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1 - 10 of 33 results for: COMPLIT

COMPLIT 36A: Dangerous Ideas (ARTHIST 36, EALC 36, ENGLISH 71, ETHICSOC 36X, FRENCH 36, HISTORY 3D, MUSIC 36H, PHIL 36, POLISCI 70, RELIGST 36X, SLAVIC 36, TAPS 36)

Ideas matter. Concepts such as progress, technology, and sex, have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like cultural relativism and historical memory, play an important role in contemporary debates in the United States. All of these ideas are contested, and they have a real power to change lives, for better and for worse. In this one-unit class we will examine these "dangerous" ideas. Each week, a faculty member from a different department in the humanities and arts will explore a concept that has shaped human experience across time and space.
Terms: Win, Spr | Units: 1 | Repeatable 4 times (up to 4 units total)
Instructors: Safran, G. (PI)

COMPLIT 43: Modernity and Politics in Middle Eastern Literatures (HUMCORE 131)

This course will investigate cultural and literary responses to modernity in the Middle East. The intense modernization process that started in mid 19th century and lingers to this day in the region caused Arabic, Persian, and Turkish literary cultures to encounter rapid changes; borders dissolved, new societies and nations were formed, daily life westernized, and new literary forms took over the former models. In order to understand how writers and individuals negotiated between tradition and modernity and how they adapted their traditions into the modern life we will read both canonical and graphic novels comparatively from each language group and focus on the themes of nation, identity, and gender. All readings will be in English translation. This course is part of the Humanities Core: https://humanitiescore.stanford.edu/
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Karahan, B. (PI)

COMPLIT 44: Humanities Core: How to be Modern in East Asia (CHINA 24, HUMCORE 133, JAPAN 24, KOREA 24)

Modern East Asia was almost continuously convulsed by war and revolution in the 19th and 20th centuries. But the everyday experience of modernity was structured more profoundly by the widening gulf between the country and the city, economically, politically, and culturally. This course examines literary and cinematic works from China and Japan that respond to and reflect on the city/country divide, framing it against issues of class, gender, national identity, and ethnicity. It also explores changing ideas about home/hometown, native soil, the folk, roots, migration, enlightenment, civilization, progress, modernization, nationalism, cosmopolitanism, and sustainability. All materials are in English. This course is part of the Humanities Core: https://humanitiescore.stanford.edu/
Terms: Win | Units: 3 | UG Reqs: WAY-A-II

COMPLIT 100: CAPITALS: How Cities Shape Cultures, States, and People (DLCL 100, FRENCH 175, GERMAN 175, HISTORY 206E, ILAC 175, ITALIAN 175, URBANST 153)

This course takes students on a trip to major capital cities at different moments in time, including Renaissance Florence, Golden Age Madrid, colonial Mexico City, imperial Beijing, Enlightenment and romantic Paris, existential and revolutionary St. Petersburg, roaring Berlin, modernist Vienna, and transnational Accra. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation).
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI

COMPLIT 122: Literature as Performance:

Focus is on the evolution of dramatic literature through some of its great milestones from antiquity to present. Readings include selected plays (alongside video recordings/film adaptations) and secondary works on theater and performance. Through readings, discussion, and written work, students will analyze theater as an embodied genre that moves in time, space and thought. Works by Sophocles, Shakespeare, Chekhov, Beckett, Ibsen, Hansberry, Williams, and Soyinka.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum
Instructors: Barletta, V. (PI)

COMPLIT 138: Literature and the Brain (COMPLIT 238, ENGLISH 118, ENGLISH 218, FRENCH 118, FRENCH 218, PSYC 126, PSYCH 118F)

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II

COMPLIT 145C: Narratives of Enslavement (AFRICAAM 145, CLASSICS 145, CLASSICS 245)

Widely dispersed narratives by and about enslaved persons are our focus. We'll explore the concept of 'slave narrative' by comparing texts from the ancient Mediterranean, the Cape of Good Hope, West Africa and the United States. We'll consider famous autobiographies alongside less familiar material such as court trial records. What are the affordances, what are the limits of such narratives as historical evidence? What notions of enslaved experience emerge? How close can we come to understanding the experiences of the enslaved? How different do such experiences seem when compared across time and space? Note: graduates and advanced undergraduates wishing to read original Greek and Latin texts should register for Reading Greek and Roman Slavery ( Classics 142/242) in addition.
Terms: Win | Units: 5
Instructors: Parker, G. (PI)

COMPLIT 148: Transcultural Perspectives of South-East Asian Music and Arts (COMPLIT 267, FRENCH 260A, MUSIC 146N, MUSIC 246N)

This course will explore the links between aspects of South-East Asian cultures and their influence on modern and contemporary Western art and literature, particularly in France; examples of this influence include Claude Debussy (Gamelan music), Jacques Charpentier (Karnatak music), Auguste Rodin (Khmer art) and Antonin Artaud (Balinese theater). In the course of these interdisciplinary analyses - focalized on music and dance but not limited to it - we will confront key notions in relation to transculturality: orientalism, appropriation, auto-ethnography, nostalgia, exoticism and cosmopolitanism. We will also consider transculturality interior to contemporary creation, through the work of contemporary composers such as Tran Kim Ngoc, Chinary Ung and Tôn-Thât Tiêt. Viewings of sculptures, marionette theater, ballet, opera and cinema will also play an integral role. To satisfy a Ways requirement, this course must be taken for at least 3 units. WIM credit in Music at 4 units and a letter grade.
Terms: Win | Units: 2-4 | UG Reqs: WAY-A-II
Instructors: Kretz, H. (PI)

COMPLIT 161E: Narrative and Narrative Theory (ENGLISH 161)

An introduction to stories and storytelling--that is, to narrative. What is narrative? When is narrative fictional and when non-fictional? How is it done, word by word, sentence by sentence? Must it be in prose? Can it be in pictures? How has storytelling changed over time? Focus on various forms, genres, structures, and characteristics of narrative. nEnglish majors must take this class for 5 units.
Terms: Aut, Win, Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

COMPLIT 176: Forms of Poetry at Home and Abroad: A Workshop (ILAC 176)

Poets have long relied on formal structures to write into surprise and wonder. We know of structures such as the sonnet and the sestina, but what about the corrido, ghazal, haiku, jintishi, landay, lira, l¿c b¿t, qa¿¿da, pantoum, romance, rondeau, sijo, than-bauk, and triolet? How might we reimagine poetic forms in English by looking to the past at home and abroad?In this poetry workshop, you will write an original poem each week. Assigned readings will illustrate the development of specific forms from language traditions around the world and the ways in which they've crossed into English-language poetry. Previous experience with creative writing not required.
Terms: Win | Units: 3-5 | UG Reqs: WAY-CE
Instructors: Santana, C. (PI)
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