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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.

Continuation of language and reading development from Reading Turkish I. Open with consent of the instructor to undergraduates who have already taken Reading Turkish I.

Despite 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.nnThese 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.nnIn 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:nnWhat changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment?nnThough unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran?nnAnd in fact, to what extent do these films express things that are left unsaid by the cinema within Iran?

Eighteenth-century culture seen as permeated by intellectual and artistic practices and plays pushing principles of reason and rationality to an extreme that becomes self-undercutting. Such obsessions and practices are becoming more visible and prominent now, as the traditional concept of "Enlightenment" (synonymous with the 18th century) is undergoing a profound transformation. Among the protagonists of this seminar will be: Diderot as a philosopher and novelist; Lichtenberg as a scientist and writer of everyday notes; Goya, accusing violence and obsessed with nightmarish visions; Mozart as the excessive master of repetition and variation.

Walter Benjamin's work as cultural historian, critic, literary author and philosopher, seen from the trajectory of a German-Jewish intellectual life in the context of the first half of the 20th century. Providing such a historical perspective will be the condition for an actively critical reading of Benjamin's works; a reading that -- counter to the predominant Benjamin-reception -- will try to distinguish between works of purely biographical and historical interest and those Benjamin texts that prove to be of great and lasting intellectual value. Taught in English.

Features of online education as they relate to the humanities and notions of engaged critical learning. Collaborative course, working in tandem with Professor Cathy Davidson's Duke course, The History and Future of High Education, using live chats, Google documents, and other forums to interact with students at Duke and other universities nationally. Each campus uses a syllabus linked to each instructor's angle into this general subject, but many readings and exercises in common. Seeing this as a critical moment in education, to connect this topic to its historical, cultural, political, and ethical implications. The Stanford course looks at early discussions about education and culture (Arnold's Culture and Anarchy) and then works through a key moment in the mid-20th century whose premises still have influence: the Two Cultures (humanities, sciences) debate. Radical responses to educational reform in France and the US in the late 60s, and the changing state of funding, value, and cultural critique in the late 20th and early 21st centuries. The idea of education as a personal, collective, and intellectual endeavor which is shaped by and shapes societies. Focus on the idea of the public good and the relation between education and a democratic society.

Drawing on literature, the arts, political discourse, museums, and new media, this course asks why and how we take interest in the watershed events of the modern era; how does contemporary culture engages with modern, made-made disasters such as the World Wars or 9/11? Readings and viewings include the literature of G. Grass, W. G. Sebald, Ian McEwan, Toni Morrison and Cormac McCarthy; the cinema of Kathryn Bigelow and Steven Spielberg; speeches by Barak Obama; and the theoretical writing of Walter Benjamin, Hayden White, Fredric Jameson, among others. Taught in English.