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721 - 730 of 837 results for: all courses

PWR 194KT: Topics in Writing & Rhetoric: The Last Hopi On Earth: The Rhetoric of Entertainment Inequity (CSRE 194KT)

While #OscarsSoWhite brought attention to the Academy's overwhelmingly White, male membership, the underbelly of the entertainment industry itself is rife with inequitable hiring of not only on-camera and on-stage performers but also directors, writers, and others behind the scenes. While there are several organizations from Racebending.com to the Geena Davis Institute on Gender in Media that seek to usher in more equitable representation, push back against the Industry's disparate employment practices has been documented for more than fifty years with what many argue is not proportionally positive movement. White males still garner almost half of all theatrical and television roles and represent more than 80% of episodic directors while entertainment hubs Los Angeles and New York City are more than 50% people of color and female. What will it take to attain equity in the entertainment industry? Why does it matter? nnIn this course, students will examine rhetorical issues in promoting, more »
While #OscarsSoWhite brought attention to the Academy's overwhelmingly White, male membership, the underbelly of the entertainment industry itself is rife with inequitable hiring of not only on-camera and on-stage performers but also directors, writers, and others behind the scenes. While there are several organizations from Racebending.com to the Geena Davis Institute on Gender in Media that seek to usher in more equitable representation, push back against the Industry's disparate employment practices has been documented for more than fifty years with what many argue is not proportionally positive movement. White males still garner almost half of all theatrical and television roles and represent more than 80% of episodic directors while entertainment hubs Los Angeles and New York City are more than 50% people of color and female. What will it take to attain equity in the entertainment industry? Why does it matter? nnIn this course, students will examine rhetorical issues in promoting, defending, and opposing entertainment industry practices - writing and speaking across genres in persuasive response - and ultimately develop a collaborative 5-year strategic plan to usher in equity.n nThis course is part of the PWR advanced elective track in Social and Racial Justice (SRJ). Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For video course description, see https://undergrad.stanford.edu/programs/pwr/courses/advanced-courses/last-hopi-earth-rhetoric-entertainment-inequity.
Terms: not given this year, last offered Winter 2017 | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

PWR 194SB: Topics in Writing and Rhetoric: Rhetoric of Science

Understanding rhetoric as readers and interpreters of texts and to develop skills as writers and speakers. Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For topics, see https://undergrad.stanford.edu/programs/pwr/courses/advanced-pwr-courses.
Terms: not given this year, last offered Autumn 2015 | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

REES 145D: Jewish American Literature (AMSTUD 145D, ENGLISH 145D, JEWISHST 155D)

From its inception, Jewish-American literature has taken as its subject as well as its context the idea of Jewishness itself. Jewish culture is a diasporic one, and for this reason the concept of Jewishness differs from country to country and across time. What stays remarkably similar, though, is Jewish self-perception and relatedly Jewish literary style. This is as true for the first-generation immigrant writers like Isaac Bashevis Singer and Anzia Yezierska who came to the United States from abroad as it is for their second-generation children born in the United States, and the children of those children. In this course, we will consider the difficulties of displacement for the emigrant generation and their efforts to sustain their cultural integrity in the multicultural American environment. We'll also examine the often comic revolt of their American-born children and grandchildren against their (grand-)parents nostalgia and failure to assimilate. Only by considering these transnati more »
From its inception, Jewish-American literature has taken as its subject as well as its context the idea of Jewishness itself. Jewish culture is a diasporic one, and for this reason the concept of Jewishness differs from country to country and across time. What stays remarkably similar, though, is Jewish self-perception and relatedly Jewish literary style. This is as true for the first-generation immigrant writers like Isaac Bashevis Singer and Anzia Yezierska who came to the United States from abroad as it is for their second-generation children born in the United States, and the children of those children. In this course, we will consider the difficulties of displacement for the emigrant generation and their efforts to sustain their cultural integrity in the multicultural American environment. We'll also examine the often comic revolt of their American-born children and grandchildren against their (grand-)parents nostalgia and failure to assimilate. Only by considering these transnational roots can one understand the particularity of the Jewish-American novel in relation to mainstream and minority American literatures. In investigating the link between American Jewish writers and their literary progenitors, we will draw largely but not exclusively from Russia and the countries of Eastern Europe.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

REES 208C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, ARTHIST 408C, CLASSICS 175, MUSIC 208C, MUSIC 408C, REES 408C, RELIGST 208C, RELIGST 308C)

Onassis Seminar "Icons of Sound: Architecture, Acoustics and Ritual in Byzantium". This year-long seminar explores the creation and operations of sacred space in Byzantium by focusing on the intersection of architecture, acoustics, music, and ritual. Through the support of the Onassis Foundation (USA), nine leading scholars in the field share their research and conduct the discussion of their pre-circulated papers. The goal is to develop a new interpretive framework for the study of religious experience and assemble the research tools needed for work in this interdisciplinary field.
Terms: not given this year, last offered Spring 2014 | Units: 1-3 | UG Reqs: WAY-A-II | Repeatable for credit | Grading: Letter or Credit/No Credit

RELIGST 2: Is Stanford a Religion?

