Results for DLCL

This colloquium is intended for undergraduates who are interested in the history and theory of the novel, and who would like to attend the Center for the Study of the Novel's (CSN) annual conference. Before the conference, students will meet with CSN's graduate student staff, to read and discuss a small number of key texts by participating scholars, whose presentations students will then attend. After the conference, the colloquium will meet again, to discuss both the readings and conference papers, and explore their broader implications for the study of the novel. Attendance at both meetings of the colloquium, and at least one panel at the conference, is required for course credit.

For Humanities House student residents; research workshop.

Independent study for language students pursuing a Modern Languages minor. Instructor consent required before enrolling in this course.

For students interested in translation, interpreting, and translationnstudies. The course will highlight guest speakers who apply translation inna variety of professional contexts (e.g. medical, legal, literary,nreligious contexts, localization, machine-translation).

This course offers an introduction to materials that are pertinent to the BOSP summer seminar "Going Medieval" offered in summer 2015. It is a required course for participants of the seminar.

This course introduces students to the theoretical knowledge and practicalnskills necessary to translate literary texts from Spanish to English andnEnglish to Spanish. Topics may include comparative syntaxes, morphologies,nand semantic systems; register and tone; audience; the role of translationnin the development of languages and cultures; and the ideological andnsocio-cultural forces that shape translations. Students will workshop andnrevise an original translation project throughout the quarter.

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.

Through an analysis of medieval love, satirical and Crusade lyrics in the Old Occitan, Old French, and Galician-Portuguese traditions, we will study deictic address, corporeal subjectivity, the female voice, love debates, and the body as a figure of political conflict. Special attention will be given to the transmission of vernacular song from live performance to manuscripts. Authors include Ovid, Bernart de Ventadorn, Bertran de Born, La Comtessa de Dia, Thibaut de Champagne, Dante, and Pound. Taught in English.

How can we make historical materials, social and cultural practices and extant sites accessible in the present day? In this course, students will have the opportunity to design and create an innovative digital project based on a medieval primary source. In the first part of the course, we will familiarize ourselves with medieval European cultural history, focusing on different kinds of sources, including historical and religious texts, narrative and music, architecture, images, objects, and textiles. Then we will examine and evaluate digital resources and approaches to medieval sources, including digital facsimiles, experiments with virtual spaces, and informational sites. In order to contemporize and vivify the medieval, an integral component of this course will be the California Missions, since they so dramatically represent a medieval modus operandi in a modern, and, for Stanford, local, world.

This course explores the experience and imagination of medieval journeys through interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages with an array of written texts from the period. Narratives of medieval journeys are studied across a wide range of categories, including pilgrimages, crusades, quests, and sagas. The journey as metaphor, along with the resulting and very real cultural interactions, will provide a main focus for examining this rich tradition of literature. Students will have the opportunity to produce a creative project that brings medieval ideas about travel into dialogue with modern conceptions. The course will satisfy the Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference.

Join us for the DLCL Film Series¿ Spring theme, FILMS ON FILM, as we look at how the cinema portrays itself in international film. Starting with Dziga Vertov¿s revolutionary film The Man with the Movie Camera (1929), we will briefly examine the history of early cinema and pre-cinematic technologies and how the camera adapted itself to modern urban experiences. Passing to Ventura Pons' Actresses (1996), we will examine the voices and bodies of actors and actresses that make up the raw material of cinema. The fantastically self-reflexive New Wave movement of Federico Fellini¿s 8 1/2 (1963) introduces the anxiety of film production and the blurring of the lines between reality and film that we will see in Michel Gondry¿s surreal The Science of Sleep (2006) and Spike Jonze¿s cripplingly self-conscious Adaptation (2002). We will also look at Federico Veiroj¿s The Useful Life (2010) to examine the representation of the movie theatre, and the effects screening has on audiences and the projectionist. Les Blank¿s Burden of Dreams (1982), which features Werner Herzog and Klaus Kinski, and Wim Wender¿s The State of Things (1983) illustrate the struggle of filming, finding the necessary capital and labor for production, and wrangling the unexpected and unplanned aspects of reality. Whereas Pablo Berger¿s Torremolinos 73 shows the dreams of a desperate man who dreams of cinematic glory, David Lynch¿s unsettling Mulholland Drive (2001) uncovers the dark underbelly of Hollywood culture. Discussions will focus on the way that films flatter, critique, and repeat themselves, complexify or wear themselves out, and experiment with new aspects of their self-consciousness. In particular we will discuss how nationality, class, gender, and technology affect films¿ representation of their origins, production, and influence on the world.nnnPlease be aware that some films may include graphic or disturbing content. Viewers are advised to familiarize themselves with the films' content before viewing. All screenings are free and open to the public and audience members are encouraged to participate in the discussions following the films.nnnPlease also note that grades for this course are entirely dependent on attendance, which is taken at the end of each screening. Enrolled students MUST attend AT LEAST SEVEN screenings in order to obtain credit.

