ETS 192 Gender and the Literary Text
American Femininities: From Housewife to Hero and Back Again
Instructor: Cristina Lucia Stasia
Course Meetings: WF 12:45-2:05 pm in HL 205
Course Screenings: W 7:00-9:50 pm in HL 105
Office: HL 400
Office Hours: F 2:30-3:30 and by appointment
E-mail: cristinastasia@mac.com
The broad context for this course is the study of the relationship between gender and representational texts. The particular context for this section,however, is to investigate representations of American femininities in the 20th and 21st centuries. This course will treat femininity as a site of struggle and examine its icons and rebels in order to understand how femininity has been articulated, disarticulated and rearticulated by literary and filmic texts and the people who consume them. Through a focus on a range of representational texts, the class will address images of white, heterosexual, able-bodied women with cultural and historical specificity in order to understand their construction and power. Further, we will consider the implications of these representations on the lived experiences of women and men as they seek to articulate a gendered identity in the US . In other words, with these icons of femininity up on the screen, how do women and men make sense of their own gendered identities and relationships? Required Texts 1. Darcy Cosper, Wedding Season.
2. Jennifer Baumgardner and Amy Richards.Manifesta: Young Women, Feminism and the Future. Abbreviated as M in the syllabus.
3. Jean Hollows, Feminism, Femininity and Popular Culture. Abbreviated as F in the syllabus.
4. Course Reader # 1025. Abbreviated as R in the syllabus. Books are available at Follett’s Orange bookstore in Marshall Mall. The course reader is available at Campus Copy Center in Marshall Mall. Screenings
The films, music videos and TV shows to be studied are listed on the syllabus and will be shown on Wednesday nights. These screenings are required and comprise the content of the course just as much as the reading does. You will need to take notes at the screenings for specific reference in class discussion, formal papers and the final exam. Do not try to write a transcription of the film. Instead, keep brief notes of the characters’ names, settings, events in the plot and notable quotations, so that you develop the habit of thinking about film, TV and music videos with specificity. As a starting point, keep track of repeated elements, of surprises, key scenes and your initial emotional and intellectual responses to them. Also, as you watch, keep in mind where we are in the syllabus and where we are going since the syllabus is designed to begin making connections flow from week to week , and from text to text. It is important to relate the different screenings to each other, and to begin to understand how they complement and/or challenge each other. Note: Important information (cast lists, dates, production info) about films and TV shows is available at www.imdb.com. The screenings are held in a darkened room, so you should get in the habit of bringing a pocket flashlight or LED pen with you. Class Participation
The format of the course will rely primarily on class discussions of the material from the screenings in conjunction with the reading assignments. Accordingly, 20% of your course grade will be a participation grade which evaluates your sustained participation each week both in class, at the screenings and in Blackboard postings. In preparation for discussion, all the readings and screenings listed on the syllabus are required and each assignment must be completed by the date listed. Attendance does not equal participation. Come to class prepared to establish connections between the screenings and the readings. NOTE: If you miss a class, you are responsible for work assigned, and you should contact a classmate to find out what you missed. Do not e-mail me to find out what you missed.
| Formal Assignments | |
| Film Analysis I...................... | 20% |
| Film Analysis II.................... | 20% |
| Research Paper..................... | 20% |
| Final Exam........................... | 20% |
| Participation......................... | 20% |
Students who need special consideration because of any sort of disability or situation must make an appointment to see me. Please be aware the letters from Student Services are not retroactive. In order to receive accommodations you must inform me before the assignment is due or the exam is taken. Plagiarism
Please see the university handbook for the policy on plagiarism. Plagiarism is a serious academic offence. Consequences include a 0 in the course, can include expulsion and will definitely entail a very uncomfortable phone call to your parents. If you are unsure if what you are doing is plagiarism, ask me. Use of Student Writing
It is understood that registration for and continued enrollment in this course constitutes permission by the student for the instructor to use any student work constructed as a result of said enrollment in course and/or handed in to me. Format of Work
Anything handed in must be word-processed, double-spaced, and follow proper MLA format as outlined in the MLA handbook. This includes one inch margins, Times New Roman font in 12 point, proper pagination and a creative and informative title. Late Work Policy
Work is due at the beginning of class on the specified due date. You will be penalized 10% per day for every day that it is late (weekends included). I grant extensions only for medical reasons or personal emergencies. Writing Consultants
Writing Consultants are available in the Writing Center on an appointment and drop-in basis for assistance with any stage of your writing. I strongly recommend you visit the writing center for your major papers. Cell Phone Policy
If your cell phone rings during class, I get to answer it.