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Fall 2007
SOC 3296 (W238) 001
CRN: 075162
Professor Dustin Kidd
Department of Sociology
Temple University
Email: dkidd@temple.edu
Office: Gladfelter 762 (7th Floor)
Office Phone: (215) 204-6850
Office Hours: 2:30-3:30 Monday and Wednesday, or by appointment
Course Website: Available on Blackboard
Course Time: Mon/Wed/Fri, 1:40-2:30
Course Location: Gladfelter 764
"Each of us is called upon to take a stand. So in these
days ahead, as we examine ourselves and each other, our works, our fears, our
differences, our sisterhood and survivals, I urge you to tackle what is most
difficult for us all, self-scrutiny of our complacencies, the idea that since
each of us believes she is on the side of right, she need not examine her position."
(Audre Lorde, 'Sisterhood and Survival', keynote address at the conference on
the Black Woman Writer and the Diaspora, Michigan State University, 1985.
Course Description
How could the above quote from Audre Lorde have anything to do with popular
culture? Lorde is addressing the many inequalities that characterize American
society and the importance of examining ourselves in terms of where we sit within
these inequalities. Do we benefit or suffer? Are we privileged or oppressed?
Throughout the semester, we will discover the surprising roles that popular
culture plays in both constructing and resisting these inequalities and we will
have to consider the ways that we participate in this system through the culture
that we buy, the culture that we celebrate, and the culture we participate in.
The framework for this class is what I call the 'Double Matrix' approach. The
first matrix is created by the intersecting lines of privilege and oppression
in American society. These include race, gender, class, sexual orientation,
disability status, and age, but other similar lines exist as well and are also
available for discussion. The second matrix consists of the many forms of popular
culture, including music, television, film, books, magazines, and the internet-although
other forms exist and are also available for discussion. The media-matrix of
popular culture and the matrix of privilege and oppression in America intersect
to create a complicated and powerful system of social inequality.
Some of the specific questions we will consider include: How do children's
books reflect racial politics? What role do magazines play in the construction
of femininity? What are the consequences of sexual violence in music? How does
country music contribute to class inequality? What, if any, important functions
does popular culture perform? Is there such a thing as 'safe' culture?
By the end of the semester, students should be able to:
1. Summarize the basic findings of the sociology of popular culture;
2. Read a research article on popular culture, identifying the research question,
dependent and independent variables, theoretical frame, methodological approach,
and major conclusions;
3. Contrast the various perspectives on the major issues of debate in the study
of popular culture;
4. Summarize and deploy basic sociological theories of how popular culture works;
and
5. Write about popular culture within the norms and style of sociology.
Readings
Required Books (Available from the bookstore):
Additionally, several articles will be available in the readings section of
the course Blackboard site, and several videos will be used in class.
Graded Assignments
Journal: 30% (6 submissions X 5% each)
Quizzes: 20% (4 quizzes X 5% each)
Attendance and Participation: 20%
Comparative Content Analysis: 30% (consisting of the elements listed below)
EXPLANATION OF ASSIGNMENTS
Journal: The journal stands in lieu of a larger set of tests and it ensures that everyone is prepared for every class. The journal should be typed and submitted via Blackboard. Your journal will consist of a summary of each reading assignment, as well as a creative application for each set. You will also be asked to write responses to the various films that are shown in class.
Please resist the temptation to focus on the writing style of the selection, which offers little in terms of fruitful discussion (i.e. do not comment on how hard-to-read a piece may have been). Instead, your journal format should seek after creative and original thought. The summary should provide basic details on the research question, key variables, the methods (if a study was involved), the theoretical perspective, and the conclusions. The application should take one or more key ideas and use them to analyze a specific piece of popular culture or a phenomenon within popular culture.
Grading rubric for journals
Expectation Weight
All readings are summarized 25%
Summaries are sufficiently detailed 25%
An application is presented that is specific and detailed 25%
Application is creative 25%
Quizzes: There will be four quizzes in this class. Although much of the material
in the course emphasizes critical thinking skills, there are some concepts and
some data findings that you simply need to memorize and know. Note carefully
the dates for quizzes as listed on this syllabus. If you miss a quiz you will
receive a zero. It is your responsibility to inform the instructor of any anticipated
conflicts BEFORE the scheduled quiz. The information will be available from
the readings, from the films, and from classroom lectures. A study guide will
be provided. Each quiz will consist of 10 objective questions (identification,
true/false, multiple choice), worth 10 points each for a total of 100 points.
