Print Settings
 

TAPS 1: Introduction to Theater and Performance Studies

TAPS 1 provides you with a solid foundation in Theater Studies and traces the development of the burgeoning field of Performance Studies. We will consider a range of canonical plays and emerging performance forms, and explore how ¿performance¿ can also function as an interpretive framework for analyzing a broad range of social behaviors, sites, and institutions. Through a series of close readings, discussions, written and practical exercises, and viewings of live performance, this course will help you achieve a richer understanding of the performances you see and the performances you may wish to make. This quarter, TAPS 1 will serve as the platform for the Theater & Performance Studies professionalization series. We will host several guest speakers (directors, actors, playwrights, and dance practitioners), who will give you some real connections in the theater world and will provide you with information and skills to help you build a career in the arts.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

TAPS 11Q: Art in the Metropolis (ARTSINST 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). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip 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 the SAI programming director. 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. For further details and updates about the trip, see http://arts.stanford.edu.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II

TAPS 21: StoryCraft

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining (how do you find your stories and extract the richest details?); Crafting (how do you structure the content and shape the language?); and Performing (how do you share your stories with presence, authenticity and connection?).
Terms: Aut, Spr | Units: 2 | UG Reqs: WAY-CE
Instructors: ; Klein, D. (PI)

TAPS 22: Scene Work

For actors who complete substantial scene work with graduate directors in the graduate workshop.
Terms: Aut, Win, Spr | Units: 1-2 | Repeatable for credit

TAPS 29: Theater Performance: Acting

Students cast in department productions receive credit for their participation as actors; 1-2 units for graduate directing workshop projects and 1-3 units for major productions (units determined by instructor). May be repeated for credit. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable for credit

TAPS 32F: Godiva to Gaga: A Survey of Western Fashion and Societal Implications

The evolution of fashion and costume with an emphasis on the relationship between social, cultural, and political events and clothing style. Attention to major designers and creators and their shaping of resultant fashion and artistry in clothing.
Terms: Spr | Units: 4

TAPS 34: Stage Management Techniques (TAPS 334)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production. Ph.D students should enroll in 2 units. Undergraduates should enroll in 3 units.
Terms: Aut, Spr | Units: 2-3
Instructors: ; Kumaran, L. (PI)

TAPS 39: Theatre Crew

For students working backstage, on run crew, or in the theater shops on TAPS department productions. Night and weekend time required. Pre-approval from Laxmi Kumaran (laxmik@stanford.edu) required for enrollment.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable 4 times (up to 15 units total)

TAPS 39D: Small Project Stage Management

For students Stage Mananging a TAPS Senior Project or Assistant Stage Managing a TAPS department production. Pre-approval by Laxmi Kumaran (laxmik@stanford.edu) required for enrollment.
Terms: Aut, Win, Spr | Units: 2-4 | Repeatable for credit
Instructors: ; Kumaran, L. (PI)

TAPS 70: Introduction to Directing

Fundamentals of Directing
Terms: Spr | Units: 3
Instructors: ; Callender, L. (PI)

TAPS 103: Beginning Improvising

The improvisational theater techniques that teach spontaneity, cooperation, team building, and rapid problem solving, emphasizing common sense, attention to reality, and helping your partner. Based on TheatreSports by Keith Johnstone. Readings, papers, and attendance at performances of improvisational theater. Limited enrollment. Improv, Improvisation, creativity and creative expression.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE

TAPS 104: Intermediate Improvisation

This class is the continued study of improvisational theater with a focus on stage skills, short and long form performance formats, and offstage applications of collaborative creativity. It is open to any students who have taken TAPS 103 or have previous onstage improv experience AND consent of the instructor. May be repeat for credit.
Terms: Spr | Units: 3 | Repeatable 2 times (up to 6 units total)
Instructors: ; Klein, D. (PI)

