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

Depite 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 c more »
Depite 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 | UG Reqs: WAY-A-II | 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 d 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

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: not given this year | Units: 3-5 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

HISTORY 7S: Stanford Collects: A History of Collecting (ARTHIST 278S)

Leland Stanford, Jr. was a curator extraordinaire. His collecting shaped Stanford into a university, an archive, a library, and a museum. Students will explore Stanford's campus collections to discover how objects and artifacts tell the history not only of the university, but also Palo Alto, California, and the American West writ large. The course is hosted in Green Library and features visits to the Cantor Arts Center, Stanford University Archaeology Collections, and more. All majors welcome. Priority given to history majors and minors.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Toledano, A. (PI)

HISTORY 14N: Making the Middle Ages

Through hands-on engagement with Stanford¿s diverse collections of medieval artifacts-- from grungy coins to lavish manuscripts-- this course offers an introduction to the cultures of Europe and the Mediterranean world from 400-1400 CE. In addition, the course will explore competing contemporary understandings of the "Middle Ages" and the role of the "medieval" in shaping what it means to be "modern".
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Dorin, R. (PI)

HISTORY 40A: The Scientific Revolution

(Same as History 140A. History majors and others taking 5 units, register for History 140A.) What do people know and how do they know it? What counts as scientific knowledge? In the 16th and 17th centuries, understanding the nature of knowledge engaged the attention of individuals and institutions including Copernicus, Galileo, Descartes, Newton, the early Royal Society, and less well-known contemporaries. New meanings of observing, collecting, experimenting, and philosophizing, and political, religious, and cultural ramifications in early modern Europe.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)

HISTORY 48: The Egyptians (AFRICAAM 30, CLASSICS 82, HISTORY 148)

Overview of ancient Egyptian pasts, from predynastic times to Greco-Roman rule, roughly 3000 BCE to 30 BCE. Attention to archaeological sites and artifacts; workings of society; and cultural productions, both artistic and literary. Participation in class is required.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

HISTORY 50A: Colonial and Revolutionary America

(Same as HISTORY 150A. History majors and others taking 5 units, register for 150A.) Survey of the origins of American society and polity in the 17th and 18th centuries. Topics: the migration of Europeans and Africans and the impact on native populations; the emergence of racial slavery and of regional, provincial, Protestant cultures; and the political origins and constitutional consequences of the American Revolution.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-SocSci, GER:EC-AmerCul, WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

HISTORY 54N: African American Women's Lives (AFRICAAM 54N, AMSTUD 54N, CSRE 54N, FEMGEN 54N)

This course encourages students to think critically about historical sources and to use creative and rigorous historical methods to recover African American women¿s experiences, which often have been placed on the periphery of American history and American life.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Hobbs, A. (PI)

HISTORY 63N: The Feminist Critique: The History and Politics of Gender Equality (AMSTUD 63N, CSRE 63N, FEMGEN 63N)

This course explores the long history of ideas about gender and equality. Each week we read, dissect, compare, and critique a set of primary historical documents (political and literary) from around the world, moving from the 15th century to the present. We tease out changing arguments about education, the body, sexuality, violence, labor, politics, and the very meaning of gender, and we place feminist critics within national and global political contexts.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Freedman, E. (PI)
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