100= A+
90 = A-
80 = B-
70 = C-
60 = D-
0-50 = F
Attendance and Participation: ATTENDANCE is important and you should make every
effort to be there. I assume that if you signed up this class, you will be there
most of the time. Sometimes things come up and you need to miss. Your reasons
for missing are up to you. The crucial thing is that every time you miss, you
do something to make up for it. The make-up assignment must be of your own design,
and it is due at the next class that you attend. After that point, it won't
be accepted. It should be the equivalent of a 2 page paper and it must go beyond
a simple reading summary (as you've already achieved that in your journal).
After each class, I jot down notes on your PARTICIPATION. I focus on how often
you participate, how substantive your comments are, how you respond to your
peers, how you ask questions, and how you contribute to group work. I do not
pay attention to whether you said the "right" thing.
What do I do if I miss a class?
1. Do not email the professor to explain why (see above)
2. Continue with the reading
3. Get the lecture slides from Blackboard
4. Contact another student to see what you missed
a. Name and Phone # of a fellow student____________________
5. Design your own make-up paper, creatively applying the ideas from the reading
6. Deliver that paper to the professor in the next class you attend
Grading rubric for discussion
Expectation Weight
" Participation is consistent (frequency) 20%
" Participation moves the conversation forward (substance) 20%
" Participation demonstrates careful attention to the reading 20%
" Contributes applications and examples, or ideas from other sources 20%
" Asks Questions 20%
" Alternative (if struggling on any one of the above): group participation
20%
Comparative Content Analysis: You are going to compare two cultural objects using Schudson's 5 dimensions of culture from "How Culture Works." The paper will be written in segments during the course of the semester, in assignments produced for in-class writing workshops.
2 points for each of five writing assignments during the semester
o You will earn the full 2 points if it is submitted and shows clear effort
(need not be perfect)
o You will earn 1 point if it is submitted but shows no clear effort
o You will earn 0 points if it is not submitted
o No late papers accepted
The remaining 20 points are for the final draft of the paper
Grading rubric for the final draft
Expectation Weight
" Clearly stated argument that is creative and original 20%
" Argument is supported by the findings in the content analysis 10%
" Findings are clearly presented and demonstrate a good comparison 10%
" Argument is explicitly linked to an important sociological issue 10%
" All components of the paper are present 10%
" The paper is well organized 10%
" The paper is well-written and the meaning of the sentences is clear 10%
" The paper demonstrates a thorough knowledge of all material that is cited
10%
" Paper has been carefully proofed for any errors 5%
" Paper conforms to the ASA style guide 5%
Grades
An 'A' for an assignment in this class requires consistent and satisfactory
attention to all requirements plus a substantial demonstration of creativity
and originality. A 'B' for an assignment in this class requires consistent and
satisfactory attention to all requirements and some indication of creativity
and originality. A 'C' for an assignment in this class would either 1) have
consistent and satisfactory attention to all requirements, but no creativity
and originality, or 2) have some creativity and originality but an inconsistent
attention to the details. A 'D' for an assignment would lack creativity and
originality and miss several of the requirements. An 'F' for an assignment would
fall short on all points. If you wish to request a re-grade, you must do so
within one week of receiving the paper.
Letter grades for the final course score will be assigned as follows:
92.5% and higher = A
89.5 - 92.4% = A-
86.5% - 89.4% = B+
82.5% - 86.4% = B
79.5% - 82.4% = B-
76.5% - 79.4% = C+
72.5% - 76.4% = C
69.5% - 72.4% = C-
66.5% - 69.4% = D+
62.5% - 66.4% = D
59.5% - 62.4% - D-
59.4% and lower = F.