TAPS 115: Musical Theater

In this workshop we will traverse the landscape of world of Musical Theater. It will serve as an introduction for the beginning actor and singer, and expand the more experienced performer¿s range in this genre. The world of Musical Theater is filled with stories of love, passion, joy, violence, heartbreak and rage. The class will include an introduction to vocal and movement skills for musical theater, beginning with exercises to build an ensemble and encourage a sense of play and relaxation in supportive environment. Our class must be a place where everyone feels safe. As ensemble members, we will be responsible for each other in this environment. nnStudents will choose one solo song, and perform in a group number from this exciting discipline. The instructor will work with the actors on technique, utilization of action, specificity of language, personalization, and emotional truth. A professional coach from the theater community will conduct vocal coaching. Physical warm-ups and choreography will be suited for both the dancer and non-dancer.n nThe class will culminate in the last week with live performance for friends and family.nnSTUDENTS ARE ENCOURAGED TO BRING THEIR OWN SUGGESTIONS. (Isn¿t there a role you¿ve always wanted to sing?)nnRequired text: Broadway Musicals Show by Show: Sixth Edition - Stanley Green; Paperback
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE
Instructors: ; Amarotico, K. (PI)

TAPS 120B: Acting II: Period and Style

Learn how to expand character work, beyond what is immediately familiar. Continuing basic practices from the first part of the sequence, in this quarter they will look beyond the strictly contemporary, and may begin to approach roles drawn from more challenging dramatic texts. This might include plays chosen from mid-century American classics, World Theater, or other works with specific historic or cultural requirements. Actors begin to learn how a performing artist researches and how that research can be used to enrich and deepen performance. Prerequisite: 120A or consent of instructor.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-CE
Instructors: ; Freed, A. (PI)

TAPS 124D: Acting for Non-Majors

Formerly TAPS 20. Creative play, ensemble work in a supportive environment. Designed for the student to experience a range of new creative skills, from group improvisation to partner work. Introductory work on freeing the natural voice and physical relaxation. Emphasis on rediscovering imaginative and creative impulses. Movement improvisation, listening exercises, and theater games release the energy, playfulness and willingness to take risks that is the essence of free and powerful performance. Course culminates with work on dramatic text.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | UG Reqs: WAY-CE, way_ce

TAPS 126: Your American Life

This is a small seminar designed for students interested in creating scored sonic stories for radio or podcast. Students will examine the craft elements of the medium, popularized by programs like This American Life, Radiolab and Serial. You will write and produce your own piece, be it documentary, inquiry, or some combination of these genres. Plus you will have the opportunity to meet at work with some of the best storytellers in America.
Terms: Win, Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Warga, J. (PI)

TAPS 134: Stage Management Project

For students stage managing a Department of Drama production.
Terms: Aut, Win, Spr, Sum | Units: 3-5 | Repeatable for credit

TAPS 137: Hand Drafting for Designers

Fundamentals of hand-drafting. Standard drawing conventions; the use of line weight, color, composition, and graphic style. Creation of construction documents for real-world applications.May be repeated for credit.
Terms: Spr | Units: 3 | Repeatable 2 times (up to 6 units total)

TAPS 140: Introduction to Projects in Theatrical Production

A seminar course for students performing significant production work on Drama Department or other Stanford University student theatre projects. Students serving as producers, directors, designers or stage managers, who wish mentorship and credit for their production work sign up for this course and contact the instructor, Linda AppersonnPrerequisite: consent of instructor.
Terms: Aut, Win, Spr | Units: 1-4 | Repeatable for credit

TAPS 150T: Transnational Sexualities (CSRE 150T, FEMGEN 150T, FEMGEN 250T, TAPS 250T)

Transnational Sexualites is an inter-disciplinary course that considers the aesthetic, social, and political formation of sexual subjectivities in a global world. How does the transnational traffic of people, media, images, finance, and commodities shape the force-fields of desire? What is the relationship between political economies and libidinal economies? The course will explore the erotics of race and religion, neoliberalism and globalization within a wide range geo-political contexts including Indonesia, China, Egypt, India, South Africa, US, among others.
Terms: Spr | Units: 4

TAPS 153: Revenge: From Aeschylus to ABC

How has the topic of revenge inspired some of theatre history¿s most dramatic masterpieces? Covering works from ancient Greek and Roman tragedy to Chinese Opera, from Japanese samurai intrigues to Renaissance drama, and from nineteenth-century comedy to postcolonial plays, this course examines how the powerful impetus to take revenge has spurred or stymied some of theatre¿s most compelling characters. Blending theory and practice, we will experiment with an array of theatrical forms and styles; we will also discuss the philosophical dimensions and moral implications of revenge, including various cultural understandings of retribution and redress.
Terms: Spr | Units: 4
Instructors: ; Looser, D. (PI)

