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1 - 10 of 12 results for: GLOBAL ; Currently searching offered courses. You can also include unoffered courses

GLOBAL 101: Critical Issues in Global Affairs

Gateway course for students wishing to pursue a Global Studies minor in one of six specializations: African, European, Islamic, Iranian, Latin American, and South Asian Studies.
Terms: Win | Units: 3 | UG Reqs: WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Rakove, R. (PI)

GLOBAL 106: Populism and the Erosion of Democracy (POLISCI 140P)

What is populism, and how much of a threat to democracy is it? How different is it from fascism or other anti-liberal movements? This course explores the conditions for the rise of populism, evaluates how much of a danger it poses, and examines the different forms it takes.
Terms: Aut | Units: 5 | UG Reqs: WAY-SI | Grading: Letter (ABCD/NP)

GLOBAL 135: Around the World in Ten Films (FILMSTUD 135, FILMSTUD 335)

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.
Terms: Aut | Units: 3-4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Levi, P. (PI)

GLOBAL 136: Contemporary Muslim Political Thought (ETHICSOC 103X)

This course aims to provide an introduction to contemporary Muslim political thought. It presents post-nineteenth century Muslim contributions to political thought. It is designed as a survey of some major thinkers that sought to interpret Islam's basic sources and Islamic intellectual legacy from the Arab world to Iran and Southeast Asia, from Turkey to North America. Our readings include primary texts by Tahtawi, Tunisi, Afghani, Rida, Iqbal, Qutb, Maududi, Shariati, and some current figures. We will approach the texts as just other works of political theory rather than a study of intellectual history. We will analyze the recurring ideas in this body of thought such as decline, civilization, rationality, ijtihad (Islamic independent reasoning), shura (deliberative decision-making), democracy, secularism, Muslim unity, khilafah (caliphate and vicegerency), freedom, equality, and justice. We will discuss their current significance fro the ongoing theoretical debates in Muslim political thought and comparative political theory.
Terms: Spr | Units: 4 | UG Reqs: WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Yenigun, H. (PI)

GLOBAL 137: Islam in America (AFRICAAM 135A, AMSTUD 135X, CSRE 135, RELIGST 135)

This course explores the history of Islam in North America with special emphasis on the experience of Muslims in the United States. Contrary to popularly held belief, Muslims have been critical participants in the construction of American identity from the 16th century onwards when Muslim slaves were forcibly brought to Colonial America. Our course will explore the diverse ways Muslims in America have imagined, practiced, and negotiated their religious identity. We will move chronologically, and we will focus upon three crucial themes: the convergence of constructions of racial, religious, and national identities in America; the ever-shifting terrain of notions of authority and authenticity amongst Muslims in America; and global resonances of the practices and ideas of American Muslims.
Terms: Win | Units: 4 | UG Reqs: WAY-ED, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Morgan, A. (PI)

GLOBAL 145: Revolutionary Practices: Space and Public Discourse in Iran (CSRE 95I)

Description: This course examines the mediums of public art that have been voices of social change, protest and expressions of community desire in Iran. It will offer a unique glimpse into Iran¿s contemporary art and visual culture through the investigation of public art practices such as graffiti and street art, as well as older traditions of Naghali and Iranian Coffeehouse Painting.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
Instructors: Ebtekar, A. (PI)

GLOBAL 191: Undergraduate Directed Reading

Independent studies for graduate students under the direction of a faculty member for which academic credit may properly be allowed. May be repeat for credit
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Grading: Letter or Credit/No Credit

GLOBAL 199: Capstone Project: Global Studies Minor

Students completing a required capstone project for the Global Studies Minor must enroll in this course for units (1-5) with their capstone advisor selected as the instructor. The course may be repeated for credit, with advisor approval. Students are expected to participate in regular advising meetings with the instructor, and may be expected to give a final presentation on their project at an end-of-the-quarter Global Studies Minor symposium. May be repeat for credit
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Letter or Credit/No Credit

GLOBAL 249A: The Iranian Cinema: Image and Meaning (COMPLIT 249A)

This course will focus on the analysis of ten Iranian films with the view of placing them in discourse on the semiotics of Iranian art and culture. The course will also look at the influence of a wide array of cinematic traditions from European, American, and Asian masters on Iranian cinema. Note: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

GLOBAL 249B: Iranian Cinema in Diaspora (COMPLIT 249B)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What more »
Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE:This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)
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