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301 - 310 of 563 results for: all courses

ILAC 241: Fiction Workshop in Spanish

Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Last offered: Winter 2018 | UG Reqs: WAY-A-II, WAY-CE

ILAC 242: Poetry Workshop in Spanish (COMPLIT 242)

Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on the formal elements of poetry (meter, rhythm, lineation, rhetorical figures and tropes) and the exploration of lyric subgenres (e.g. ode, elegy, prose poem). Students write original poems throughout the quarter. No previous experience with creative writing is required. Course taught in Spanish. Enrollment limited.
Last offered: Winter 2023 | UG Reqs: WAY-CE

ITALIAN 154E: Film & Philosophy CE (FRENCH 154E, PHIL 193E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | UG Reqs: WAY-CE

ITALIC 92: Art Worlds: Conversations between Artists and Scholars

ITALIC 92, Art Worlds: Conversations between Artists and Scholars. This course is built around a series of conversations between nine scholar/critic and artist pairs. We will be entering the conversation in media res, as it were, since all of these pairs have histories together; they've had studio visits, late-night phone calls, email and text conversations. Usually the scholar has written about the artist and maybe the artist has suggested reading and viewing lists to the scholar. They've helped each other feel seen, and often be seen in a more literal way.The conversations will concentrate on these questions: How do artists and scholars work across the divide between practice and theory? How should you build your art world and who will be in it? The pairs will discuss their respective practices (art-making, writing, researching, community-building) and engage in conversation about the artist's work. In advance of each conversation, students will read about something written by the scholar/critic about the artist. Each artist will also design a short art-making prompt for enrolled students to complete and share through the course website. Students will share their artworks weekly in small critique groups.
Terms: Win | Units: 1-2 | UG Reqs: WAY-CE

ITALIC 93: Art Everywhere: How Art Moves and Moves Us

How does art move around the world? Most university courses in the history of the arts are divided either by geography or time period, as well as artistic discipline. But these simple distinctions are not natural to the production or reception of art itself. Although it might be easy to assume that art is made out of materials close at hand and seen or experienced chiefly by local makers, artists have often sought out distant materials and unfamiliar ideas, which are prized for their scarcity or their very distance from what is local and familiar. Historically these movements have revealed global power structures, as well as local interest and agency in ways that can be both far reaching and narrowly focused. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well more »
How does art move around the world? Most university courses in the history of the arts are divided either by geography or time period, as well as artistic discipline. But these simple distinctions are not natural to the production or reception of art itself. Although it might be easy to assume that art is made out of materials close at hand and seen or experienced chiefly by local makers, artists have often sought out distant materials and unfamiliar ideas, which are prized for their scarcity or their very distance from what is local and familiar. Historically these movements have revealed global power structures, as well as local interest and agency in ways that can be both far reaching and narrowly focused. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well as the raw materials that make art possible - whether words, woods, animals, minerals or melodies. We will focus in this class on a series of case studies that explore how art moves - and why these movements move artists and the people who are influenced by their work. Lectures will feature scholars and artists who address aspects of global exchange or movement in their work. In a series of workshops, students will work towards creating a genealogical project that similarly investigates how origins and movement have enabled and inspired art-making. We think of the class as an atlas for your own investigations into how art moves and how it may move you.
Terms: Spr | Units: 3 | UG Reqs: THINK, WAY-A-II, WAY-CE, College

ITALIC 100: ITALIC Seminar: Notes to a Young Artist

Working with the Haas Center, students in this seminar will create a mini-magazine/online course about art to share with students at a Bay Area high school. You will assemble a list of suggested readings and brief essays on key artistic texts and concepts, as well as images and links to the artistic examples you find most inspiring. You will create a variety of media about these ideas and artists, from illustrated slideshows to video essays or podcasts to short explanatory texts and longer personal essays. The guiding question of the course is: What does a young artist need to know?
Last offered: Summer 2022 | UG Reqs: WAY-CE

JAPAN 126: Japanese Functional Objects (JAPAN 226)

