selected from 2006-2013

Spike Lee’s Joints (with Marisa Parham)

In offering extended formal considerations of Spike Lee’s cinematic oeuvre–in particular his uses of light, sound, and color–this course is interested in how shifting through various modes of critical inquiry can enable or broaden different kinds of cultural, political, or historical engagement with a film. This semester we will also pay special attention to the question of what it means to encapsulate a particular cultural moment, particularly vis-à-vis the often differing demands of fictional and non-fictional representation.


Du Bois and After

This course offers a systematic study of the work of W.E.B. Du Bois, drawing on the whole range of his life and writing in order to assess his importance for theorizing race, racism, and the human condition. What do we mean by “race”?  How is our understanding of history, consciousness, and hope transformed by the experience of anti-black racism?  What is the role of gender, class, and nation in theorizing race and racism?  In Du Bois’ early work on these questions, especially his masterpiece Souls of Black Folk, we encounter some of the most significant foundational work in the black intellectual tradition.  Themes of double-consciousness, the color line, and the veil set many of the terms of discussion for the twentieth century and after.  In this course, we will read this early work closely, but also consider the development of his later thought in historical and intellectual context, putting Du Bois in dialogue with his contemporaries William James, Booker T. Washington, Josiah Royce, and others, as well as considering contemporary appropriations of his work.  Lastly, we will read Du Bois critically by considering recent scholarship on his often fraught relationship to questions of gender, class, and transnational identity.  Across these readings, we will develop a deep, engaged appreciation of the scope and power of Du Bois’ thinking and the fecundity of his intellectual legacy.  : SYLLABUS :


Introduction to African-American Philosophy

What is distinctive about African-American experience?  How does that distinctiveness bear on the theory and practice of philosophy and philosophical thinking?  And how does the African-American philosophical tradition alter conventional philosophical accounts of subjectivity, knowledge, time, language, history, embodiment, memory, and justice?  In this course, we will read a range of African-American thinkers from the twentieth century in order to develop an appreciation of the unique, critical philosophical voice in the black intellectual tradition.  Our readings of works by W.E.B. Du Bois, Anna Julia Cooper, Alain Locke, Richard Wright, James Baldwin, Martin Luther King, Jr., Angela Davis, Anthony Appiah and Cornel West will open up crucial issues that transform philosophy’s most central problems:  knowing, being, and acting.  As well, we will consider the cluster of thinkers with whom those works are critically concerned, including key texts from nineteenth century German philosophy, American pragmatism, and contemporary existentialism and postmodernism.  What emerges from these texts and critical encounters is a sense of philosophy and philosophical practice as embedded in the historical experience–in all of its complexity–of African-Americans in the twentieth century.  : SYLLABUS :


The Creole Imagination (with Rhonda Cobham-Sander)

What would it mean to write in the language in which we dream?  A language that we can hear, but cannot (yet) see?  Is it possible to conceive a language outside the socio-symbolic order?  And can one language subvert the codes and values of another?  Questions like these have animated the creolité/nation language debate among Caribbean intellectuals since the mid-1970s, producing some of the most significant francophone and anglophone writing of the twentieth century.  This course reads across philosophy, cultural theory, politics, and literature in order to consider the claims such works make for the Creole imagination.  We will engage the theoretical and creative work of Édouard Glissant, Maryse Condé, Wilson Harris, Derek Walcott, Kamau Brathwaite, Patrick Chamoiseau, Jamaica Kincaid, and Edwidge Danticat.  We also will consider how these writers transform some of the fundamental ideas of psychoanalysis, poststructuralism, and critical historiography.  At stake in our readings will be the various aesthetic and political aspects of postcolonial struggle–how to think outside the colonial architecture of language; how to contest and subvert what remains from history’s violence; and how to evaluate the claims to authenticity of creolized New World cultural forms.  : SYLLABUS :


Marvelous Blackness

In the moment of anti-colonial struggle, what meanings can be found in cultural forms and expressions? Are the colonized suffocated by the violence of history and the imposition of foreign cultural forms? Or is another language, poetics, community, and politics possible? How might another language, poetics, etc., redefine the meaning of blackness after colonialism? In this course we will examine these questions as they arise in the anti-colonial movements of mid-twentieth century Francophone Africa and the Caribbean. Our readings will engage questions of nation, identity, language, and the cultural and political meaning of diaspora in the Surrealist and Negritude movements. In particular, we will examine the complex and subtle debate between theorists, artists, and poets René Ménil, Aimé Césaire, Léon Damas, and Léopold Senghor regarding the theory and practice of anti-colonial culture and politics. What are the limits and possibilities of Surrealism and its conception of “the marvelous”? How is that conception of the marvelous transformed and politicized in the pan-African context of the Negritude movement? What does blackness mean in these two movements? How are questions of race transformed by the Surrealist and Negritude methods of cultural and political creation? As well, we will consider the lesser-known contributions by Suzanne Césaire, Paulette Nardal, and Jane Nardal to these movements and consider crucial questions of gender in the politics of cultural meaning. Last, we will measure the veracity of Surrealism and Negritude in relation to the political movements, poetry, and plastic arts produced by those movements, with special attention to Césaire’s Martinique and Senghor’s Sénégal.   : SYLLABUS :