Policies
Academic Freedom: The University has adopted a policy on Student and Faculty
Academic Rights and Responsibilities (Policy # 03.70.02) which can be accessed
through the following link: http://policies.temple.edu/getdoc.asp?policy_no=03.70.02.
Books: Obtaining the books is solely the responsibility of the student. If you order the assigned books from sources other than the bookstore, you are responsible for ensuring that the books arrive on time or getting another copy in the meantime.
Cell Phones: Cell phones, pagers and beepers must be turned off during class except with special permission from your instructor.
Communication: I expect you to have a Temple email account and to check it regularly.
You may communicate with me by email, telephone, in office hours, in informal meetings on campus, and in class. You must include your name in the email! I do not answer unsigned emails. Sending me an email with a question about an assignment does not absolve you from completing the assignment by the due date.
Sample Email:
------------------------------------
From: john.doe@temple.edu
To: dkidd@temple.edu
Subject: Journals and a Make-up Paper
Dear Professor Kidd,
I have a question regarding the journals that are due this week. Are this week's readings included in this set, or will they go with the next set of journals?
Also, I am attaching a make-up paper for the class I missed this week due a deathly illness.
Thank you,
John Doe
Attachment: make_up_feb_2.doc
----------------------------------------
Why this is a good email:
" It's clear who it is from
o No tua34928@temple.edu
o Signed at the bottom (you can set it up as a signature that's always there)
" The subject line tells me what it's about
" No weird text messaging language (R U posting gr8s?)
" No caps and no exclamation marks
" The attachment is explained in the message text so I know what I'm opening
" The attachment is clearly labeled and it's in a word .doc format
" The language of the email is clear and specific
o The question is clearly articulated
Controversial Subject Matter: In this class we will be discussing subject matter that some students may consider controversial. Our purpose in this class is to explore this subject matter deeply and consider multiple perspectives and arguments. Students are expected to listen to the instructor and to one another respectfully, but of course are free to disagree, respectfully, with views expressed in class, videos, or in readings.
Disabilities (including learning disabilities): This course is open to all students who meet the academic requirements for participation. Any student who has a need for accommodation based on the impact of a disability should contact me privately and quickly (by the third week of class) to discuss the specific situation. Contact Disability Resources and Services at 215-204-1280 in 100 Ritter Annex to coordinate reasonable accommodations for students with documented disabilities.
Extra Credit: No extra credit will be given in this course.
Feedback: You will have the opportunity to provide feedback at mid-semester, and at the end of term. The feedback at mid-semester goes only to me. The feedback at the end of the term is shared with administrators, and the department chair, as well as myself. Additionally, I encourage you to share your thoughts and opinions with me during the semester.
Food: Eating and drinking is allowed and (if it helps you concentrate) encouraged.
Honor Policy: I expect you to uphold the University's Code of Conduct at all times (http://www.temple.edu/assistance/udc/coc.htm). When the honor policy is violated, you will receive an F for the course and I will open an investigation into your violation of the code of conduct. It is simply never worth it.
Regarding specific assignments:
Papers: You are encouraged to workshop your papers with other students, in and out of class. That means that you may have another person read the paper and discuss its strengths and weaknesses with you. They should not provide the actual ideas of the paper. You must cite any facts or ideas you receive from other sources, even if they are not in the form of quotes. Use quotation marks for any phrase over three words long that appears in another source. Shorter phrases should be given citations if they are unique to a particular scholar (such as, Bryson's concept of "multicultural capital"). The paper you hand in must be your ideas in your words, except where you are citing or quoting.
Journals: Your journaling should be original work, as it is a reflection of your unique thoughts and experiences. However, you are welcome to make reference to ideas you have gathered from your classmates or other sources, so long as you properly attribute them.
Discussion: Cheating in discussions is hard to do, but it is possible. I would consider it cheating if you presented the ideas of another student as if they were your own. For instance, if you were to have a conversation with another student outside of class, and then come to the next discussion and share the ideas of that student as if they were your ideas.
