When you think of the term “scandal,” what comes to mind? Is there something about a society’s national identity that makes particular scandals resonate and shake the culture more than others? By exploring several Italian scandals that have helped define the cultural fabric of generations of Italians, we will learn to understand the social and political roots behind the what and why of these phenomena. Through cross-mediatic and transnational archival research, we will look at the ways that different media and different nations use these phenomena to represent national belonging, social fear, and cultural expectation. Each crime has its own story, but how do they help us understand how Italy makes sense of itself through tragedy, corruption, murder, and mayhem? How bello is this bel paese after all? Did you ever wonder what’s behind Italy’s ever-revolving government? Or why do Italians prefer to use the English word “serial killer”?
This course will be taught in English

The establishment of postmodern art as a chronological development is built into the very term postmodern, but unfortunately chronology gets everything about postmodernism wrong. It is not born after modernism but is rather coterminous with it and a product of the same forces. Nor does it succeed modern art, but rather in some fundamental ways instead critiques it, for the postmodern is more concerned with what infects art from outside its frame-including history, society, gender, racial and sexual politics, etc.-- than anything that develops within it. This course is thus concerned with the heyday of postmodern art from roughly the 1950 through the 1980s, although we begin in the early 20th century with the work of Marcel Duchamp. We will look at artists as different as Cindy Sherman, Felix Gonzalez-Torres, John Cage, Andy Warhol, and Kara Walker, and pay particular attention to art about AIDS. Roughly evenly divided between art and theory, the course presumes no prior knowledge of either. Still, as Jacques Derrida explained, binaries such as modernism and postmodernism remain extremely useful to power, because they uphold the status quo, circumscribing the field of contestation to either one pole or the other, and thus eliminating other possibilities. This course is concerned with these other possibilities.

The establishment of postmodern art as a chronological development is built into the very term postmodern, but unfortunately chronology gets everything about postmodernism wrong. It is not born after modernism but is rather coterminous with it and a product of the same forces. Nor does it succeed modern art, but rather in some fundamental ways instead critiques it, for the postmodern is more concerned with what infects art from outside its frame-including history, society, gender, racial and sexual politics, etc.-- than anything that develops within it. This course is thus concerned with the heyday of postmodern art from roughly the 1950 through the 1980s, although we begin in the early 20th century with the work of Marcel Duchamp. We will look at artists as different as Cindy Sherman, Felix Gonzalez-Torres, John Cage, Andy Warhol, and Kara Walker, and pay particular attention to art about AIDS. Roughly evenly divided between art and theory, the course presumes no prior knowledge of either. Still, as Jacques Derrida explained, binaries such as modernism and postmodernism remain extremely useful to power, because they uphold the status quo, circumscribing the field of contestation to either one pole or the other, and thus eliminating other possibilities. This course is concerned with these other possibilities.

How have women’s and queer communities’ desires for rights and representation and access to basic resources and social services transformed urban space? What makes a space feminist, and how has feminism understood the city? This course offers an introduction to key concepts in gender and sexuality studies and how the field has understood urban space. Throughout the semester, we will examine how feminist, queer, and transgender theory has interpreted the city. We will analyze historical case studies on design and urban planning as they relate to issues like sex work, sexual health, birth control and abortion services, pregnancy, and family and community making. Each week, we will explore these topics through hands-on archival research in Penn’s rare book and manuscript collections. Working with the archives, we will trace how feminist/queer/trans movements have been shaped and been shaped by the city. We will also interrogate the role of archives, repositories, and museums for queer/feminist/trans memory. We will experiment with poetry, creative non-fiction, critical essays, visual essays, sound and film, and more throughout the semester. Students will design creative projects rooted in their theoretical, historical, and archival practice.

This course will introduce students to the ways in which sex, gender, and sexuality mark our bodies, influence our perceptions of self and others, organize families and work like, delimit opportunities for individuals and groups of people, as well as impact the terms of local and transnational economic exchange. We will explore the ways in which sex, gender, and sexuality work with other markers of difference and social status such as race, age, nationality, and ability to further demarcate possibilities, freedoms, choices, and opportunities available to people.

