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1 - 10 of 12 results for: GLOBAL

GLOBAL 101: Global Studies Gateway Course

Gateway course for students wishing to pursue a Global Studies minor in one of six specializations: African, European, Islamic, Iranian, Latin American, and South Asian Studies.
Terms: Win | Units: 3 | Grading: Letter (ABCD/NP)
Instructors: Rakove, R. (PI)

GLOBAL 105: Perspectives on Human Rights Theory and Practice

In this introductory human rights course, students will learn about how the distinct methodologies, assumptions, and vocabulary of particular disciplinary communities affect the way scholars and practitioners trained in these fields approach, understand, and employ human rights concepts. Course sessions will include guest lectures from distinguished Stanford faculty from across the university.
Terms: not given this year | Units: 3 | Grading: Letter or Credit/No Credit

GLOBAL 190: Illicit Trade in Art and Antiquities (GLOBAL 390, JEWISHST 130, JEWISHST 330, PUBLPOL 191, PUBLPOL 391)

Illicit trade in art and antiquities is reputedly the third largest illicit trade activity globally. How do nations, individually and collectively, respond to this seemingly inexorable form of illicit trade, and what factors influence those responses? What are the sources and effects of such trade, and how can it best be curbed? This course will delve into these and other pressing political, legal, ethical, economic, cultural and public policy questions about illicit art and antiquities trade, arising across five subject areas: (1) the acquisition of art during the Age of Imperialism (ie, from Roman times through World War II); (2) Holocaust-era takings and the evolution in international legal and ethical responses to wartime looting; (3) removal and repatriation of Indigenous cultural material; (4) theft from museums and private collectors, and legal systems¿ varying allocation of the risk of such theft; and (5) the illicit trade and destruction of antiquities, and issues surrounding their restitution. Several internationally renowned guest speakers will give presentations and contribute to our discussions. Grading will be based on attendance, participation in class and an online discussion forum, a student group presentation, and a final exam or research paper.
Terms: Win | Units: 3 | UG Reqs: WAY-ER, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Jessiman, S. (PI)

GLOBAL 191: Undergraduate Directed Reading

Independent studies for graduate students under the direction of a faculty member for which academic credit may properly be allowed. May be repeat for credit
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Grading: Letter or Credit/No Credit

GLOBAL 199: Capstone Project: Global Studies Minor

Students completing a required capstone project for the Global Studies Minor must enroll in this course for units (1-5) with their capstone advisor selected as the instructor. The course may be repeated for credit, with advisor approval. Students are expected to participate in regular advising meetings with the instructor, and may be expected to give a final presentation on their project at an end-of-the-quarter Global Studies Minor symposium. May be repeat for credit
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

GLOBAL 220: American Foreign Policy: Interests, Values, and Process (IPS 242, POLISCI 217A)

This seminar will examine the tension in American foreign policy between pursuing U.S. security and economic interests and promoting American values abroad. The course will retrace the theoretical and ideological debates about values versus interests, with a particular focus on realism versus liberalism. The course will examine the evolution of these debates over time, starting with the French revolution, but with special attention given to the Cold War, American foreign policy after September 11th, and the Obama administration. The course also will examine how these contending theories and ideologies are mediated through the U.S. bureaucracy that shapes the making of foreign policy. ** NOTE: The enrollment of the class is by application only. Please provide a one page double-spaced document outlining previous associated coursework and why you want to enroll in the seminar to Anna Coll (acoll@stanford.edu) by February 22nd. Any questions related to this course can be directed to Anna Coll.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: McFaul, M. (PI)

GLOBAL 249A: The Iranian Cinema: Image and Meaning (COMPLIT 249A)

This course will focus on the analysis of ten Iranian films with the view of conducting a discourse on the semiotics of Iranian art and culture. Each session will be designated to the viewing of a film by a prominent Iranian filmmaker. Students are expected to prepare for class by having previously examined other available films by the filmmaker under consideration.
Terms: Aut | Units: 1-3 | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

GLOBAL 249B: Iranian Cinema in Diaspora (COMPLIT 249B)

pite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What cha more »
pite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran?
Terms: Win | Units: 1-3 | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

GLOBAL 249C: Contemporary Iranian Theater (COMPLIT 249C)

Today, Iranian plays¿both in traditional and contemporary styles¿are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement¿which was altogether westernizing itself blindly¿face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dea more »
Today, Iranian plays¿both in traditional and contemporary styles¿are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement¿which was altogether westernizing itself blindly¿face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dearth of visual documents, an attempt will be made to present a picture of Iranian theater to the student. Students are expected to read the recommended available translated plays of the contemporary Iranian playwrights and participate in classroom discussions. NOTE: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

GLOBAL 250: Bollywood and Beyond: An Introduction to Indian Film (COMPLIT 247, FILMSTUD 250B)

A broad engagement with Indian cinema: its relationship with Indian politics, history, and economics; its key thematic concerns and forms; and its adaptation of and response to global cinematic themes, genres, and audiences. Locating the films within key critical and theoretical debates and scholarship on Indian and world cinemas. Goal is to open up what is often seen as a dauntingly complex region, especially for those who are interested in but unfamiliar with its histories and cultural forms.
Terms: Spr | Units: 3-5 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
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