Quizzes: Quizzes will be taken in class. They are closed-book and closed-notes. Obviously, looking at your neighbor's paper is forbidden. You should, however, study with your classmates. This is a beneficial form of preparation. If you have questions about the quiz as you are taking it, please address those questions to the professor. If, in a pre-arranged agreement (rare cases), you take a quiz at a different time or location, you are expected not to discuss the quiz with other students until everyone has taken the quiz and all quizzes have been collected.
Internet: This class has numerous assignments to be completed on the internet. If you do not have a home internet connection, these assignments can be completed in any campus computer lab and on any computer in a networked dormitory. It is your responsibility to ensure that you have the internet access that you need.
Late Papers: No late papers will be accepted for any assignment.
Paper Style: Papers should conform to ASA Manuscript Style Guidelines.
Preparation Time: This class meets 3 hours a week. Students can expect about 6 hours of preparation (reading, journaling, written assignments, reviewing notes, prep. studying) per week.
Prerequisites: No Prerequisites are required for this course.
Religious Holidays: If you will be observing any religious holidays this semester
which will prevent you from attending a regularly scheduled class you may make
up for this class by completing a make-up response paper. See attendance policy
above.
Comparative Content Analysis
Key Reading: Michael Schudson's "How Culture Works"
For this analysis you are selecting two cultural objects of similar media (book, film, television show, music video, song, etc.) to compare how they "work." The two objects should have a justifiable point of comparison. You may find that items you thought were about the same are actually rather different. Or, you may find that seemingly different items are really rather similar. This is not an English paper; it is a sociology paper. That means you need to focus on the connections between the cultural item and society. What part of society makes it? What part of society uses it? What impact does this cultural item have on society?
From your content analysis you need to develop an argument about the similarities or differences in the two items. For instance, you might argue that men's magazines like Maxim and women's magazines like Cosmopolitan are actually about the same-surprising since they're marketed to different audiences. Make that argument using the details of your content analysis.
You will compare the objects based on Schudson's five dimensions of culture-retrievability, rhetorical force, resonance, resolution, and institutional retention. Be sure to read these sections of Schudson's article carefully to make sure you understand the concepts.
How to choose your items: You want to choose two very specific items, even if you're interested in a larger concept. For instance, if you're interested in comparing white rap to black rap, choose a specific artist from each race-maybe Eminem and Roots. From there, you might analyze the content of one song from each artist or one performance from each artist. Focus your content analysis on something very specific and then you can fill it out with additional details about the artist or the cultural item.
Research: This is not a library research paper. You do not need to go searching for sociology articles. The main research of this paper is your content analysis of the items you have selected. Depending on the items you select, you may need to do some additional research to find out who makes the item or who uses the item. I suspect that much of this can be found online.
Possible Comparisons: The Weakest Link to Wheel of Fortune, an Indie rock song to a radio rock song, an art film to a Hollywood blockbuster, a magazine for women to a magazine for teenage girls, Harry Potter to other teenage fantasy novels, Abercrombie and Fitch to thrift store fashion, political rap to mainstream rap, Jerry Springer to Oprah Winfrey.
Process: We are writing these papers in segments which you will then revise to produce the final paper. We will write in the following order.
1. Content Analysis 1: Choose an object that particularly intrigues you and which you think is connected to an important sociological issue such as race, gender, class, sexuality, or disability.
Methods: First you need to explain that you are using Schudson's framework for your paper. Assume that your reader has never read this article. Provide an overview of the article and the ways that is helps you to analyze cultural content. This should include a brief overview of the five dimensions of culture. Do not quote from my lecture. Instead, use the lecture notes to guide you in appropriately paraphrasing the article into your own words. Then explain how you are making use of these five dimensions. What will you look for in the cultural item that you examine? In other words, specify what the sociological issue is and explain how you will analyze that issue through a content analysis. Will you look at lyrics, text, images, sounds? Are there key words you are looking for? Make a hypothesis about what you expect to find.
The Object: Provide a brief overview and introduction to the object that is written for someone who knows nothing about it.
The Five Dimensions of Culture: Divide this segment of the paper into five
sub-sections, one for each dimension of culture. Within each subsection, analyze
the cultural object based on the criteria of that dimension.
Retrievability: How retrievable is the object? What does someone do to obtain
the object? Do some people have greater access than others? Are there any special
tools, resources, or forms of knowledge that are needed for full access?
