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ITALIAN 248: Cinema and the Real: Italian Neo-Realism and the French New Wave (FRENCH 148, FRENCH 248, ITALIAN 148)

Between the 1940s and 1960s, in Italy and France, a handful of movie directors revolutionized the art of cinema. In the wake of World War II they entirely re-defined the aesthetics of the 7th art in films such as "Bicycle Thieves," "400 Blows," "Rome Open City," and "Breathless." These works shared an aesthetic and a philosophy of "the real" - they eschewed big studios and sets in favor of natural light, on-location shooting, and non-professional actors to capture the present moment. This survey course will explore how the dialogue between Italian neo-realism and the French New Wave has yielded some of the most revolutionary filmic masterpieces of both traditions, while raising theoretical and philosophical questions about form, time, space, fiction, representation, and reality. Films: Roberto Rossellini, Vittorio de Sica, Luchino Visconti, Federico Fellini, François Truffaut, Jean-Luc Godard, Alain Resnais and Agnès Varda.
Last offered: Autumn 2020 | UG Reqs: WAY-A-II

ITALIAN 251: Writing, Memory, and the Self (FRENCH 251, FRENCH 351, ITALIAN 351)

Recent work in psychology and neuroscience emphasizes the narrative quality of the self, as we create it and recreate it through language and writing, shaping memories both personal and historical. This process is circular: we grow into the stories we tell about ourselves, and we tell different stories to fit our changing life experiences. What is the self in the midst of all this? How does it relate to other selves and to the world? This course examines the nature of self, combining the insights of fiction writers (including Luigi Pirandello, Anna Banti, Michel Tournier, Alain Robbe-Grillet, Peter Nádas) with works from philosophy, psychology, medical humanities, and neuroscience (including Edith Wyschogrod, Alexander Nehamas, Ruth Leys, Oliver Sacks). Taught in English.
Last offered: Spring 2022 | UG Reqs: GER:DB-Hum, WAY-A-II

ITALIAN 265: Word and Image (ARTHIST 265A, ARTHIST 465A, COMPLIT 225, ITALIAN 365)

What impact do images have on our reading of a text? How do words influence our understanding of images or our reading of pictures? What makes a visual interpretation of written words or a verbal rendering of an image successful? These questions will guide our investigation of the manifold connections between words and images in this course on intermediality and the relations and interrelations between writing and art from classical antiquity to the present. Readings and discussions will include such topics as the life and afterlife in word and image of Ovid's "Metamorphoses," Dante's "Divine Comedy," Ludovico Ariosto's "Orlando Furioso," and John Milton's "Paradise Lost;" the writings and creative production of poet-artists Michelangelo Buonarroti, William Blake, and Dante Gabriel Rossetti; innovations in and correspondences between literature and art in the modern period, from symbolism in the nineteenth century through the flourishing of European avant-garde movements in the twentieth century.
Last offered: Spring 2023 | UG Reqs: WAY-A-II

ITALIC 91: Why Art?

Why art? Why choose art? What does art do for you and for the world? What can you do, say, feel, or know through art that might be difficult to accomplish by other means? How does art stimulate an engagement with the world and, in turn, how do we use that engagement to better understand ourselves? Whether you go on to be a practicing artist, a patron, an avid reader, or a weekend museum-goer, how can the principles of art help you reflect on the life you make for yourself?
Terms: Aut | Units: 4 | UG Reqs: College, THINK, WAY-A-II

ITALIC 93: Art Everywhere: How Art Moves and Moves Us

How does art move around the world? Most university courses in the history of the arts are divided either by geography or time period, as well as artistic discipline. But these simple distinctions are not natural to the production or reception of art itself. Although it might be easy to assume that art is made out of materials close at hand and seen or experienced chiefly by local makers, artists have often sought out distant materials and unfamiliar ideas, which are prized for their scarcity or their very distance from what is local and familiar. Historically these movements have revealed global power structures, as well as local interest and agency in ways that can be both far reaching and narrowly focused. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well more »
How does art move around the world? Most university courses in the history of the arts are divided either by geography or time period, as well as artistic discipline. But these simple distinctions are not natural to the production or reception of art itself. Although it might be easy to assume that art is made out of materials close at hand and seen or experienced chiefly by local makers, artists have often sought out distant materials and unfamiliar ideas, which are prized for their scarcity or their very distance from what is local and familiar. Historically these movements have revealed global power structures, as well as local interest and agency in ways that can be both far reaching and narrowly focused. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well as the raw materials that make art possible - whether words, woods, animals, minerals or melodies. We will focus in this class on a series of case studies that explore how art moves - and why these movements move artists and the people who are influenced by their work. Lectures will feature scholars and artists who address aspects of global exchange or movement in their work. In a series of workshops, students will work towards creating a genealogical project that similarly investigates how origins and movement have enabled and inspired art-making. We think of the class as an atlas for your own investigations into how art moves and how it may move you.
Terms: Spr | Units: 3 | UG Reqs: THINK, WAY-A-II, WAY-CE, College