For undergraduate majors in DLCL departments; required for honors students. Planning, researching, and writing an honors thesis. Oral presentations and peer workshops. Research and writing methodologies, and larger critical issues in literary studies.

For undergraduate majors in DLCL departments; required for honors students. Planning, researching, and writing an honors thesis. Oral presentations and peer workshops. Research and writing methodologies, and larger critical issues in literary studies.

For undergraduate majors in DLCL departments; required for honors students. Planning, researching, and writing an honors thesis. Oral presentations and peer workshops. Research and writing methodologies, and larger critical issues in literary studies.

This course will focus on helping to design, conceptualize, and populate an international human rights website. No knowledge of web design or of human rights is necessary to get started on this project. We have technical assistance available, though hopefully this course will attract students with those skills as well. Similarly, we will be learning about human rights as we build the site, explore and share resources and ideas, and reflect on the content. Preliminary site viewable at teachinghumanrights.org

For undergraduate majors in DLCL departments; required for honors students. Oral presentations and peer workshops. Regular advisory meetings required.

How do digital research practices effect the Humanities research process? From reading to writing, from review to publication, Humanities research relies increasingly on digital workfows. Keeping track of new software that promises to make writing easier, only to see it dissolve into oblivion before you've completed the second chapter of your dissertation is maddening. In this course you will learn the foundational tools of digital writing and design your own digital research process. Together we will explore the theoretical and practical challenges of publishing born-digital scholarship in the humanities. May be repeat for credit

Introductory course in the history of writing and of the book, from the late antique period until the advent of printing. Opportunity to learn to read and interpret medieval manuscripts through hands-on examination of original materials in Special Collections of Stanford Libraries as well as through digital images. Offers critical training in the reading of manuscripts for students from departments as diverse as Classics, History, Philosophy, Religious Studies, English, and the Division of Languages Cultures and Literatures.

Humanities Education explores issues concerning teaching and learning in the humanities, including research on student learning, innovation in pedagogy, the role of new technologies in humanities instruction, and professional issues for humanities teachers at all educational levels.

Please refer to the Philosophy+Literature web site: nhttp://philit.stanford.edu/programs/dlcl222nnStudents may sign up for a unit of credit each quarter via DLCL 222. To earn the unit, students must do one of the following three things:n(a) attend an event hosted by the Philosophy and Literature group (including events hosted by the graduate workshop) and write up a reaction paper of 2-5 pages;n(b) present a paper of their own to the graduate workshop;n(c) agree with one of the DLCL 222 instructors on a reading related to the year¿s activities, and meet with him/her for a discussion of that reading.

The Renaissances Group brings together faculty members and students from over a dozen departments at Stanford to consider the present and future of early modern literary studies (a period spanning the fourteenth through the seventeenth centuries). Taking seriously the plural form of the group's name, we seek to explore the early modern period from a wide range of disciplinary, cultural, linguistic, and geographical perspectives. Topic for 2012-14: "Nodes, Networks, Names."

The Workshop in Poetics is concerned with the theoretical and practical dimensions of the reading and criticism of poetry. During the three years of its existence, the Workshop has become a central venue at Stanford enabling participants to share their individual projects in a general conversation outside of disciplinary and national confinements. The two dimensions that the workshop sees as urgent are: poetics in its specificity as an arena for theory and interpretive practice, and historical poetics as a particular set of challenges for the reader and scholar.