TAPS 154C: Shall We Dance? Social Dancing as Political Practice (CSRE 154C, DANCE 154, FEMGEN 154C)

This seminar investigates social dancing as a political practice, and the dance floor as a place where race, ethnicity, class status, and sexuality are formed and contested. While many students may be familiar with salsa, and can imagine how it produces particular kinds of Latin/a feminities, this course asks students to expand the notion of social dancing beyond partner-dancing spheres. Course materials will focus on dance practices from the late-nineteenth century to present-day, ranging from rural Louisiana dancehalls to NYC nightclubs to Iranian backyards. We will examine how dances become racially coded (e.g., what makes a dance black or Latin@?), and understand how categories such as gender, class, and regionality intersect with such racializations. Students will engage in a range of activities, including reading, viewing films, and participating in occasional movement workshops (no previous dance experience required). Each student¿s final project will require independent, sustained, ethnographic research in a social dance setting of choice (e.g., student dance club, yoga studio, aerobics class, or YouTube).
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: ; Carrico, R. (PI)

TAPS 154D: The Chorus & The Digital Crowd: Representing Groups from Ancient Greece to the Arab Spring (TAPS 354D)

The Chorus & The Digital Crowd is an interdisciplinary workshop in Theater, Visual and Digital Arts, where students will learn from, and collaborate with, professional artists in a dramatic and conceptual exploration of what it means to be a "chorus" from its early representations in Greek Tragedy to its emerging online character (tweeting, posting, liking, and sharing). Reckoning with the reemergence of the crowd in the public sphere, enabled and reinforced by its online counterpart, The Chorus & The Crowd will examine how we imagine and represent collective action. Whether in the same room, at the same website, or on the same planet, what happens when "I" becomes "we"?
Terms: Spr | Units: 4
Instructors: ; Taubman, G. (PI)

TAPS 158L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 358L)

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Kornbluth, J. (PI)

TAPS 159G: The Theater of War: Art, Violence, and the Technologies of Death

We will read plays and study films dealing with war and the technologies of destruction, including Aeschylus' Persians, Sophocles' Philoctetes, Euripides' Trojan Women, Shakespeare's Macbeth, O'Casey's The Plough and the Stars and The Silver Tassie, Brecht's Galileo and Mother Courage, Kubrick's Paths of Glory and Dr. Strangelove, Bergman's Shame, Nichol's Catch-22, Wertmuller's Seven Beauties, Brenton's The Genius, Frayn's Copenhagen, Nottage's Ruined, among others.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II
Instructors: ; Rehm, R. (PI); Lee, S. (TA)

TAPS 177: Writing for Performance: The Fundamentals (CSRE 177, FEMGEN 177, TAPS 277)

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE

TAPS 178B: Intensive Playwriting (CSRE 178B, TAPS 278)

Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Moraga, C. (PI)

TAPS 179: Chicano & Chicana Theater: Politics In Performance (CHILATST 179, TAPS 379)

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II
Instructors: ; Moraga, C. (PI)

TAPS 190: Special Research

Individual project on the work of a playwright, period, or genre. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

TAPS 191: Independent Study

Individual supervision of off-campus internship. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-18 | Repeatable for credit

TAPS 197: Dance in Prison: The Arts, Juvenile Justice, and Rehabilitation in America (DANCE 197)

This class works collaboratively with a local juvenile hall to use civic engagement and performance to explore the aesthetic, cultural and legal issues in the lives of incarcerated youth. In the process students gain an understanding of incarceration on an immediate and personal scale. Taught jointly by a Dance Studies scholar and a lawyer specializing in Juvenile Justice, we will consider what unique understandings are possible if we position the arts as central to an exploration of punishment, rehabilitation and recidivism in America. The course will examine case studies, historical and contemporary narratives about the social, imaginative and behavioral change possible through arts programs in prison.Half of the class meetings will be in Hillcrest Juvenile Hall in San Mateo, where our class will join with a group of 13-18 year old youths currently detained there. Dance will be used to help shape their individual expressive voices, and ours, through collaborative hip hop dance classes. Books to be read are Just Mercy: A Story of Justice and Redemption by Bryan Stevenson, and Last Chance in Texas by John Hubner.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-EDP
Instructors: ; Ross, J. (PI)