Rhetorical Force: What is powerful about the object? How powerful is it? Does
it have good beats, striking images, explicit language, catchy rhymes?
Resonance: How does the object tap into existing movements or trends in society?
Name the movement and explain how the object taps into it.
Institutional Retention: What formal institutions have incorporated the object
into their practices? What formal institutions have actively worked against
the object? Has the object become informally retained by becoming part of a
recognizable social norm? If so, how?
Resolution: What does the object tell you to do-think differently, buy something,
dance, etc? If it tells you to do something, can you actually go out and do
it, or is the task impossible?
Summary: Link the five dimensions together into one summary of how the cultural object 'works'.
You will submit this assignment as a hard copy in class and receive feedback from the instructor.
2. Content Analysis 2: Choose an object that is logically comparable to the first, particularly with regards to both the format (another song, TV show, etc.) and the sociologically significant issue.
Methods: Repeat the methods section from the first content analysis, but revise based on any feedback you have received.
The Object: Provide a brief overview and introduction to the object that is written for someone who knows nothing about it.
The Five Dimensions of Culture: Repeat the same content analysis from the first
paper on this new cultural object. Make sure that you are setting yourself up
for a good and thorough comparison by looking at the same sorts of things. For
instance, if your first paper discussed the availability of the object on the
Web, the second paper should address the same issue. If, when writing this second
paper, you think of something you want to add that you had not thought of for
the first paper, go ahead and add it-but make a note on your first paper that
you need to add it there as well for the final draft.
You will submit this assignment as a hard copy in class and receive feedback
from the instructor.
3. Discussion and Analysis: Place your two content analyses side by side and compare them. What major trends emerged, either in terms of surprising differences, or in terms of surprising similarities? For instance, you might discover that indie and commercial versions are really about the same; or that The Amazing Race deals with issues of gender and race in ways that are richer and more nuanced than Survivor, even though they both follow standard reality formats. There is no pat format for this paper because this is really where you need to be original and creative in your observations and the ways that you make sense of these observations. If you want a good model, take a look at the analysis section of Bryson's "Anything But Heavy Metal," the results section of Pescosolido's "Culture and Conflict," or the various "frames" sections in Binder's "Constructing Racial Rhetoric." You will submit this assignment as a hard copy in class and receive feedback from the instructor.
4. The Big Picture: This will eventually become the conclusion to your paper. Here, you will explore the sociological significance of the paper in greater depth by linking it to a larger issue. Why does this matter? Why should your reader care? Why shouldn't the reader say, "Relax! It's just a song/show/movie/book/magazine/website!" For good models, see the conclusion section of Bryson's "Anything But Heavy Metal," the discussion section of Pescosolido's "Culture and Conflict," or the conclusion section Binder's "Constructing Racial Rhetoric." You will submit this assignment as a hard copy in class and receive feedback from the instructor.
5. Introduction: Obviously, this is the opener of the paper. This is another
chance to be very creative. You want to catch your reader by the scruff and
make him or her care about the issue and realize that these two cultural objects
are the best way to examine this sociological subject. The introduction has
a lot of work to do:
" Hook the reader into the paper
" State the argument of the paper
" Briefly introduce Schudson, as well as the cultural objects of analysis
" Briefly introduce that major sociological issue that is explored by the
paper
" Provide an overview of the format and findings of the paper
For good models, see the introductions to Bryson's "Anything But Heavy
Metal," Pescosolido's "Culture and Conflict," or Binder's "Constructing
Racial Rhetoric." You will submit this assignment as a hard copy in class
and receive feedback from the instructor.
6. Final Paper: Finally, put it all together into a singular paper that stands
on its own. Your final paper should have a creative title (NOT Comparative Content
Analysis) and the following format:
Introduction
Methods
Object 1 (rename this section using the title of the object, e.g., Everyone
Loves Raymond)
Overview
Retrievability
Rhetorical Force
Resonance
Institutional Retention
Resolution
Summary
Object 2 (rename this section using the title of the object, e.g., King of Queens)
Overview
Retrievability
Rhetorical Force
Resonance
Institutional Retention
Resolution
Summary
Discussion and Analysis
Conclusion
References
You will submit this paper via Blackboard before the final class meeting. Your final paper should be clearly revised based on the feedback you have received throughout the semester. It should also be seamless, meaning that it should not look like a paper written in segments. In revising and finalizing the paper, you should make sure that you have the same tone and language throughout the paper, and that the paper uses appropriate transitions from one section to the next.