The Digital Humanities Focal Group (DHFG) will promote faculty and graduate research in the digital humanities through lectures series, praxis workshops, curriculum, and the identification and development of digital humanities research projects, especially those eligible for grant-funding opportunities. DHFG sponsors a lecture series and convenes regular workshops alternating between praxis and theory. These activities provide fora in which faculty and graduate students can share work in progress, discuss the state of the field, and identify important research that should be shared with the DLCL and broader academic communities. Crucially, the DHFG will promote digital research on underrepresented literatures and cultures to counteract the English-language dominance of much work in the field.

In this course, we will explore the perspectives of scholars who have thought about what "digital humanities" means and the technologies and tools that are shaping new kinds of research, scholarship, and publishing. Topics will include history of the digital humanities, textual studies, electronic literature, computational and new media, and emerging work around text, image, and new media curation and visualization. This seminar is ideal for anyone interested in digital methods and digital in the humanities, teaching with new digital methods, or to learn about all the digital humanities projects at Stanford.nnThis course is organized as a mix of seminar and workshop and will be featuring a new platform called "Lacuna Stories," designed for Stanford students, that presents multiple platforms, media, and texts to digitally engage with narratives surrounding 9/11; active engagement by all participants is expected. Students may contribute to the field with a creative final project that they develop over the course of the quarter if they select the 3-unit option.

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.

This specific course will offer an overview of Aljamía, language of the Moors, considered an "Islamic variant of Spanish" that serves them to approach respectfully the language of their religious cult-material reality, beyond their day-to-day communication. Students will study a crucial part of the history of medieval and early modern Spain and especially the history of Moors as a community of crypto Muslims.

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.

Only DLCL/CS+ joint majors may enroll in this course.

An introduction to the essential tool-kit for medievalists, this course will give all medievalists a great head start in knowing how to access and interpret major works and topics in the field. Stanford's medieval faculty will explain the key sources and methods in the major disciplines from History to Religion, French to Arabic, English to Chinese, and Art History to German and Music. In so doing, students will be introduced to the breadth and interdisciplinary potential of Medieval Studies. A workshop devoted to Digital Technologies and Codicology/Palaeography will offer elementary training in these fundamental skills.

Prepares DLCL graduate students to teach first- and second-year foreign languages. Participants learn about second-language acquisition research and participate in the initial stages of Oral Proficiency Interview (OPI) training.

Focuses on the research on advanced level reading and writing in second language contexts with a special focus on upper-level cultural texts. Discussion of second language writing and reading assessment including a writing familiarization workshop. Participants will focus on their cognizant language and literature for the completion of their assignments. Prerequisite: DLCL 301.

Administrative Internship in Language Program Management. Experiences can include, but are not limited to, the following: Shadow faculty and staff in select areas of administration and supervision within the Language Center and DLCL; Placement testing and student advisement; Technology in teaching and learning; Processes for teacher observation and feedback; Procedures in staff supervision and Human Resources; Course scheduling, budgeting, staffing, and searches; Interface with external programs (e.g. BOSP, Bechtel, CTL).

Meets regularly throughout the year to discuss issues in the professional study of literature. Topics include the academic job market and the challenges of research and teaching at different types of institutions. Supervised by the graduate affairs committee of the DLCL. May be repeated for credit.

Advanced study in the humanities faces changes within fields, the university and the wider culture. Considers the debate over the status of the humanities with regard to historical genealogies and current innovations. Particular attention on changes in doctoral education. Topics include: origins of the research university; disciplines and specialization; liberal education in conflict with professionalization; literature and literacy education; interdisciplinarity as a challenge to departments; education policy; digital humanities; accountability in education, assessment and student-centered pedagogies.

Literary and philosophical texts from Antiquity (including Homer, the Greek tragedians, Plato, Aristotle, Virgil, and Augustine). In each case, we will examine the cultural contexts in which each text was composed (e.g. political regimes and ideologies; attitudes towards gender and sexuality; hierarchies of class and status; discourses on "barbarians" and resident aliens). We will study various theoretical approaches to these books in an effort to "rethink" these texts in the 21st century.