TAPS 200: Senior Project

All TAPS Majors must complete a Senior Project that represents significant work in any area of theater and/or performance. The project must be an original contribution and can consist of any of the following: devising a performance, choreographing a dance, stage managing a production, designing a large theater work, performing a major role, writing a play, directing a show, or researching and writing a senior essay. Work for this project normally begins in Spring Quarter of the junior year and must be completed by the end of the senior year. Students receive credit for senior projects through TAPS 200. A minimum of 4 units is required, but additional units are available for larger projects. Students pursuing senior projects must submit a two-page proposal to a faculty advisor of their choice, which must be approved by the Undergraduate Advisor and the department faculty no later than the end of Spring Quarter of the junior year.
Terms: Aut, Win, Spr, Sum | Units: 2-9 | Repeatable for credit

TAPS 201A: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Spr | Units: 1
Instructors: ; Menon, J. (PI)

TAPS 201D: Honors Colloquium

See "Undergraduate Programs" for description.
Terms: Win, Spr | Units: 1
Instructors: ; Menon, J. (PI)

TAPS 202: Honors Thesis

See "Undergraduate Programs" for description. May be repeated for credit. (Staff)
Terms: Aut, Win, Spr, Sum | Units: 2-9 | Repeatable for credit

TAPS 231: Advanced Stage Lighting Design

Individually structured class in lighting mechanics and design through experimentation, discussions, and written reports. Prerequisite: 131 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable 55 times

TAPS 232: Advanced Costume Design

Individually structured tutorial for costume designers. May be repeated for credit. Prerequisite: 132 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit
Instructors: ; Strayer, C. (PI)

TAPS 233: Advanced Scene Design

Individually structured workshop. May be repeated for credit. Prerequisite: 133 or consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit
Instructors: ; Flatmo, E. (PI)

TAPS 234: Advanced Stage Management Project

For students stage managing a Department of Drama production. Prerequisite: 134.
Terms: Aut, Win, Spr, Sum | Units: 2-9

TAPS 250T: Transnational Sexualities (CSRE 150T, FEMGEN 150T, FEMGEN 250T, TAPS 150T)

Transnational Sexualites is an inter-disciplinary course that considers the aesthetic, social, and political formation of sexual subjectivities in a global world. How does the transnational traffic of people, media, images, finance, and commodities shape the force-fields of desire? What is the relationship between political economies and libidinal economies? The course will explore the erotics of race and religion, neoliberalism and globalization within a wide range geo-political contexts including Indonesia, China, Egypt, India, South Africa, US, among others.
Terms: Spr | Units: 4

TAPS 277: Writing for Performance: The Fundamentals (CSRE 177, FEMGEN 177, TAPS 177)

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Terms: Aut, Spr | Units: 4

TAPS 278: Intensive Playwriting (CSRE 178B, TAPS 178B)

Intermediate level study of fundamentals of playwriting through an intensive play development process. Course emphasizes visual scripting for the stage and play revision. Script analysis of works by contemporary playwrights may include: Suzan-Lori Parks, Tony Kushner, Adrienne Kennedy, Edward Albee, Maria Irene Fornes and others. Table readings of full length work required by quarter¿s end.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE
Instructors: ; Moraga, C. (PI)

TAPS 290: Special Research

Individual project on the work of a playwright, period, or genre.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

TAPS 315: Dramaturgy

In this seminar, we will take the conventional idea of dramaturgy for narrative performance as developed in Western European theater since the enlightenment, and investigate its relation to non-narrative forms of performance in 20th and 21st (performance art, conceptual dance). Further, we will use dramaturgical procedures to explore the ideological content of performance and position of art institutions in our society. Finally, the students will get acquainted with production dramaturgy and get necessary tools to take the role of dramaturgs in actual performance productions.
Terms: Spr | Units: 4
Instructors: ; Jakovljevic, B. (PI)

TAPS 330: Transnational Sexualities (FEMGEN 330)