Your paper will be hindered by:
" A comparison that can't be justified
" A comparison of 2 cultural objects of different media
" Lack of the sociological perspective
" Inattention to either the assignment or Schudson's article
" Comparison material that is too thin and ignores areas that seem obvious
" Information about an object without comparable information for the other
object
" Writing that is difficult to follow
" Lack of proofreading or editing
" No indication that the paper matters
Course Schedule
Monday, August 27
Topic: Introducing the course, introduction to the professor, student introductions
Wednesday, August 29
Topic: What is Popular Culture?
Reading: Herbert Gans "Introduction" from Popular Culture & High
Culture
Friday, August 31
Topic: The Double Matrix
Reading: Joshua Gamson "Why I Love Trash"
Monday, September 3
NO CLASS
Wednesday, September 5
Dissecting the Matrix 1: Race on Film and Television
Reading: Darnell Hunt "Making Sense of Blackness on Television"
Friday, September 7
Dissecting the Matrix 1: Race on Film and Television continued
Reading: JoEllen Shively "Cowboys and Indians"
Monday, September 10
Dissecting the Matrix 2: Gender in the Magazines
Reading: Susan Bordo "In the Empire of Images"
Video: Killing Us Softly 3
Wednesday, September 12
Dissecting the Matrix 2: Gender in the Magazines continued
Reading: None but bring a gendered magazine to class (such as Cosmo, Maxim,
etc.)
Submit Journal Entries to Date (1):
1. Summary of Gans and Gamson with Application
2. Summaries of Hunt and Shively, with Application
Friday, September 14
Dissecting the Matrix 2: Gender in the Magazines continued
Reading: Susan Bordo "Beauty (re)-Discovers the Male Body"
Quiz 1
Monday, September 17
Dissecting the Matrix 3: Class in Music and on TV
Reading: Joshua Gamson "The Monster with Two Heads"
Wednesday, September 19
Dissecting the Matrix 3: Class in Music and on TV continued
Reading: Bethany Bryson "Anything But Heavy Metal"
Video: Class Dismissed
Friday, September 21
Dissecting the Matrix 3: Class in Music and on TV continued
Reading: Michael Schudson "How Culture Works"
Monday, September 24
Dissecting the Matrix 4: Age and Marketing
Reading: Juliet Schor "The Commodification of Childhood"
Video: Merchants of Cool
Wednesday, September 26
Dissecting the Matrix 4: Age and Marketing continued
Reading: Kiku Adatto "Selling out Childhood"
Submit Journal Entries to Date (2):
1. Summaries of Bordo, Killing Us Softly, and Kilbourne, with Application
2. Summaries of Gamson, Class Dismissed, Bryson, and Schudson, with Application
Friday, September 28
Writing Workshop 1: How to Write Content Analysis 1
Reading: Gamson "Appendix: Methods"
Monday, October 1
Dissecting the Matrix 5: Race in Literature
Reading: Pescosolido et al. "Culture and Conflict"
Wednesday, October 3 (Dustin's Birthday!)
Dissecting the Matrix 5: Race in Literature continued
Reading: Victoria Alexander "Reflection Approaches"
Friday, October 5
Dissecting the Matrix 5: Race in Literature continued
Reading: None
Quiz 2
Monday, October 8
Dissecting the Matrix 6: Sexual Orientation on Television
Read: Thomas Linneman "How Do You Solve a Problem Like Will Truman?"