This course seeks to introduce students to the study of religion by posing a two-part question: What is a religion, and does Stanford qualify as one? Scientific, pragmatic, seemingly secular, Stanford may not seem at all similar to religions like Christianity, Judaism or Buddhism, but a deeper look reveals that it has many of the qualities of religion--origin stories, rituals and ceremonies, sacred spaces and times, visions of the future, even some spirits. By learning some of the theories and methods of the field of religious studies, students will gain a better understanding not just of Stanford culture but of what motivates people to be religious, the roles religion plays in people's lives, and the similarities and differences between religious and secular culture.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

RELIGST 6N: Religion in Anime and Manga

Religious themes and topoi are ubiquitous in Japanese anime and manga. In this course, we will examine how religions are represented in these new media and study the role of religions in contemporary Japan. By doing this, students will also learn fundamental concepts of Buddhism and Shinto.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Mross, M. (PI)

RELIGST 9N: What Didn't Make it into the Bible

Over two billion people alive today consider the New Testament to be sacred scripture. But how did the books that made it into the bible get there in the first place? Who decided what was to be part of the bible and what wasn't? How would the history of the world's largest modern religion look differently if a given book didn't make the final cut and another one did? nHundreds of ancient Christian texts are not included in the New Testament. What Didn't Make It in the Bible focuses on these excluded writings. We will explore Gnostic gospels, hear of a five-year-old Jesus throwing temper tantrums while killing (and later resurrecting) his classmates, peruse ancient Christian romance novels, tour heaven and hell, read the garden of Eden story told from the perspective of the snake, and learn how the world will end.nnThe seminar assumes no prior knowledge of Judaism, Christianity, the bible, or ancient history. It is designed for students who are part of faith traditions that consider the more »
Over two billion people alive today consider the New Testament to be sacred scripture. But how did the books that made it into the bible get there in the first place? Who decided what was to be part of the bible and what wasn't? How would the history of the world's largest modern religion look differently if a given book didn't make the final cut and another one did? nHundreds of ancient Christian texts are not included in the New Testament. What Didn't Make It in the Bible focuses on these excluded writings. We will explore Gnostic gospels, hear of a five-year-old Jesus throwing temper tantrums while killing (and later resurrecting) his classmates, peruse ancient Christian romance novels, tour heaven and hell, read the garden of Eden story told from the perspective of the snake, and learn how the world will end.nnThe seminar assumes no prior knowledge of Judaism, Christianity, the bible, or ancient history. It is designed for students who are part of faith traditions that consider the bible to be sacred, as well as those who are not. The only prerequisite is an interest in exploring books, groups, and ideas that eventually lost the battles of history and to keep asking the question "why." In critically examining these ancient narratives and the communities that wrote them, you will learn about the content and history of the New Testament, better appreciate the diversity of formative Christianity, understand the historical context of the early church, and explore the politics behind what did and did not make it into the bible.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Penn, M. (PI)

RELIGST 13Q: Mystical Journeys: Beyond Knowing and Reason

What makes a mystic a mystic? This question has many sides. Why do we call someone a mystic? Is there such a thing as mystical experience? Do experiences make a mystic? Do beliefs? Practices? Many religious traditions have records of visionaries whose lives and writings open windows on the more hidden and aspirational aspects of belief and practice. These writings also take many forms: poems, letters, teachings, and accounts of visions, which we will encounter in the course of the quarter. Readings for the course will cover a cross-section of texts taken from Christian, Jewish, Muslim, Buddhist, and Native American sources.
Terms: not given this year, last offered Winter 2015 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)

RELIGST 17N: Love, Power, and Justice: Ethics in Christian Perspective

From its inception, the Christian faith has, like all religions, implied an ethos as well as a worldview, a morality and way of life as well as a system of beliefs, an ethics as well as a metaphysics. Throughout history, Christian thinkers have offered reasoned accounts of the moral values, principles, and virtues that ought to animate the adherents of what eventually became the world's largest religion. We will explore a variety of controversial issues, theological orientations, and types of ethical reasoning in the Christian tradition, treating the latter as one 'comprehensive doctrine' (John Rawls) among many; a normative framework (actually a variety of contested religious premises, moral teachings, and philosophical arguments) formally on par with the religious ethics of other major faiths as well as with the various secular moral theories typically discussed in the modern university. We will learn to interpret, reconstruct, criticize, and think intelligently about the coherence and persuasiveness of moral arguments offered by a diverse handful of this religious tradition's best thinkers and critics, past and present.
Terms: not given this year, last offered Spring 2016 | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ER | Grading: Letter (ABCD/NP)

RELIGST 26: The Bible and its Interpreters

Introduction to major stories, figures, and themes of the Christian Bible and their retellings in theological writing, art, literature, film, and music throughout the ages.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Pitkin, B. (PI)
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