Arabic language is used by many societies not only in communication but also in correspondence and in documenting the affairs of their daily lives. Arabic script is adopted by many groups whose native languages are not Arabic, in writing their languages before some moved to the Roman alphabet. In many historical documents specific style of writing and handwriting are dominant. This specificity is influenced by the dialectical variations, the historical development of each region and the level of Arabic literacy and use. The aims of this course which will focus on the Arabic writing tradition of Africa and the Middle East are as follows: (1) Reading and interpreting hand-written Arabic documents from Africa and the Middle East with focus on different historical eras. (2) In-depth understanding of the historical and language contexts of the selected documents. (3) Examining different handwriting styles that are in vogue in Africa and the Middle East.

James Baldwin, one of the greatest writers of the 20th century, spoke to the issues of his times as well as to our own. This class will examine the intellectual legacy that Baldwin left to present day writers such as Toni Morrison, Charles Johnson, Ta-Nehisi Coates, Thulani Davis, Caryl Phillips and others. We will spend time reading and discussing Baldwin s novels, short stories, plays and essays. In doing so, we will be considering the complex assumptions and negotiations that we make in our day-to-day lives around our identities and experiences built upon gender, sexual preference, the social-constructs called race, and more. James Baldwin s life and work will be the touchstone that grounds our discussions. We will read Go Tell It on the Mountain, Another Country, The Fire Next Time, and Giovanni s Room and see films ( The Price of the Ticket and The Murder of Emmett Till ). We ll also read commentary on his work. Students will research subjects of their own choosing about Baldwin s life and art. For example, they may focus on the shaping influences of Pentecostalism; segregation; racism; homophobia; exile in Paris; the Civil Rights Movement; Black Power, Baldwin s faith, or his return to America

Who is going to own what we all have a part of creating? The history of the Americas, and of all peoples everywhere, is an evolving answer to the question of ownership. Ownership is about: the ties that bind and those that separate; production, participation, and control; the creation of community and the imposition of hierarchies--racial, sexual, and others; dreams of possessing and the burdens of debt and ecological despoliation; dependency and the slave yearning to breathe free. Of all the issues relevant to democracy, oppression, injustice, and inequality, ownership is arguably the most important and least understood. Utilizing a variety of disciplinary perspectives--with a particular emphasis on radical and critical theories of liberation, and by focusing on particular global sites and processes of capitalism, students will assess and refine their views regarding ownership and liberation in light of their own social, political, religious, aesthetic, and ethical commitments.

On the stage of modern world history, Haiti plays the unique role as both the exceptionally victorious and tragic character. This course interrogates archival documents, oral histories, historical texts, and prose created within the nation and her diaspora in order to establish a nuanced image of the projection of Haiti's modern history. Using two classic Haitian texts, Marie Vieux-Chauvet's Love, Anger, Madness (1968) and Michel-Rolph Trouillot's Silencing the Past: Power and the Production of History (1995),this course examines how, why,and to what end Haiti's history and popular narratives about the country have served to construct and dismantle global movements, popular culture, and meanings of race, gender, and citizenship in the Americas. In our historical examination, we will question some of the iconic representations of Haiti through literature that deepen the affective historical profile of Haiti with interrogations of culture, sexuality, political, and media performance. Students will become familiar with the post -colonial history of Haiti and the region, meanings of race, and the production of history. The course is a research and historical methods seminar. Students will conduct archival research and write narratives from primary source material. This course qualifies as a "methods" course for Africana Studies undergraduate majors and minors.

Topics vary. See the Africana Studies Department's course list at https://africana.sas.upenn.edu for a description of the current offering. After an examination of the philosophical, legal, and political perspectives on Human Rights, this course will focus on US policies and practices relevant to Human Rights. Toward that end, emphasis will be placed on both the domestic and the international aspects of Human Rights as reflected in US policies and practices. Domestically, the course will discuss (1) the process of incorporating the International Bill of Human Rights into the American legal system and (2) the US position on and practices regarding the political, civil, economic, social, and cultural rights of minorities and various other groups within the US. Internationally, the course will examine US Human Rights policies toward Africa. Specific cases of Rwanda, Kenya, South Africa and Egypt, as well as other cases from the continent, will be presented in the assessment of US successes and failures in the pursuit of its Human Rights strategy in Africa. Readings will include research papers, reports, statutes, treaties, and cases.

