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ANTHRO 17N: Language and Power

This seminar introduces a variety of themes and issues in linguistic anthropology, with a particular emphasis on the link between language and power. The seminar highlights that language is a constitutive of social realities, including social relationships and identities, rather than a passive tool for communication. The seminar delves into subjects such as the linguistic construction of gender, class, and race, hate speech, censorship, and the interplay of language and power unique to various institutions such as social media, and also explores the strategies of challenging the linguistic forms of power and domination. Students are expected to develop their own research project that involves empirical data collection and analysis, and thus gain hands-on linguistic anthropological research experience.
Terms: Win | Units: 3
Instructors: Inoue, M. (PI)

ANTHRO 27N: Ethnicity and Violence: Anthropological Perspectives

Ethnicity is one of the most compelling and most modern ways in which people - in the midst of considerable global and local uncertainty - all across the world imagine and narrate themselves. This seminar will take an anthropological look at both the modernity and the compulsions of ethnic allegiance, and, why struggles over ethnic identity are so frequently violent. Our questions will be both historical; how, why and when did people come to think of themselves as possessing different ethnic identities - and contemporary; how are these identities lived, understood, narrated, and transformed and what is the consequence of such ethnicisation. We follow this through anthropological perspectives which ask persistently how people themselves locally narrate and act upon their experiences and histories. Through this we will approach some of the really big and yet everyday questions that many of us around the world face: how do we relate to ourselves and to those we define as others; and how d more »
Ethnicity is one of the most compelling and most modern ways in which people - in the midst of considerable global and local uncertainty - all across the world imagine and narrate themselves. This seminar will take an anthropological look at both the modernity and the compulsions of ethnic allegiance, and, why struggles over ethnic identity are so frequently violent. Our questions will be both historical; how, why and when did people come to think of themselves as possessing different ethnic identities - and contemporary; how are these identities lived, understood, narrated, and transformed and what is the consequence of such ethnicisation. We follow this through anthropological perspectives which ask persistently how people themselves locally narrate and act upon their experiences and histories. Through this we will approach some of the really big and yet everyday questions that many of us around the world face: how do we relate to ourselves and to those we define as others; and how do we live through and after profound violence? The seminar will take these larger questions through a global perspective focusing on cases from Rwanda and Burundi, India, Sri Lanka, Northern Ireland, Guatemala, and the countries of Former Yugoslavia among others. These cases cover a broad canvas of issues from questions of historicity, racial purity, cultural holism, and relations to the state, to contests over religious community, indigeneity, minority identities, globalization, gender, and generation.
Terms: Aut | Units: 3

ANTHRO 31Q: The Big Shift (CSRE 30Q)

Is the middle class shrinking? How do people who live at the extremes of American society- the super rich, the working poor and those who live on the margins, imagine and experience "the good life"? How do we understand phenomena such as gang cultures, addiction and the realignment of white consciousness? This class uses the methods and modes of ethnographic study in an examination of American culture. Ethnographic materials range from an examination of the new American wealth boom of the last 20 years (Richistan by Robert Frank) to the extreme and deadlyworld of the invisible underclass of homeless addicts on the streets of San Francisco (Righteous Dopefiend by Phillipe Bourgois and Jeff Schonberg). The experiences of Hispanic immigrants and the struggle to escape gang life in Los Angeles are highlighted in the story of Homeboy Industries a job creation program initiated by a priest working in LA's most deadly neighborhoods (G-Dog and the Homeboys by Celeste Fremon). Finally in Search more »
Is the middle class shrinking? How do people who live at the extremes of American society- the super rich, the working poor and those who live on the margins, imagine and experience "the good life"? How do we understand phenomena such as gang cultures, addiction and the realignment of white consciousness? This class uses the methods and modes of ethnographic study in an examination of American culture. Ethnographic materials range from an examination of the new American wealth boom of the last 20 years (Richistan by Robert Frank) to the extreme and deadlyworld of the invisible underclass of homeless addicts on the streets of San Francisco (Righteous Dopefiend by Phillipe Bourgois and Jeff Schonberg). The experiences of Hispanic immigrants and the struggle to escape gang life in Los Angeles are highlighted in the story of Homeboy Industries a job creation program initiated by a priest working in LA's most deadly neighborhoods (G-Dog and the Homeboys by Celeste Fremon). Finally in Searching for Whitopia: an improbable journeyinto the heart of White America, Rich Benjamin explores the creation on ethnic enclaves (whitopias) as fear over immigration and the shrinking white majority redefine race consciousnessin the 21st century. Each of these narratives provides a window into the various ways in which Americans approach the subjects of wealth and the good life, poverty and the underclass, and theconstruction of class, race, and gender in American society. Students will not be required to have any previous knowledge, just curiosity and an open mind.
Terms: Win | Units: 4 | UG Reqs: GER:DB-SocSci
Instructors: Wilcox, M. (PI)

