2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
Browse
by subject...
    Schedule
view...
 

11 - 20 of 32 results for: COMPLIT ; Currently searching spring courses. You can expand your search to include all quarters

COMPLIT 163: A Brief History of Now: Song and Poetry from Sappho to Taylor Swift (FRENCH 163)

What techniques do singers share between traditions from antiquity to the present? How do they produce a sense of a moment to be seized, a contrast between hope and despair, and here and now? Transhistorical, comparative analysis of lyric modes and conventions such as apostrophe, the desire to sing and uselessness of doing so, when and where they diverge in different lyric genres and traditions. Poets and songwriters include Catullus, Sappho, Li Qingzhao, troubadours, Dante, Labe, Donne, Taylor Swift, Bob Dylan, SZA. Each week, students will enrich the discussion by introducing to the class their own suggestions of relevant works.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II

COMPLIT 164: Solidarity - Histories, Literatures, Rationales (COMPLIT 364, CSRE 164)

How do we come to care about causes not related to our lives directly? During the Spanish Civil War, people from around the world joined the International Brigade to fight fascism. In our own age, hundreds of thousands of people around the world urge a ceasefire in Gaza. We study moments in history where immediate political interest gives way to a more capacious sense of obligation and commitment.
Terms: Spr | Units: 3-5

COMPLIT 179: Rumi: Rhythms of Creation (COMPLIT 249)

This course offers a comprehensive introduction to the thought, poetics, and legacy of one of the towering figures of Persian letters, Mawlana Jalal al-Din Rumi (1207-1273). After discussing the literary ancestors (Sana'i, `Attar), we will trace the mystico-philosophical foundations of Rumi's thought through close readings of the lyrical (Divan-e Shams) and narrative poems (Mathnavi-ye ma`navi), the prose works (Fihe ma fihe), and the letters. Literary analyses will be followed by an exploration of music as a structuring principle in Rumi's work and the role of sama` (spiritual audition) as a poetic practice. From there, we will look at the ritual and symbolism of the dervish dance, the foundation of the Mevlevi order, the interconnectedness of space (architecture) and poetic form that is exemplified in the Mevlevi dervish lodges, and the literary and philosophical echoes of Rumi in Ottoman culture, above all Seyh Galip's masterpiece Hüsn ü Ask (1782). The course will be complemented by digressions on Rumi in contemporary Persian and Turkish music, including live musical performances. Open to undergraduates and graduates. Taught in English.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Huber, M. (PI)

COMPLIT 194: Independent Research

(Staff)
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

COMPLIT 213: Culture and Revolution in Africa (AFRICAAM 213, FRENCH 213E, HISTORY 243E)

This course investigates the relationship between culture, revolutionary decolonization, and post-colonial trajectories. It probes the multilayered development of 20th and 21st-century African literature amid decolonization and Cold War cultural diplomacy initiatives and the debates they generated about African literary aesthetics, African languages, the production of history, and the role of the intellectual. We will journey through national cultural movements, international congresses, and pan-African festivals to explore the following questions: What role did writers and artists play in shaping the discourse of revolutionary decolonization throughout the continent and in the diaspora? How have literary texts, films, and works of African cultural thought shaped and engaged with concepts such as "African unity" and "African cultural renaissance"? How have these notions influenced the imaginaries of post-independence nations, engendered new subjectivities, and impacted gender and generational dynamics? How did the ways of knowing and modes of writing promoted and developed in these contexts shape African futures?
Terms: Spr | Units: 3-5 | UG Reqs: WAY-SI, WAY-A-II

COMPLIT 230: Re-Orienting Modernity: Lepers, Hermits, Mutes

Lepers, hermits, mute dervishes, hallucinating doppelgangers, and the possessed: do these marginal figures stand for the paradoxes of modernity far from the Western center? What does modernity mean for the Global South, in particular the Islamic East? Is there an indigenous modernity, beyond Western influence? In the course, we will look at how key texts and films produced in the run-up to Iran¿s 1979 Islamic Revolution build on a modernist aesthetic while at the same time displacing the West¿s claims to progress and enlightenment. Drawing on postcolonial theories, the recent transnational turn in literary studies, and close analyses of the works themselves, we will examine ideas of center and periphery, power, identity, and selfhood in order to re-orient our understanding of modernity. As a final project, students may choose to submit a critical essay, film, collection of poems, and/or an original work of art. Open to undergraduates and graduates. Taught in English.
Terms: Spr | Units: 3-5

COMPLIT 233A: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, COMPLIT 133, CSRE 133E, FRENCH 133, JEWISHST 143)

This course provides students with an introductory survey of literature and cinema from Francophone Africa and the Caribbean in the 20th and 21st centuries. Students will be encouraged to consider the geographical, historical, and political connections between the Maghreb, the Caribbean, and Sub-Saharan Africa. This course will help students improve their ability to speak and write in French by introducing students to linguistic and conceptual tools to conduct literary and visual analysis. While analyzing novels and films, students will be exposed to a diverse number of topics such as national and cultural identity, race and class, gender and sexuality, orality and textuality, transnationalism and migration, colonialism and decolonization, history and memory, and the politics of language. Readings include the works of writers and filmmakers such as Aim¿ C¿saire, Albert Memmi, Ousmane Semb¿ne, Le¿la Sebbar, Mariama B¿, Maryse Cond¿, Dany Laferri¿re, Mati Diop, and special guest L¿onora Miano. Taught in French. Students are encouraged to complete FRENLANG 124 or successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum, WAY-EDP

COMPLIT 248C: Advanced Turkish-English Translation

This course is the continuation of COMPLIT 248A Reading Turkish I and COMPLIT 248B Reading Turkish II. Refining advanced grammar, reading, and translation skills in modern Turkish through intensive reading and translation from a variety of source texts. Emphasis on Turkish cultural, historical, literary, and political texts depending on students' academic interests. Prerequisites COMPLIT 248A & B or prior knowledge of Turkish and consultation with the instructor is necessary.
Terms: Spr | Units: 3-5
Instructors: Karahan, B. (PI)

COMPLIT 249: Rumi: Rhythms of Creation (COMPLIT 179)

This course offers a comprehensive introduction to the thought, poetics, and legacy of one of the towering figures of Persian letters, Mawlana Jalal al-Din Rumi (1207-1273). After discussing the literary ancestors (Sana'i, `Attar), we will trace the mystico-philosophical foundations of Rumi's thought through close readings of the lyrical (Divan-e Shams) and narrative poems (Mathnavi-ye ma`navi), the prose works (Fihe ma fihe), and the letters. Literary analyses will be followed by an exploration of music as a structuring principle in Rumi's work and the role of sama` (spiritual audition) as a poetic practice. From there, we will look at the ritual and symbolism of the dervish dance, the foundation of the Mevlevi order, the interconnectedness of space (architecture) and poetic form that is exemplified in the Mevlevi dervish lodges, and the literary and philosophical echoes of Rumi in Ottoman culture, above all Seyh Galip's masterpiece Hüsn ü Ask (1782). The course will be complemented by digressions on Rumi in contemporary Persian and Turkish music, including live musical performances. Open to undergraduates and graduates. Taught in English.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Huber, M. (PI)

COMPLIT 249C: Contemporary Iranian Theater (GLOBAL 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: To satisfy WAYS requirements, you must enroll in the course for a minimum of 3 units. Please contact your academic advisor for more information regarding University WAYS requirements.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints