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171 - 180 of 714 results for: all courses

CLASSICS 172: Art & Architecture in the Medieval Mediterranean (ARTHIST 105, ARTHIST 305)

Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

CLASSICS 173: Hagia Sophia (ARTHIST 208, ARTHIST 408, CLASSICS 273)

By employing a methodology based in psychoacoustics, semiotics, and phenomenology, this course explores the relationship among sound, water, marble, meaning, and religious experience in the sixth-century church of HagianSophia built by emperor Justinian in Constantinople. We will read medieval sources describing the interior and ritual, make short movies exploring the shimmer of marble in buildings on campus, and study the acoustics of domed buildings through computer auralization done at Stanford's CCRMA (Center for Computer Research in Music and Acoustics)
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

CLASSICS 174: Art and Religious Experience in Byzantium and Islam (ARTHIST 209, ARTHIST 309)

This course presents a comparative study of Christian and Islamic paradigms (sixth to the thirteenth centuries) in the construction of religious experience through the material fabric of the building, the interior decor, objects, and rituals. We will read medieval ekphrastic texts and poetry, which stirred the viewer/participant to experience the building/object as animate. Among the sites we will study are: Hagia Sophia, the Ka'ba, the Dome of teh Rock, the Mosque at Damascus and at Cordoba. We will read Byzantine and Arabic writers such as Paul the Silentiary, Patriarch Germanos, Maximus Confessor, Shahrawardi, and Ibn Arabi.
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

CLASSICS 181: Classical Seminar: Origins of Political Thought (CLASSICS 381, PHIL 176A, PHIL 276A, POLISCI 230A, POLISCI 330A)

(Formerly CLASSHIS 133/333.) Political philosophy in classical antiquity, focusing on canonical works of Thucydides, Plato, Aristotle, and Cicero. Historical background. Topics include: political obligation, citizenship, and leadership; origins and development of democracy; and law, civic strife, and constitutional change.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Grading: Letter or Credit/No Credit
Instructors: Ober, J. (PI)

COMPLIT 10N: Shakespeare and Performance in a Global Context

Preference to freshmen. The problem of performance including the performance of gender through the plays of Shakespeare. In-class performances by students of scenes from plays. The history of theatrical performance. Sources include filmed versions of plays, and readings on the history of gender, gender performance, and transvestite theater. Note: To be eligible for WAYS credit, you must take the course for a Letter Grade.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Parker, P. (PI)

COMPLIT 11Q: Shakespeare, Playing, Gender

Preference to sophomores. Focus is on several of the best and lesser known plays of Shakespeare, on theatrical and other kinds of playing, and on ambiguities of both gender and playing gender. Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Parker, P. (PI)

COMPLIT 51Q: Comparative Fictions of Ethnicity (AMSTUD 51Q, CSRE 51Q)

We may "know" "who" we "are," but we are, after all, social creatures. How does our sense of self interact with those around us? How does literature provide a particular medium for not only self expression, but also for meditations on what goes into the construction of "the Self"? After all, don't we tell stories in response to the question, "who are you"? Besides a list of nouns and names and attributes, we give our lives flesh and blood in telling how we process the world. Our course focuses in particular on this question--Does this universal issue ("who am I") become skewed differently when we add a qualifier before it, like "ethnic"? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)

COMPLIT 70N: Animal Planet and the Romance of the Species (CHINA 70N)

Preference to freshmen.This course considers a variety of animal characters in Chinese and Western literatures as potent symbols of cultural values and dynamic sites of ethical reasoning. What does pervasive animal imagery tell us about how we relate to the world and our neighbors? How do animals define the frontiers of humanity and mediate notions of civilization and culture? How do culture, institutions, and political economy shape concepts of human rights and animal welfare? And, above all, what does it mean to be human in the pluralistic and planetary 21st century? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ER | Grading: Letter (ABCD/NP)
Instructors: Lee, H. (PI)

COMPLIT 101: What Is Comparative Literature?

The course, open to all undergraduates, is for anyone serious about literature. After first asking what "literature" is and what cultural roles it may fulfil, the course continues by exploring what, then, may be the cultural, political, historical and institutional needs to which "comparative literature" responds. A short story by Jorge Luis Borges and an accompanying essay serve as an introduction to both sets of questions. We will then look at a few texts of the western tradition from Aristotle through the Middle Ages to the Renaissance, taken as standard for later ideas and practices of literature, eventually, too, at one or two that clearly acknowledge possibilities of quite different traditions for the role played by what may be called the "fictive imagination." A series of texts, two plays, two (possibly three) novels, some poems, some critical writings, will then show other traditions interacting transculturally with and/or against western ones. Students will be able to choose their readings among several.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Reiss, T. (PI)

COMPLIT 110: Introduction to Comparative Queer Literary Studies (COMPLIT 310, FEMGEN 110X, FEMGEN 310X)

Introduction to the comparative literary study of important gay, lesbian, queer, bisexual, and transgender writers and their changing social, political, and cultural contexts from the 1880s to today: Oscar Wilde, Rachilde, Radclyffe Hall, Djuna Barnes, James Baldwin, Jean Genet, Audre Lorde, Cherrie Moraga, Jeanette Winterson, Alison Bechdel and others, discussed in the context of 20th-century feminist and queer literary and social theories of gender and sexuality.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
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