This course focuses on the creation of objects at the boundary between the aesthetic allure of fine art and the utilitarian practicality of everyday life. It is also about how we value the objects with which we surround ourselves, connected to issues that go from sustainability to the intimacy of the handmade - of the little but precise tool marks that evoke the skilled expertise of years spent at the workbench. Traditionally in Japan the distinction between a work of art and a utilitarian object was inessential. An aesthetic object acquired its cultural identity and social value precisely because it could be used. Famous examples of this duality can be found in tea ceremony ceramics, complex architectural joinery, lavish fabric design, and fine temple-inspired cuisine. This is true even for painting and calligraphy: illustrated paper-covered architectural partitions were as useful in keeping a room warm as in serving as the highlight of a social gathering; hanging scrolls and flower arrangements displayed in a purpose-built alcove (tokonoma) conveyed delicate political and cultural messages. At a modern museum, as soon as an object is acquired and accessioned into the collection, it ceases to be available to be touched, smelled, or weighed in one's hands. The only contact with warm bodies comes now through the gloved hands of a few trained professionals. A tokonoma alcove, by contrast, has no glass. What is more, a mere hint by the guest will prompt the host to retrieve the object displayed and offer it for close examination, or, as was often the case, actual use by the guests. The sense of closeness between object and body in premodern Japan was intensified by the fact that users were often makers themselves. Socialized utilization became the perfect venue for the assessment, evaluation, and explication of both the techniques of fabrication and the decisions inherent to artistic creation. For these reasons, the ideal way to study Japanese functional objects is to immerse oneself in the tradition by trying one's hand at the fundamental tools and techniques. This course will combine readings, lectures, and practical hands-on training in two core traditional disciplines: woodworking and ceramics. Traditional hand tools will be provided for students to customize and keep. This dimension of the course is made possible by the generous support of the Halpern Family Foundation. Attempts to broker a place for traditional craftsmanship in a context of mass production are at the core of modern movements such as William Morris's Arts and Crafts, Walter Gropius's Bauhaus, and Yanagi Soetsu's Mingei. This course is designed for students with interests in making, art history, engineering, anthropology, studio, intellectual history, and the material culture of East Asia more generally. No previous technical expertise required. Course taught in English. Venue: PRL
Last offered: Winter 2022 | UG Reqs: WAY-A-II, WAY-CE

JAPAN 191: Sharing Conversations Across Generations: The Magic of Haiku (ASNAMST 191, JAPAN 291)

This course explores what communicative practices can enhance the inclusion of persons living in different life stages in a community. We consider how verbal or non-verbal interactions can contribute to transforming society into one in which marginalized persons such as older adults (possibly living with compromised cognitive conditions) can be integrated as citizens of the community. A primary focus is on the role of creative verbal arts in fostering cross-generational understanding, in particular, creating the short Japanese poetic form, haiku. As part of community-engaged learning, students will experience and examine how activities based on creative verbal arts, along with conversations that emerge during such activities, can promote self-expression and meaningful intergenerational connections. As a community-engaged learning course, students will learn through engaging in activities with persons in local communities. The service-learning component will entail participation in a ha more »
This course explores what communicative practices can enhance the inclusion of persons living in different life stages in a community. We consider how verbal or non-verbal interactions can contribute to transforming society into one in which marginalized persons such as older adults (possibly living with compromised cognitive conditions) can be integrated as citizens of the community. A primary focus is on the role of creative verbal arts in fostering cross-generational understanding, in particular, creating the short Japanese poetic form, haiku. As part of community-engaged learning, students will experience and examine how activities based on creative verbal arts, along with conversations that emerge during such activities, can promote self-expression and meaningful intergenerational connections. As a community-engaged learning course, students will learn through engaging in activities with persons in local communities. The service-learning component will entail participation in a haiku-making activity with older adults in local adult day services facilities and assisted living residences to consider how to create a more age-inclusive society through working with local communities, and to become effective citizens in today's diverse society. This course is open to undergraduate students, graduate students, and medical school students. Students can take the course for 3-5 units. Students enrolled in the full 5 units will complete the service-learning component described above along with the core component of the course. Students enrolled for 3 units do not need to complete the service-learning component. Cardinal Course certified by the Haas Center for Public Service.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-CE, WAY-EDP

JEWISHST 147B: The Hebrew and Jewish Short Story (COMPLIT 127B)

Short stories from Israel, the US and Europe including works by Agnon, Kafka, Keret, Castel-Bloom, Kashua, Singer, Benjamin, Freud, biblical myths and more. The class will engage with questions related to the short story as a literary form and the history of the short story. Reading and discussion in English. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Last offered: Winter 2023 | UG Reqs: WAY-A-II, WAY-CE

LEAD 104: Tools for Meaningful Communities (ANTHRO 104, LIFE 104)

How can we live together and honor both difference and belonging? How do we create community amidst divisiveness and the existential threats of climate change, oppression of marginalized peoples, and our disconnection from ourselves and each other? We are inherently relational and have the potential to heal, flourish, and lead. Leadership and changemaking must be rooted in a commitment to deep inner work that cultivates wellbeing, insight, and wisdom. Inner work radiates outward to shape the systems that create and sustain our societies. In this class, grounded in your experiences at Stanford, you will cultivate skills and tools to enhance your intrapersonal, interpersonal and extrapersonal capacities to enact change for yourself and others. Working in teams, you will learn about and practice building community through the application of interdisciplinary frameworks that provide multiple perspectives on the transformation of the self, our relations with each other, our communities, and societal systems.
Last offered: Winter 2023 | UG Reqs: WAY-CE, WAY-EDP
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