Video: Off the Straight and Narrow
Wednesday, October 10
Dissecting the Matrix 6: Sexual Orientation on Television continued
Reading: Gamson "Truth Told in Lies"
Friday, October 12
Writing Workshop 2: How to Write Content Analysis 2
Reading: None
Assignment: Content Analysis 1
Monday, October 15
Dissecting the Matrix 7: Masculinity in Popular Culture
Reading: Joshua Gamson "Sitting Ducks and Forbidden Fruits"
Video: Tough Guise
Wednesday, October 17
Dissecting the Matrix 7: Masculinity in Popular Culture continued
Reading: Joshua Gamson "I Want to be Miss Understood"
Submit Journal Entries to Date (3):
1. Summaries of Schor, Merchants of Cool, and Adatto, with Application
2. Summaries of Pescosolido, Alexander, and Morrison, with Application
3. Summaries of Linneman, Off the Straight and Narrow, and Gamson (include his
methods section here), with Application
Friday, October 19
Writing Workshop 3: How to Write the Discussion and Analysis
Reading: None
Assignment: Content Analysis 2
Monday, October 22
Dissecting the Matrix 8: Sexuality and Music
Reading: "Where My Girls At?" by Rana Emerson
Wednesday, October 24
Dissecting the Matrix 8: Sexuality and Music continued
Video: Dreamworlds 3
Reading: bell hooks "Gangsta Culture-Sexism and Misogyny: Who Will take
the Rap"
Friday, October 26
Dissecting the Matrix 8: Sexuality and Music continued
Reading: Amy Binder "Constructing Racial Rhetoric"
Quiz 3
Monday, October 29
Dissecting the Matrix 9: Disability in Film
Reading: Fiona Whittington-Walsh "From Freaks to Savants: disability and
hegemony from The Hunchback of Notre Dame (1939) to Sling Blade (1997)"
Wednesday, October 31
Dissecting the Matrix 9: Disability in Film continued
Reading: Martin Norden "Reel Life After the Americans with Disabilities
Act"
Friday, November 2
Writing Workshop 4: How to Write the Big Picture
Reading: None
Assignment: Discussion and Analysis
Monday, November 5
Dissecting the Matrix 10: The Question of Safe Culture
Read: Harry Potter
Wednesday, November 7
Dissecting the Matrix 10: The Question of Safe Culture continued
Reading: Finish HP
Submit Journal Entries to Date (4):
1. Summaries of Gamson (2 chapters), with Application
2. Summary of Emerson, Dreamworlds, Hooks, and Binder, with Application
3. Summary of Whittington-Walsh and Norden, with Application
Friday, November 9
The Question of Safe Culture continued
Read: Dustin Kidd "Harry Potter and the Functions of Popular Culture"
Monday, November 12
Dissecting the Matrix 11: The Media
Reading: Frederick Lane "A Nip in the Air"
Wednesday, November 14
Dissecting the Matrix 11: Media continued
Reading: Robert McChesney "US Media at the Dawn of the Twenty-First Century"
Friday, November 16
Writing Workshop 5: How to Write the Introduction
Reading: None
Assignment: The Big Picture
Monday, November 19
Dissecting the Matrix 12: Resistance
Reading: Joshua Gamson "Flaunting It"
Wednesday, November 21
Dissecting the Matrix 12: Resistance continued
Reading: Marjorie Heins "A New Use for Indecency?"
Submit Journal Entries to Date (5):
1. Summaries of Harry Potter and Kidd, with Application
2. Summaries of Lane and McChesney, with Application
Monday, November 26
Responding to the Matrix: Social Transformation and Personal Activism
Reading: Gamson "The Tight Rope of Visibility"
Wednesday, November 28
Responding to the Matrix: Social Transformation and Personal Activism continued
Reading: Carla Freccero "Multiculturalisms Migrations"
Assignment: Introduction
Friday, November 30
Writing Workshop 6: How to Use the ASA Style Guide and Write a References List
Reading: None
Quiz 4
Monday December 3
Writing Workshop 7: How to Put it All Together and Write the Final Paper
Reading: None
Submit Journal Entries to Date (6):
1. Summaries of Gamson and Heins, with Application
2. Summaries of Gamson and Freccero, with Application
Wednesday, December 5
Conclusions and Wrap-up
Hopeful Hints in Popular Culture
Reading: None
Final Paper Due