeks to prohibit discrimination and promote the safety of all individuals within the university. The goal of this policy is to prevent the occurrence of discrimination on the basis of sex, race, color, age, national origin, religion, sexual orientation, disability, or veteran status and to prevent sexual harassment, sexual assault or retaliation by anyone at this university. You may obtain a copy of this policy from the college dean’s office or from the NAU’s Affirmative Action website http://home.nau.edu/diversity/. If you have concerns about this policy, it is important that you contact the departmental chair, dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928-523-3312). STUDENTS WITH DISABILITIES If you have a documented disability, you can arrange for accommodations by contacting Disability Resources (DR) at 523-8773 (voice)or 523-6906 (TTY), dr@nau.edu (e-mail)or 928-523-8747 (fax).Students needing academic accommodations are required to register with DR and provide required disability related documentation. Although you may request an accommodation at any time, in order for DR to best meet your individual needs, you are urged to register and submit necessary documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR is strongly committed to the needs of student with disabilities and the promotion of Universal Design. Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312). INSTITUTIONAL REVIEW BOARD Any study involving observation of or interaction with human subjects that originates at NAU—including a course project, report, or research paper—must be reviewed and approved by the Institutional Review Board (IRB) for the protection of human subjects in research and research-related activities. The IRB meets monthly. Proposals must be submitted for review at least fifteen working days before the monthly meeting. You should consult with your course instructor early in the course to ascertain if your project needs to be reviewed by the IRB and/or to secure information or appropriate forms and procedures for the IRB review. Your instructor and department chair or college dean must sign the application for approval by the IRB. The IRB categorizes projects into three levels depending on the nature of the project: exempt from further review, expedited review, or full board review. If the IRB certifies that a project is exempt from further review, you need not resubmit the project for continuing IRB review as long as there are no modifications in the exempted procedures. Effective Fall 2012 A copy of the IRB Policy and Procedures Manual is available in each department’s administrative office and each college dean’s office or on their website: http://www.research.nau.edu/vpr/IRB/index.htm. If you have questions, contact the IRB Coordinator in the Office of the Vice President for Research at 928-523-8288 or 523-4340. ACADEMIC INTEGRITY The university takes an extremely serious view of violations of academic integrity. As members of the academic community, NAU’s administration, faculty, staff and students are dedicated to promoting an atmosphere of honesty and are committed to maintaining the academic integrity essential to the education process. Inherent in this commitment is the belief that academic dishonesty in all forms violates the basic principles of integrity and impedes learning. Students are therefore responsible for conducting themselves in an academically honest manner. Individual students and faculty members are responsible for identifying instances of academic dishonesty. Faculty members then recommend penalties to the department chair or college dean in keeping with the severity of the violation. The complete policy on academic integrity is in Appendix G of NAU’s Student Handbook http://www4.nau.edu/stulife/handbookdishonesty.htm. ACADEMIC CONTACT HOUR POLICY The Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-206, Academic Credit) states: “an hour of work is the equivalent of 50 minutes of class time…at least 15 contact hours of recitation, lecture, discussion, testing or evaluation, seminar, or colloquium as well as a minimum of 30 hours of student homework is required for each unit of credit.” The reasonable interpretation of this policy is that for every credit hour, a student should expect, on average, to do a minimum of two additional hours of work per week; e.g., preparation, homework, studying. SENSITIVE COURSE MATERIALS If an instructor believes it is appropriate, the syllabus should communicate to students that some course content may be considered sensitive by some students. “University education aims to expand student understanding and awareness. Thus, it necessarily involves engagement with a wide range of information, ideas, and creative representations. In the course of college studies, students can expect to encounter—and critically appraise—materials that may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are encouraged to discuss these matters with faculty.” Effective Fall 2012