Theorizing the Black Atlantic

What happens to culture in the transition between Africa, Europe, and the Americas?  What new forms of subjectivity, community, and culture emerge in the Americas?  How do these new forms help us clarify the specifically African sense of “diaspora”?  How does the experience of “the black Atlantic” alter our understanding of history and the development of ideas?  In addressing these questions, this course examines themes of hybridity, double-consciousness, Modernity, and diaspora in contemporary philosophy and cultural theory.  Our attention will center on the work of Paul Gilroy, whose reflections on black Atlantic cultural formations have broken new theoretical ground over the past two decades. Gilroy’s work will allow us to engage theoretically with the peculiar historical dynamics of the black Atlantic, which, in turn, enables us to attend at some depth to this particular diasporic consciousness through characterizations of literature, art, philosophy, and music.  Alongside Gilroy, we will read other core theoretical texts on the black Atlantic by Du Bois, Césaire, Fanon, Wright, Baldwin, and others. In order to establish context and some points of contrast, we will also read important texts on the philosophy of history and history of ideas by Hegel, Nietzsche, Benjamin, and Bhabha.  These varied reflections on the black Atlantic and the dynamics of cultural development help us understand the distinctive character of the African diaspora and its hybrid intellectual productions.   : SYLLABUS :


Black Existentialism

During the middle decades of the twentieth century, existentialism dominated the European philosophical and literary scene.  Prominent theorists such as J-P Sartre, Albert Camus, and Maurice Merleau-Ponty put the experience of history, alienation, and the body at the center of philosophical and literary life.  It should be no surprise, then, that existentialism appealed to so many Afro-Caribbean and African-American thinkers of the same period and after.  This course examines the critical transformation of European existentialist ideas through close readings of black existentialists Aime Césaire, Frantz Fanon, George Lamming, and Wilson Harris, paired with key essays from Sartre, Camus, and Merleau-Ponty. As well, we will engage black existentialism not just as a series of claims, but also a method, which allows us to read works by African-American writers such as W.E.B. Du Bois, James Baldwin, and Ralph Ellison in an existentialist frame.  Lastly, we will consider the matter of how and why existentialism continues to function so centrally in contemporary Africana philosophy.   : SYLLABUS :


The Afro-Postmodern

This course examines the meaning of “the postmodern” in contemporary Caribbean and African-American philosophy, cultural theory, and the arts. What is the postmodern? And how does the experience of the Americas transform the meaning of postmodernity? Four basic concepts guide our inquiry: fragmentation, nomad, rhizome, and creoleness. Short readings from European theorists will provide the backdrop for our treatment of how the experiences of the Middle Passage, colonialism, and postcolony life fundamentally transform postmodern ideas. In tracking this transformation, readings and reflections will explore the possible meanings of the Afro-postmodern in the works of Édouard Glissant, Antonio Benítez-Rojo, Wilson Harris, and Patrick Chamoiseau. In addition, with such theoretical considerations in place, the class will examine the specifically Afro-postmodern significance of aesthetic practices in dub, sampling, graffiti, and anti-racist irony. Lastly, the class will consider how Afro-postmodern conceptions of mixture, counter-narrative, and syncretism offer an alternative to dominant accounts of modernity and globalization.   : SYLLABUS :


Critical Debates in Black Studies

In this course students will focus closely on major debates that have animated the field of Black Studies, addressing a wide range of issues from the slave trade to the present. Each week will focus on specific questions such as: What came first, racism or slavery? Is African art primitive? Did Europe underdevelop Africa? Is there Caribbean History or just history in the Caribbean? Should Black Studies exist? Is there a black American culture? Is Affirmative Action necessary? Was the Civil Rights Movement a product of government action or grass-roots pressure? Is the underclass problem a matter of structure or agency? The opposing viewpoints around such questions will provide the main focus of the reading assignments, which will average two or three articles per week. In the first four weeks, students will learn a methodology for analyzing, contextualizing, and making arguments that they will apply in developing their own positions in the specific controversies that will make up the rest of the course.   : SYLLABUS :


Introduction to Black Studies

This interdisciplinary introduction to Black Studies combines the teaching of foundational texts in the field with instruction in reading and writing. The first half of the course employs How to Read a Book by Mortimer Adler and Charles Van Doren as a guide to the careful reading of books focusing on the slave trade and its effects in Africa, the Caribbean, and the United States. Important readings in this part of the course include Black Odyssey by Nathan Huggins, Racism: A Short History by George Frederickson, andThe Black Jacobins by C. L. R. James. The second half of the course addresses important themes from the turn of the twentieth century to the present. Beginning with The Souls of Black Folk by W. E. B. Du Bois, it proceeds through a range of seminal texts, including The Wretched of the Earth by Franz Fanon and The Fire Next Time by James Baldwin. This part of the course utilizes How to Write a Sentence by Stanley Fish to extend the lesson in reading from the first half of the semester into an exploration of precision and style in writing. Writing exercises based on How to Write a Sentence and three short essays – one on a single book, another comparing two books, and the last on a major theme in the course – provide the main opportunity to apply and reinforce skills in reading and writing learned throughout the semester. After taking this course, students at all levels of preparation should emerge not only with a good foundation for advancement in Black Studies but also with a useful set of guidelines for further achievement in the humanities and the social sciences.   : SYLLABUS :


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