The cultural,literary, and artistic evolution of the Middle Ages. The barbarian invasions and the Germanic ethos, the Celtic heritage,and the monastic tradition. Romanesque art and architecture,pilgrimages,and the Crusades. Gothic aesthetics, chivalry and courtly love, scholasticism, and the rise of universities. The late Middle Ages, humanism, and the threshold of the Renaissance. Texts include: Beowulf, Mabinogion, Song of Roland, Chretien de Troyes' Lancelot and Yvain, Dante's Divine Comedy, Boc­caccio's Decameron, and Chaucer's Canterbury Tales.nn3-5 units

Explores some of the key texts of European early modernity and the critical paradigms according to which the idea of the "Renaissance" has been formed, analyzed, and questioned since the 19th century. Will aim to provide a broad introduction to Early Modern studies from the point of view of the Italian Renaissance and its reception in different European contexts. Taught in English.

The Enlightenment as a philosophical, literary, and political movement. Themes include the nature and limits of philosophy, the grounds for critical intellectual engagement, the institution of society and the public, and freedom, equality and human progress. Authors include Voltaire, Montesquieu, Rousseau, Hume, Diderot, and Condorcet.

The postmodern condition as post-WWII rupture in Western tradition; moral, political, cultural, and aesthetical dimensions. Sources include literature, philosophy, essays, films, and painting. Authors and artists include: Primo Levi, Hannah Arendt, Alain Resnais, Samuel Beckett, Georges Bataille, Michel Foucault, Theodor Adorno, David Riesman, Georges Perec, Juliet Mitchell, and Francis Bacon. *Please note: course meets 9/6/16-9/16/16

May be repeat for credit

Join us for the DLCL Film Series¿ Spring theme, FILMS ON FILM, as we look at how the cinema portrays itself in international film. Starting with Dziga Vertov¿s revolutionary film The Man with the Movie Camera (1929), we will briefly examine the history of early cinema and pre-cinematic technologies and how the camera adapted itself to modern urban experiences. Passing to Ventura Pons' Actresses (1996), we will examine the voices and bodies of actors and actresses that make up the raw material of cinema. The fantastically self-reflexive New Wave movement of Federico Fellini¿s 8 1/2 (1963) introduces the anxiety of film production and the blurring of the lines between reality and film that we will see in Michel Gondry¿s surreal The Science of Sleep (2006) and Spike Jonze¿s cripplingly self-conscious Adaptation (2002). We will also look at Federico Veiroj¿s The Useful Life (2010) to examine the representation of the movie theatre, and the effects screening has on audiences and the projectionist. Les Blank¿s Burden of Dreams (1982), which features Werner Herzog and Klaus Kinski, and Wim Wender¿s The State of Things (1983) illustrate the struggle of filming, finding the necessary capital and labor for production, and wrangling the unexpected and unplanned aspects of reality. Whereas Pablo Berger¿s Torremolinos 73 shows the dreams of a desperate man who dreams of cinematic glory, David Lynch¿s unsettling Mulholland Drive (2001) uncovers the dark underbelly of Hollywood culture. Discussions will focus on the way that films flatter, critique, and repeat themselves, complexify or wear themselves out, and experiment with new aspects of their self-consciousness. In particular we will discuss how nationality, class, gender, and technology affect films¿ representation of their origins, production, and influence on the world.nnnPlease be aware that some films may include graphic or disturbing content. Viewers are advised to familiarize themselves with the films' content before viewing. All screenings are free and open to the public and audience members are encouraged to participate in the discussions following the films.nnnPlease also note that grades for this course are entirely dependent on attendance, which is taken at the end of each screening. Enrolled students MUST attend AT LEAST SEVEN screenings in order to obtain credit.

A history of literary theory for entering graduate students in national literature departments and comparative literature.

Study of the eighteenth-century Grand Tour of Italy through visualization tools of the digital age. Critical readings in both visual epistemology and current Grand Tour studies; interrogating the relationship between quantitative and qualitative approaches in digital humanities; what new insights in eighteenth-century British travel to Italy does data visualization offer us? Students will transform traditional texts and documents into digital datasets, developing individual data analysis projects using text mining, data capture and visualization techniques.