"Jewish woman, who knows your life? In darkness you have come, in darkness do you go." J. L. Gordon (1890). This course will bring into the light the long tradition of women as readers, writers, and subjects in Jewish literature. All texts will be in translation from Yiddish and Hebrew, or in English. Through a variety of genres -- devotional literature, memoir, fiction, and poetry -- we will study women's roles and selves, the relations of women and men, and the interaction between Jewish texts and women's lives. The legacy of women in Yiddish devotional literature will serve as background for our reading of modern Jewish fiction and poetry from the past century. The course is divided into five segments. The first presents a case study of the Matriarchs Rachel and Leah, as they are portrayed in the Hebrew Bible, in rabbinic commentary, in pre-modern prayers, and in modern poems. We then examine a modern novel that recasts the story of Dinah, Leah's daughter. Next we turn to the seventeenth century Glikl of Hamel, the first Jewish woman memoirist. The third segment focuses on devotional literature for and by women. In the fourth segment, we read modern women poets in Yiddish, Hebrew, and English. The course concludes with a fifth segment on fiction written by women in Yiddish, Hebrew, and English.

When and why did fascism first emerge? What social and political problems did it claim to address? Where did its ideas come from? And how did cinema help transform those ideas into powerful images that shaped both the Italian fascist regime and its political afterlives? To address these questions, this course explores how Italian fascism has been imagined and contested through cinema from its inception in 1920s Italy to the present. Italy was the political laboratory in which fascism was first invented—both as a term and as a political experiment—before becoming a global model of authoritarian power. Moving from the historical emergence of fascism in the wake of World War I to its cinematic articulation in propaganda films and newsreels of the 1920s, the course analyzes how cinema functioned as a laboratory in which fascism was aestheticized and rendered politically legible across the twentieth century.
The films studied range from fascist-era propaganda films such as Scipio The African (Gallone, 1937) and neorealist classics such as Rome, Open City (Rossellini, 1945) to the provocative art cinema of the 1970s, including works by Bertolucci, Cavani, and Pasolini, as well as contemporary films that revisit and reconfigure the legacy of fascism. The course approaches these films through multiple critical lenses, including gender and sexuality, race, class and nationalism, and the relationship between aesthetics and politics. Through close analysis of films, political manifestos, and historical documents, students will investigate how images produce consent and why the visual language of fascism remains a potent tool of political imaginaries in the digital age.

This class examines queer phenomena in and around China, including Taiwan, Hong Kong, Singapore, and the queer Sinophone world more generally. Beyond seeking to understand sexual subcultures and sites of queer intimacies on their own terms, the course examines their relationship to political economy and geopolitics. In addition to filmic and literary texts, the course includes readings that are theoretical, anthropological, sociological, and comparative. While the focus is largely on modern China, the class also attends to historical reference points both inside and outside the Sinophone world. From a macro perspective, this course examines China’s place in discourses of development, focusing on the role of desire in constituting the sexual and political subject of modernity. The overall goal of this class is to develop alternative frameworks for understanding the relationship between sexuality and politics. The course does not require specialized knowledge of China.

This course will examine how statutory law, court decisions and other forms of social policy encourage or discourage various forms of sexuality, reproduction and parenting. Such issues as contraception, abortion, gay and lesbian rights, reproductive technology, family violence, and welfare and family policies will be covered.

This course explores theories, debates, and frameworks in African American popular culture. Drawing on Africana, Gender and Sexuality, Communications and Performance Studies, it examines histories of Black representation across a number of performance forms. Television, film, dance, theater, music and more will be explored to interrogate the ways blackness has been defined, framed, and disseminated. What are the micro-politics through which racial difference is produced? How have Black people redefined and wrestled with questions of authenticity and "the real"? What are the capacities and the limits of popular culture to both render and shape Black life? In examining blackness through a number of performance mediums, we will consider the creative labor that Black people produce, and the processes of racialization produced through Black bodies.