This course is an examination and analysis of the changing images and achievements of African Americans in motion pictures and television. The first half of the course focuses on African-American film images from the early years of D.W. Griffith's "renegade bucks" in The Birth of a Nation (1915); to the comic servants played by Steppin Fetchit, Hattie McDaniel, and others during the Depression era; to the post-World War II New Negro heroes and heroines of Pinky (1949) and The Defiant Ones (1958); to the rise of the new movement of African American directors such as Spike Lee (Do the Right Thing), Julie Dash (Daughters of the Dust), Charles Burnett, (To Sleep With Anger) and John Singleton (Boyz N the Hood). The second half explores television images from the early sitcoms "Amos 'n Andy" and "Beulah" to the "Cosby Show," "Fresh Prince of Bel Air," and "Martin." Foremost this course will examine Black stereotypes in American films and television--and the manner in which those stereotypes have reflected national attitudes and outlooks during various historical periods. The in-class screenings and discussions will include such films as Show Boat (1936), the independently produced "race movies" of the 1930s and 1940s, Cabin in the Sky (1943), The Defiant Ones (1958), Imitation of Life (the 1959 remake) & Super Fly (1972).

Topics vary: Black Feminist Approaches to History & Memory - The term black feminism emerged in public discourse amid the social, political, and cultural turbulence of the 1960s. The roots of black feminism, however, are much older, easily reaching back to the work of black women abolitionists and social critics of the nineteenth century. The concept continued to grow and evolve in the work of twentieth century black women writers, journalists, activists, and educators as they sought to document black women's lives. Collectively, their work established black feminism as a political practice dedicated to the equality of all people. More recently, black feminism has been deployed as a tool for theoretical and scholarly analysis that is characterized by an understanding that race, class, gender, and sexuality are inextricably interconnected. Using materials such as slave narratives, social criticism, and archival sources, this course will explore the theoretical and practical applications of black feminist thought in nineteenth and twentieth century North American culture and politics. In particular, we will consider the symbols and practices (storytelling, myth-making, art, archival research) that black women use to document lives. We will ask: how do these methods of documentation inform our understanding of the past and the production of historical knowledge? How can we understand black feminism as both theory and practice? And what are the implications of black feminist approaches for current research and scholarship? We will give particular attention to concepts such as gender, race, memory, the archive, and embodied knowledge to complicate our understanding of historical documentation, epistemology, and authenticity. The course material will include scholarship by Harriet Jacobs, Audre Lorde, Saidiya Hartman, Hazel Carby, Hershini Young, Evelyn Brooks Higginbotham, Toni Morrison, and others. (Image: From In Praise of Shadows, Kara Walker (2009).

The purpose of this course is to engage students in the rigorous process of mining experiences for material that can be transformed into a public performance piece. In-class writing, group discussions, and field work in the Philadelphia area. AUGUST WILSON AND BEYOND. The people need to know the story. See how they fit into it. See what part they play. - August Wilson, King Hedley II. In this seminar, students will read groundbreaking playwright August Wilson's 20th Century Cycle: ten plays that form an iconic picture of African American traumas, triumphs, and traditions through the decades, told through the lens of Pittsburgh's Hill District neighborhood. Other readings include supporting material on Wilson's work and African American theatre, the works of contemporary playwrights whom Wilson has influenced (such as Suzan-Lori Parks and Tarell Alvin McCraney), and context on Penn's relationship with West Philadelphia. As an Academically Based Community Service (ABCS) course,this seminar gives students the opportunity to enhance their understanding of the plays, and history and culture that shaped them, by forming meaningful relationships with West Philadelphia residents. Wilson's plays provide the bridge between the two groups. The course culminates with students writing an original theatre piece inspired by the readings and relationships, which they will share at an end-of-semester performance.