ANTHRO 54N: For Makers and Thinkers: How to Use Art in Research and Vice Versa

This course is specifically designed for social science and humanities students who want to learn how to use art to expand their research questions and/or develop an art practice, and for arts students who want to find ways to deeply engage social science and humanities research in their practice. The course will: 1. Introduce students to the work of artists who used their practice to deeply engage social issues (Ian Rowland, Cornelia Parker, Fred Wilson and many others). These artists will be contextualized with readings including: critical commentaries on their work; theoretical literature; and primary literature on the issues they address (in these examples, slavery, material culture, museum studies). Critical questions will include: Why did the artist select particular media for their work? How does the art provide a different perspective on, engagement with, or relationship to the issues they address? How does the meaning of the art change with or without contextualization? How do more »
This course is specifically designed for social science and humanities students who want to learn how to use art to expand their research questions and/or develop an art practice, and for arts students who want to find ways to deeply engage social science and humanities research in their practice. The course will: 1. Introduce students to the work of artists who used their practice to deeply engage social issues (Ian Rowland, Cornelia Parker, Fred Wilson and many others). These artists will be contextualized with readings including: critical commentaries on their work; theoretical literature; and primary literature on the issues they address (in these examples, slavery, material culture, museum studies). Critical questions will include: Why did the artist select particular media for their work? How does the art provide a different perspective on, engagement with, or relationship to the issues they address? How does the meaning of the art change with or without contextualization? How does this artist draw on and expand art history and other artists' work? Are there critical issues the work raises but is underpowered to address? 2. Provide support for students to work on their own quarter-length independent projects and research based in drawing, photography, creative writing, or other art practice which may shift according to research findings in the duration of the course. Part of the syllabus will be contingent on student projects. Regular group crit/support sessions will be held in class based on clear deadlines. 3. Introduce students to various methods of working with primary and source materials for arts-based projects, such as improvisation, juxtaposition, performance, role-play, "moment work" and scenography. "Makers" workshops will be held to introduce students to arts methods and may include: wax casting, life drawing, graphic art, etc. (The instructor will apply for Maker's funding to support these workshops.) Students will complete the course with a solid introduction to at least 20 contemporary artists and an understanding of how to discuss and contextualize artwork in the context of several disciplines: art, social science theory, and art criticism. They will also have experience in building and completing their own project and learn how to justify their work, understand how different art media impact their exploration and ultimate product, and work through various challenges in the process. They will also gain experience in crit sessions, which will be directed by the profession with a question-based format, in both giving and receiving feedback. They will document their work and learn how to produce a portfolio of the project.
Terms: Spr | Units: 3
Instructors: Jain, S. (PI)

APPPHYS 13N: A Taste of Quantum Physics (PHYSICS 13N)

What is quantum physics and what makes it so weird? We'll introduce key aspects of quantum physics with an aim to explain why it differs from everyday 'classical' physics. Quantum-enabled devices like the laser and atomic clocks for GPS will be explained. We will also discuss the breakthroughs driving the 2nd quantum technology revolution surrounding quantum simulators, sensors, and computers. Seminar discussions and a laser lab will help illustrate core principles, including the atomic clock mechanism. Visits to campus laboratories will introduce cutting-edge quantum experiments. This IntroSem is designed for those likely to go on to major in the humanities or in a STEM program outside of the natural sciences. (Likely STEM majors are instead encouraged to take 100-level quantum courses upon completion of pre-requirements.) While basic familiarity with high school physics is recommended, qualitative explanations will be emphasized. By the end of the quarter, you will be able to explain the key tenets of quantum physics, how it has enabled current technology, and what new technologies might emerge from the 2nd quantum revolution.
Terms: Aut | Units: 3 | UG Reqs: WAY-SMA
Instructors: Lev, B. (PI)

APPPHYS 77N: Functional Materials and Devices

Preference to freshmen. Exploration via case studies how functional materials have been developed and incorporated into modern devices. Particular emphasis is on magnetic and dielectric materials and devices. Recommended: high school physics course including electricity and magnetism.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-EngrAppSci, WAY-SMA
Instructors: Suzuki, Y. (PI)

APPPHYS 79N: Energy Options for the 21st Century

Preference to frosh. Choices for meeting the future energy needs of the U.S. and the world. Basic physics of energy sources, technologies that might be employed, and related public policy issues. Trade-offs and societal impacts of different energy sources. Policy options for making rational choices for a sustainable world energy economy.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-EngrAppSci, WAY-SMA
Instructors: Fox, J. (PI)

ARCHLGY 21Q: Eight Great Archaeological Sites in Europe (CLASSICS 21Q)

Preference to sophomores. Focus is on excavation, features and finds, arguments over interpretation, and the place of each site in understanding the archaeological history of Europe. Goal is to introduce the latest archaeological and anthropological thought, and raise key questions about ancient society. The archaeological perspective foregrounds interdisciplinary study: geophysics articulated with art history, source criticism with analytic modeling, statistics interpretation. A web site with resources about each site, including plans, photographs, video, and publications, is the basis for exploring.
Terms: Win, Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, Writing 2
Instructors: Shanks, M. (PI)

ARCHLGY 43N: The Archaeological Imagination (CLASSICS 43N)

More than excavating ancient sites and managing collections of old things, Archaeology is a way of experiencing the world: imagining past lives through ruins and remains; telling the story of a prehistoric village through the remains of the site and its artifacts; dealing with the return of childhood memories; designing a museum for a community. The archaeological imagination is a creative capacity mobilized when we experience traces and vestiges of the past, when we gather, classify, conserve and restore, when we work with such remains to deliver stories, reconstructions, accounts, explanations, or whatever. This class will explore such a wide archaeological perspective in novels, poetry, fantasy literature, the arts, movies, online gaming, and through some key debates in contemporary archaeology about human origins, the spread of urban life, the rise and fall of ancient empires.
Terms: Aut | Units: 3
Instructors: Shanks, M. (PI)

ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. Why did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel? Painted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vessels from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Vases depicting Dionysian excess were produced for elite symposia, from which those who potted and painted them were exclu more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. Why did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel? Painted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vessels from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Vases depicting Dionysian excess were produced for elite symposia, from which those who potted and painted them were excluded. Sculptors were less lowly but still regarded as "mechanics," with soft bodies and soft minds (Xenophon), "indifferent to higher things" (Plutarch). The seminar addresses such issues as we work to acknowledge our own privilege and biases. Students will read and discuss texts, write response papers and present slide lectures on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)
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