JAPAN 21: Humanities Core: Love and Betrayal in Asia (CHINA 21, HUMCORE 21, KOREA 21)

Why are lovers in storybooks East and West always star-crossed? Why do love and death seem to go together? For every Romeo and Juliet, there are dozens of doomed lovers in the Asian literary repertoires, from Genji's string of embittered mistresses, to the Butterfly lovers in early modern China, to the voices of desire in Koryo love songs, to the devoted adolescent cousins in Dream of the Red Chamber, to the media stars of Korean romantic drama, now wildly popular throughout Asia. In this course, we explore how the love story has evolved over centuries of East Asian history, asking along the way what we can learn about Chinese, Japanese, and Korean views of family and community, gender and sexuality, truth and deception, trust and betrayal, ritual and emotion, and freedom and solidarity from canonical and non-canonical works in East Asian literatures. N.B. This is the second of three courses in the East Asian track. These courses offer an unparalleled opportunity to study East Asian history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Last offered: Winter 2020 | UG Reqs: WAY-A-II

JAPAN 21Q: Humanities Core: Love and Betrayal in Asia (CHINA 21Q, HUMCORE 21Q, KOREA 21Q)

Why are lovers in storybooks East and West always star-crossed? Why do love and death seem to go together? For every Romeo and Juliet, there are dozens of doomed lovers in the Asian literary repertoires, from Genji's string of embittered mistresses, to the Butterfly lovers in early modern China, to the voices of desire in Koryo love songs, to the devoted adolescent cousins in Dream of the Red Chamber, to the media stars of Korean romantic drama, now wildly popular throughout Asia. In this course, we explore how the love story has evolved over centuries of East Asian history, asking along the way what we can learn about Chinese, Japanese, and Korean views of family and community, gender and sexuality, truth and deception, trust and betrayal, ritual and emotion, and freedom and solidarity from canonical and non-canonical works in East Asian literatures. N.B. This is the second of three courses in the East Asian track. These courses offer an unparalleled opportunity to study East Asian history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future.
Last offered: Winter 2019 | UG Reqs: WAY-A-II

JAPAN 24: Humanities Core: How to be Modern in East Asia (CHINA 24, COMPLIT 44, HUMCORE 133, KOREA 24)

Modern East Asia was almost continuously convulsed by war and revolution in the 19th and 20th centuries. But the everyday experience of modernity was structured more profoundly by the widening gulf between the country and the city, economically, politically, and culturally. This course examines literary and cinematic works from China and Japan that respond to and reflect on the city/country divide, framing it against issues of class, gender, national identity, and ethnicity. It also explores changing ideas about home/hometown, native soil, the folk, roots, migration, enlightenment, civilization, progress, modernization, nationalism, cosmopolitanism, and sustainability. All materials are in English. This course is part of the Humanities Core: https://humanitiescore.stanford.edu/
Terms: Win | Units: 3 | UG Reqs: WAY-A-II

JAPAN 52: Global Humanities: The Grand Millennium, 800-1800 (DLCL 52, HISTORY 206D, HUMCORE 52)

How should we live? This course explores ethical pathways in European, Islamic, and East Asian traditions: mysticism and rationality, passion and duty, this and other worldly, ambition and peace of mind. They all seem to be pairs of opposites, but as we'll see, some important historical figures managed to follow two or more of them at once. We will read works by successful thinkers, travelers, poets, lovers, and bureaucrats written between 800 and 1900 C.E. We will ask ourselves whether we agree with their choices and judgments about what is a life well lived.
Last offered: Winter 2020 | UG Reqs: WAY-A-II, WAY-ER

JAPAN 60: Asian Arts and Cultures (ARTHIST 2)

An exploration of the visual arts of East and South Asia from ancient to modern times, in their social, religious, literary and political contexts. Analysis of major monuments of painting, sculpture and architecture will be organized around themes that include ritual and funerary arts, Buddhist art and architecture across Asia, landscape and narrative painting, culture and authority in court arts, and urban arts in the early modern world.
Last offered: Winter 2022 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
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