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131 - 140 of 674 results for: all courses

CHINGEN 132: Chinese Fiction and Drama in Translation (CHINGEN 232)

From early times to the 18th century, emphasizing literary and thematic discussions of major works in English translation.
Terms: not given this year, last offered Winter 2009 | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom | Grading: Letter or Credit/No Credit

CLASSICS 16N: Sappho: Erotic Poetess of Lesbos (FEMGEN 24N)

(Formerly CLASSGEN 24N.) Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Peponi, A. (PI)

CLASSICS 17N: To Die For: Antigone and Political Dissent (TAPS 12N)

(Formerly CLASSGEN 6N.) Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-ED, WAY-ER | Grading: Letter (ABCD/NP)
Instructors: Rehm, R. (PI)

CLASSICS 18N: The Artist in Ancient Greek Society (ARTHIST 100N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. nn nnWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?nn nnPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and pain more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. nn nnWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?nn nnPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.nn nnSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).nn nnThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

CLASSICS 19N: Eloquence Personified: How To Speak Like Cicero

This course is an introduction to Roman rhetoric, Cicero's Rome, and the active practice of speaking well. Participants read a short rhetorical treatise by Cicero, analyze one of his speeches as well as more recent ones by, e.g., Kennedy, Martin Luther King Jr., and Obama, and watch their oratorical performances. During the remainder of the term they practice rhetoric, prepare and deliver in class two (short) speeches, and write an essay.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Krebs, C. (PI)

CLASSICS 21Q: Eight Great Archaeological Sites in Europe (ARCHLGY 21Q)

(Formerly CLASSART 21Q.) Preference to sophomores. Focus is on excavation, features and finds, arguments over interpretation, and the place of each site in understanding the archaeological history of Europe. Goal is to introduce the latest archaeological and anthropological thought, and raise key questions about ancient society. The archaeological perspective foregrounds interdisciplinary study: geophysics articulated with art history, source criticism with analytic modeling, statistics interpretation. A web site with resources about each site, including plans, photographs, video, and publications, is the basis for exploring.
Terms: Aut, Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, Writing 2 | Grading: Letter (ABCD/NP)
Instructors: Shanks, M. (PI)

CLASSICS 31: Greek Mythology

(Formerly CLASSGEN 18.) The heroic and divine in the literature, mythology, and culture of archaic Greece. Interdisciplinary approach to the study of individuals and society. Illustrated lectures. Readings in translation of Homer, Hesiod, Herodotus, and the poets of lyric and tragedy. Weekly participation in a discussion section is required during regular academic quarters (Aut, Win, Spr)
Terms: Spr, Sum | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

CLASSICS 34: Ancient Athletics

(Formerly CLASSGEN 34.) How the Olympic Games developed and how they were organized. Many other Greek festivals featured sport and dance competitions, including some for women, and showcased the citizen athlete as a civic ideal. Roman athletics in contrast saw the growth of large-scale spectator sports and professional athletes. Some toured like media stars; others regularly risked death in gladiatorial contests and chariot-racing. We will also explore how large-scale games were funded and how they fostered the development of sports medicine. Weekly participation in a discussion section is required; enroll in sections on coursework.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

CLASSICS 35: Becoming Like God: An Introduction to Greek Ethical Philosophy

(Formerly CLASSGEN 35.) This course investigates key ethical philosophies in classical Greece. After reading several Greek tragedies (representing traditional Greek values), we examine the Greek philosophers' rejection of this tradition and their radically new ethical theories. Socrates, Plato, and Aristotle offered different ethical theories, but they shared basic conceptions of goodness and happiness. They argues that we could "become like gods" by achieving philosophic wisdom. What kind of wisdom is this? How does it make us ethically good and supremely happy people?
Terms: not given this year | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-EthicReas, WAY-ER | Grading: Letter (ABCD/NP)

CLASSICS 40: Greek Philosophy (PHIL 100)

We shall cover the major developments in Greek philosophical thought, focusing on Plato, Aristotle, and the Hellenistic schools (the Epicureans, the Stoics, and the Skeptics). Topics include epistemology, metaphysics, psychology, ethics and political theory. No prereqs, not repeatable.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit
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