ALICE KAPLAN INSTITUTE FOR THE HUMANITIES

Fulfills Distro 4 (Historical Studies)

Co-listed with PORT 396 and HISTORY 392.

“Hitchhiking the Atlantic” charts the history of the Atlantic World through the biographies of individuals on the move. Some of these travelers were world historical figures, while others were ordinary, common people nearly forgotten to history. All of them had cross-cultural encounters and made connections that fundamentally altered their own lives and shaped historical processes much larger than themselves. We will focus on Atlantic travelers who effected and reflected historical change relating to three themes: race and American slavery, (anti)colonialism, and industrial capitalism. These themes are not isolated to the past; they continue to unfold in the present, shaping societies across the globe in the twenty-first century. Students will gain an understanding of how disparate histories in Africa, the Americas, and Europe were (and remain) interconnected on multiple scales, from individual to empire. We will examine individuals’ journeys and experiences through autobiographical source material and situate figures in broader contexts through supplementary readings. The class will produce original biographies of Atlantic World travelers and use a digital mapping application to trace their movements. No prior experience with digital mapping is necessary, and students interested in learning programming basics in a supportive and structured environment are welcome.

Fulfills Distro 6 (Literature and Fine Arts)

Co-listed with LEGAL_ST 376 and RTVF 379-0.

In this course, we will view non-fiction and hybrid films that revolve around crime, criminal justice, and criminal court cases. Our emphasis will be on cases that are either mired in controversy and/or emblematic of wider social concerns. Readings will accompany viewings and experts will weigh in with legal, philosophical or scientific perspectives: What is accurately depicted? What is omitted? What is misrepresented? Concurrently, we will investigate the films aesthetically: How is the film structured and why? What choices are being made by the filmmaker in terms of camera, sound and editing and how do these choices affect viewers? Throughout the course, we will consider the ethics of depicting real people and traumatic events. We will also look at specific films in regard to their legal or societal impact. Assignments will include a series of short response papers and a final project, which can take the form of either (up to the student) a final 12-15 page paper or an 8-12 minute film. The final should center upon a legal topic. Ideas include, but are not limited to: A comparison of two films depicting the same criminal case, a polished/edited interview with a person somehow connected to a crime, an investigation of a local court or legal advocacy center. Group projects (two people max) will be allowed.

Please note: For students who have not completed RTVF 190, if you choose to make a film for your final project, you must have access to your own equipment. In addition, technical skills such as lighting, camera, sound, and editing will not be taught in this class.

Co-listed with ENGLISH 313-0-20 and MENA 390.

Crime fiction is where questions of law, justice, and community are investigated, but only rarely resolved. This course will explore this problem in a transnational context, so as to expose the fundamental issues of power and difference that have underlain the genre from its very beginning. We will start with the imperial foundations of Sherlock Holmes' investigations, and then work our way through texts produced in colonial and postcolonial settings including in colonial India, post-independence Algeria, and contemporary Egypt. Surveying over 150 years of detection, we will use these texts to understand the relationship between criminal investigation and literary interpretation, between history and the present, and between literary style and political authority.