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1 - 10 of 72 results for: ENGLISH

ENGLISH 5DA: WISE: Poetic Intelligences

In a recent column on A.I. chatbots, Ezra Klein writes that their "'thinking,' for lack of a better word, is utterly inhuman, but we have trained it to present as deeply human" (The New York Times, March 12, 2023). Implicit in Klein's argument is the assumption that we do understand human thinking, or at least how to recognize it, and that A.I. confronts us with something radically different masquerading as the familiar. But perhaps the world has long been populated by different kinds of thinkers. That appears to be the claim of a number of critics working on poetry, who posit that poems are their own kinds of thinking machines, with the ability to represent a speaker's thinking, to facilitate a reader's thinking, to formulate the structure of thinking, or even to think for themselves. In this course, we'll examine such claims by close reading poems from a range of writers while also engaging works of criticism that grapple with these questions from formalist, phenomenological, and phi more »
In a recent column on A.I. chatbots, Ezra Klein writes that their "'thinking,' for lack of a better word, is utterly inhuman, but we have trained it to present as deeply human" (The New York Times, March 12, 2023). Implicit in Klein's argument is the assumption that we do understand human thinking, or at least how to recognize it, and that A.I. confronts us with something radically different masquerading as the familiar. But perhaps the world has long been populated by different kinds of thinkers. That appears to be the claim of a number of critics working on poetry, who posit that poems are their own kinds of thinking machines, with the ability to represent a speaker's thinking, to facilitate a reader's thinking, to formulate the structure of thinking, or even to think for themselves. In this course, we'll examine such claims by close reading poems from a range of writers while also engaging works of criticism that grapple with these questions from formalist, phenomenological, and philosophical perspectives. We'll ask what it might mean to say that poems think and whether they can help us think about thinking in general, including in the context of recent developments in A.I. technology. We'll also consider our own role as thinkers and writers in a world in which the practices of thinking and writing are changing faster than ever before. (Note: This Writing-Intensive Seminar in English (WISE) course fulfills WIM for English majors. Non-majors are welcome, space permitting. For enrollment permission contact judithr@stanford.edu.)
Terms: Win | Units: 5
Instructors: Atkins, J. (PI)

ENGLISH 5EA: WISE: Haunted Reading: Intertextuality, Adaptation, and the Gothic

What makes a narrative "Gothic"? One defining feature is the way the past seeps into the present, whether as ghosts, crumbling castles, or even old letters left behind for future readers. Across centuries, we see these tropes again and again, reimagined so that each new story is different but, at the same time, seems to remember and respond to the Gothic stories that came before it. This course will explore the relationships that Gothic texts have to each other. What can Frankenstein, with its multiple narrators, show us about how narratives pass from person to person? How does the contemporary bestseller Mexican Gothic address the colonial histories beneath older Romantic and Victorian narratives? And why might one turn a ghost story by Henry James from the end of the 19th century into a 21st-century Netflix series? In all of these cases, the Gothic effects of "haunted reading" allow the past's hidden ghosts and monstrous meanings to emerge, visibly changed and seeking attention. As w more »
What makes a narrative "Gothic"? One defining feature is the way the past seeps into the present, whether as ghosts, crumbling castles, or even old letters left behind for future readers. Across centuries, we see these tropes again and again, reimagined so that each new story is different but, at the same time, seems to remember and respond to the Gothic stories that came before it. This course will explore the relationships that Gothic texts have to each other. What can Frankenstein, with its multiple narrators, show us about how narratives pass from person to person? How does the contemporary bestseller Mexican Gothic address the colonial histories beneath older Romantic and Victorian narratives? And why might one turn a ghost story by Henry James from the end of the 19th century into a 21st-century Netflix series? In all of these cases, the Gothic effects of "haunted reading" allow the past's hidden ghosts and monstrous meanings to emerge, visibly changed and seeking attention. As we consider how old reading can influence or even "haunt" the new, we will reflect on our own reading habits in both personal and academic contexts while simultaneously investigating how intertextuality and adaptation relate to our own critical writing and original interpretations. (Note: This Writing-Intensive Seminar in English (WISE) course fulfills WIM for English majors. Non-majors are welcome, space permitting. For enrollment permission contact judithr@stanford.edu.)
Terms: Win | Units: 5
Instructors: Monaco, J. (PI)

ENGLISH 9CE: Creative Expression in Writing

Primary focus on giving students a skill set to tap into their own creativity. Opportunities for students to explore their creative strengths, develop a vocabulary with which to discuss their own creativity, and experiment with the craft and adventure of their own writing. Students will come out of the course strengthened in their ability to identify and pursue their own creative interests. For undergrads only. NOTE: For undergraduates only. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr, Sum | Units: 3 | UG Reqs: WAY-CE