Transnational Sexualites is an inter-disciplinary course that considers the aesthetic, social, and political formation of sexual subjectivities in a global world. How does the transnational traffic of people, media, images, finance, and commodities shape the force-fields of desire? What is the relationship between political economies and libidinal economies? The course will explore the erotics of race and religion, neoliberalism and globalization within a wide range geo-political contexts including Indonesia, China, Egypt, India, South Africa, US, among others.
Terms: Spr | Units: 4

TAPS 334: Stage Management Techniques (TAPS 34)

The production process, duties, and responsibilities of a stage manager. Skills needed to stage manage a production. Ph.D students should enroll in 2 units. Undergraduates should enroll in 3 units.
Terms: Aut, Spr | Units: 2-3
Instructors: ; Kumaran, L. (PI)

TAPS 354: The Nervous Age: Neurosis, Neurology, and Nineteenth-century Theatre (GERMAN 284, HUMBIO 162)

The nineteenth century witnessed profound developments in neurological and psychological sciences, developments that fundamentally altered conceptions of embodiment, agency, and mind. This course will place these scientific shifts in conversation with theatrical transformations of the period. We will read nineteenth-century neuropsychologists such as Charles Bell, Johannes Müller, George Miller Beard, Jean-Martin Charcot, and Hippolyte Bernheim alongside artists such as Percy Shelley, Georg Büchner, Richard Wagner, Émile Zola, and August Strindberg.
Terms: Spr | Units: 5
Instructors: ; Smith, M. (PI)

TAPS 354D: The Chorus & The Digital Crowd: Representing Groups from Ancient Greece to the Arab Spring (TAPS 154D)

The Chorus & The Digital Crowd is an interdisciplinary workshop in Theater, Visual and Digital Arts, where students will learn from, and collaborate with, professional artists in a dramatic and conceptual exploration of what it means to be a "chorus" from its early representations in Greek Tragedy to its emerging online character (tweeting, posting, liking, and sharing). Reckoning with the reemergence of the crowd in the public sphere, enabled and reinforced by its online counterpart, The Chorus & The Crowd will examine how we imagine and represent collective action. Whether in the same room, at the same website, or on the same planet, what happens when "I" becomes "we"?
Terms: Spr | Units: 4
Instructors: ; Taubman, G. (PI)

TAPS 358L: The Ethics of Storytelling: The Autobiographical Monologue in Theory, in Practice, and in the World (ETHICSOC 201R, TAPS 158L)

Recently a theatrical monologuist gained notoriety when it was revealed that key aspects of one of his "autobiographical" stories had been fabricated. In this class another autobiographical monologuist -- who has himself lied many times in his theater pieces, without ever getting caught -- will examine the ethics of telling our life stories onstage. Does theatrical "truth" trump factual truth? We will interrogate several autobiographical works, and then -- through autobiographical pieces created in class -- we will interrogate ourselves.
Terms: Spr | Units: 4
Instructors: ; Kornbluth, J. (PI)

TAPS 377: Graduate Directors' Staged Reading Project

Presentation of a new or newly adapted work for the stage, in a mode employed in professional theater for the development of new plays. Two to four rehearsals. Public performance.
Terms: Aut, Win, Spr, Sum | Units: 2 | Repeatable for credit

TAPS 379: Chicano & Chicana Theater: Politics In Performance (CHILATST 179, TAPS 179)

This is a practicum course, where the basic tenets and evolving politic and philosophies of Chicano and Latin American liberationist theater are examined through direct engagement with its theatrical forms, including, social protest & agit-prop, myth & ritual, scripting through improvisation, in-depth character and solo work, collective conceptualization and more. The course will culminate in an end-of-the quarter play performance in the Nitery Theater (Old Union) and at a Mission District theater in San Francisco.
Terms: Spr | Units: 4
Instructors: ; Moraga, C. (PI)

TAPS 390: Directed Reading

Students may take directing reading only with the permission of their dissertation advisor. Might be repeatable for credit twice for 6 units total.
Terms: Aut, Win, Spr, Sum | Units: 1-6 | Repeatable 4 times (up to 12 units total)

TAPS 802: TGR Dissertation

(Staff)
Terms: Aut, Win, Spr, Sum | Units: 0 | Repeatable for credit
© Stanford University | Terms of Use | Copyright Complaints