COURSE DESCRIPTION
This course aims to introduce students to feminism from a philosophical perspective, making use of a number of texts from philosophical feminism and feminist film theory.  The general theme of the course centers on the production of the female and the female body through philosophical discourse.  We  begin with large selections from The Second Sex, one of the most influential philosophical texts in feminism. We will focus upon Beauvoir's study of women's "situation," which synthesizes an historical, materialist approach with a psychological and phenomenological analysis of women's experiences.  A central theme in Beauvoir's account is her interest in the ways in which social notions of femininity effect our experience of the female body.  To continue this focus on the body, we turn to a recent anthology containing various papers about the constuction of our bodily experience, and to recent readings in feminist film theory.

The course will consist in seminar type discussion and some lecture.  Depending upon the class size and background, we will have at least one class presentation by each student (sign up on class sheet).  In addition, students prepare four summaries on the texts for class discussion, and write two papers.  Course grades depend on class discussion (0, 5, or10 pts), in-class presentation (max. 10 pts.) summaries (5 pts each/20 pts.), and two papers (30 pts. each).
 

GROUND RULES
1. Class summaries are due in class on date specified; no late summaries will receive points. Summaries may be emailed to me if you have to miss class, but not repeatedly, as the point is for you to present your summary in class.
2. Class presentations: sign up after you look over the dates; presentations cannot be rescheduled.
3. Paper due dates are set; late papers are not accepted (see 5).
4. Repeated class absence will result in 0 discussion pts..
5. Medical emergencies waive due dates, but sore throats (etc.) are not sufficient reason for late papers.
6. Full-length films listed in the syllabus must be seen in advance of class, in the student's own time.
 

REQUIRED TEXTS
**available in campus bookstore
1. Rosemary Tong, Feminist Thought (Westview Press, 1989) = FT.
2. Simone de Beauvoir, The Second Sex (Vintage, 1989) = TSS.
3. K. Conboy, N. Medina, S. Stanbury (eds.), Writing on the Body (Columbia, 1997) = WOB.
4. Course Packet: xerox readings in feminist film theory = CP.

SYLLABUS
 

Week	Date	Text and Topic
1	Jan. 16-18	Intro. to class; read TSS, B's Introduction; plus FT, chs.1, 5.  Intro. and chapter on Exist.'ist Feminism .
2	Jan. 23-25	TSS,  ch. 4: Freud, pyschoanalysis and critique: Summary # 1 (due 1/25).  Background reading: FT, ch. 5 (Freud).
3	Jan. 30-Feb. 1	TSS, chs 9, 11: cultural myths of women.  WOB ,  ch. 7, Bartky paper. Summary # 2: discuss the discipline of the body (due Th, 2/1).
4	Feb. 6-8	TSS, ch. 12-15: "...one is made woman."  WOB ,  ch. 5, Bordo: "The Body and Reproduction. of Femininity"
5	Feb. 13-15	WOB, ch. 6, 8: papers by hooks, Williams: black female bodies.
6	Feb. 20-22	TSS, chs. 14, 25, conclusion: female sexuality, sexual dev'.t.
7	Feb. 27-Mar. 1	WOB, ch. 11, Modleski paper: race and gender in film; video,"Blond Venus" (Cudahy Reserve).  First Paper Due (Th, Mar. 1): 6-7 pp. See Paper Topic One Below.
8	Mar. 6-8	Mid-Semester Break: No Classes.
9	Mar.13-15	WOB, ch. 9, Doane paper: "Film and the masquerade," & CP, Mulvey paper: theorizing the female spectator. Background: see Hitchcock's "Vertigo."
10	Mar. 20-22	CP,  Cowie, chs.1, 5: psychoanalysis & film theory.  Summary # 3: what does psychoanalytic theory offers fem.film theory? (Due Th, 3/22).
11	Mar. 27-29	Class handout: the female masquerade, fetishism.  Background video, "Female Perversions."
12	Apr. 3-5	CP,  T. de Lauretis: feminist aesthetics and film: Summary #4 (due T, 4/3);  Th, 4/5, discussion of video, "Jeanne Dielman."
13	Apr. 10 -12	CP,  Modleski, paper on "Rear Window,"& discussion of  film, "Rear Window" (Cudahy Reserves).  TH, Apr. 12, No Class, Easter Break.
14	Apr. 17-19	CP, Jeanne Allen, & R. Samuels, papers on "RearWindow," Critiques of Mulvey on female spectator, homoerotic desire. Background film: "Rear Window" (Cudahy Reserves).
15	Apr. 24-26	Class handout, xerox, paper/s on "Vertigo." Background film: Hitchcock's "Vertigo." Second Paper Due (Th) or Fri. (default date): 8-9 pp. See Paper Topics Two Below. No Final Exam.

PAPER TOPIC ONE
Susan Bordo writes that the body is "a form, a surface on which ...the commitments of a culture are inscribed and reinforced" (WOB, 90). Explain what Bordo means by this claim and then relate it to  Beauvoir's thesis that woman is not born but made.  In your discussion of this topic, discuss the relevant ideas from Beauvoir's work that you find significant to explain what is central to Beauvoir's existentialist feminism, ideas such as: the rejection of essentialism (as in Freudianism), her social constructivism, and her concept of "situation."

PAPER TOPICS TWO
1. Mulvey argues that in traditional cinema, the female spectator is relegated to one of two positions, neither of which seems desirable to feminists; do you find her thesis plausible? Explain first what Mulvey's thesis is, and then, using one of her critics, either critique Mulvey's view or defend it.  Use at least one of the class films as a means of supporting your position here.

2. Using one (or two) of the films we viewed as your basis, discuss and criticize the positions of our secondary sources on film theory, such as Doane, Mulvey, Cowie, Modleski, and Samuels.  For example, using "Rear Window" as your basis, argue whether or not you find Samuel's thesis about homoerotic desire illuminating of that film.  Note: if you do reject one critic's position, counterpose this with another critic's view or provide your own analysis of the film that meets your objections.
 

ADDITIONAL NOTES AND POLICIES
1. No Late Papers: papers are due in class on the day specified.
2. Format of Papers: the two assigned are "reaction" papers using arguments, not "research" papers.
The papers must be based  upon the assigned class readings and class films.
3. Ppapers must be typed double-spaced, possess a clear, underlined thesis statement, use a proper form of citing sources, and a full Bibliography.
3. On Plagiarism: students should familarize themselves with the Loyola policy on plagiarism.