ENGLISH 9CP: Writing Off the Page: Songwriting, Film, and Spoken Word

With recent blockbuster films like Patterson and major prizes being awarded to artists like Bob Dylan and Kendrick Lamar, the borders of what constitutes traditional literature are shifting. In this Creative Writing course we will be looking at literature `off the page,' in songwriting, spoken word, multi-media, and visual art. We will be workshopping our own creative projects and exploring the boundaries of contemporary literature. Artists we'll be looking at include Iron and Wine, Lil Wayne, Allen Ginsberg, Beyonce, David Lynch, Patti Smith, Mark Strand, Anne Carson, Danez Smith, Bon Iver, and Lou Reed. For undergraduates only. NOTE: Students must attend the first class meeting to retain their roster spot.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 9SF: Fight the Future: Speculative Fiction and Social Justice

Imagining the future has been one of the most important ways humans have assessed their present. In this salon-style seminar we'll focus on modern speculative fiction as social critique, especially of regimes of patriarchy, racism, and capitalism. The course will be devoted to new and established writers of speculative fiction -- broadly defined and across era and geography -- whose work engages with oppression and freedom, sex, love, and other dynamics of power. We will also devote one night per week to film screenings of classic and contemporary films in the genre. Guest lecturers will discuss the work of authors such as Octavia Butler, Samuel R. Delany, Franz Kafka, Philip K. Dick, Ursula LeGuin, and others.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II

ENGLISH 10F: Intro to English I: The Natural World in Early English Literary History

The first poem written down in English, composed in the 7th century, is about the creation of Earth; this course surveys British literature from then until the 17th century to explore the wisdom, beauty, mystery, and terror in medieval and early modern representations of nature. While following this tradition of writing about the natural world, we will study its connection to the evolution of English literary forms and the interplay between text and culture in this period. Old English riddles that enigmatize earth and sky; beast fables drawing human morality from animal behavior; the varieties of play between love and nature in sonnets; Elizabethan drama's power to conjure wildernesses onstage.
Terms: Win | Units: 5

ENGLISH 11A: Introduction to English II: From Milton to the Romantics

English majors must take class for 5 units. Major moments in English literary history, from John Milton's 'Paradise Lost' to John Keats's 'Hyperion'. The trajectory involves a variety of literary forms, including Augustan satire, the illuminated poetry of William Blake's handcrafted books, the historical novel invented by Sir Walter Scott, the society novel of Jane Austen, and William Wordsworth's epic of psychological and artistic development. Literary texts will be studied in the context of important cultural influences, among them civil war, religious dissent, revolution, commercialization, colonialism, and industrialization.
Terms: Win | Units: 3-5

ENGLISH 11Q: Art in the Metropolis (ARTSINST 11Q, ARTSTUDI 11Q, FILMEDIA 11Q, MUSIC 11Q, TAPS 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course is a requirement for taking part in the spring break trip. The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during the stay in New York. Class time will be divided between readings, presentations, and one studio based creative project. The urban setting in more »
This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course is a requirement for taking part in the spring break trip. The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during the stay in New York. Class time will be divided between readings, presentations, and one studio based creative project. The urban setting in which the various forms of art are created, presented, and received will form a special point of focus. A principal aim of the seminar will be to develop aesthetic sensibilities through writing critically about the art that interests and engages us and making art. For further details please visit the Stanford Arts Institute website: https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Berlier, T. (PI)

ENGLISH 15N: Wastelands

Have human beings ruined the world? Was it war, or industry, or consumerism, or something else that did it? Beginning with an in-depth exploration of some of the key works of literary modernism, this class will trace the image of the devastated landscape as it develops over the course of the 20th and 21st centuries, arriving finally at literary representations of the contemporary zombie apocalypse. Authors to include T.S Eliot, Ernest Hemingway, Nathanael West, Willa Cather, Cormac McCarthy, and others.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: McGurl, M. (PI)

ENGLISH 17N: Animal Poems

Animals have always appealed to the human imagination. This course provides basic a rubric for analyzing a variety of animal poems in order (1) to make you better readers of poetry and (2) to examine some of the most pressing philosophical questions that have been raised in the growing field of animal studies. The animals that concern us here are not allegorical-the serpent as evil, the fox as cunning, the dove as a figure for love. Rather, they are creatures that, in their stubborn animality, provoke the imagination of the poet.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Gigante, D. (PI)
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