11 - 20 of 22 results for: OSPPARIS

This course proposes to explore art and politics in France from the revolution to the present. Through a multimedia approach - including sculptures, paintings, prints, commemorative monuments, architecture, street art and photographs - we will retrace the changing forms that some of the most salient political messages have taken in modern French art. The course will follow a chronological progression, from Revolution to Empire, followed by the rise and fall of the IInd Empire, and the resulting thirst for revenge. We will then broach the 20th century, including the politics of the avant-garde, the art of colonialism, the varied aesthetic responses to the rise of totalitarianism, on display at the 1937 World's Fair in Paris, and evident in the art of collaboration and resistance produced in Occupied and Vichy France during the Second World War. The art of 1960s countercultural contestation - anti-capitalist, anti-colonial, feminist, etc.--will then be studied, before examining recent initiatives in the realm of commemorative art and cultural display that approach issues facing contemporary French society today, including terrorism and constructively confronting its colonial legacy.

Offered upon request for students who have completed an Advanced French course. Focus on French writing style, enabling students to understand and master the subtleties of French writing.

The studio art class are offered by a reputed preparatory arts practice school in Paris, the "Ecole d'Arts Plastiques" (EAP). Classes include perspective, sculpture, computer art, art history, among others. ). The classes are year-long, but given the individual attention offered to Stanford participants by the instructors, our students can begin the classes in the middle of the year. All the studio art classes are primarily intended for students with good language skills who are majoring or minoring in Art, Art History, Product Design, Architecture or STS. These students have priority for attending the class. Auditors are not accepted. Stanford students enrolled at the EAP will be encouraged to participate in collaborative projects with their French counterparts. For more specifics about the school and its program, see http://eapseine.fr (in French).

This course will allow the students to acquire a solid foundation in drawing and to grasp concepts of proportions, composition and analysis through observation. Students develop perception of space, movement and forms. The techniques used include among others: graphite, charcoal, chalk, pastel, watercolor, monotype, markers. It is offered by a reputed preparatory arts practice school in Paris, the "Ecole d'Arts Plastiques" (EAP). The course is year-long, but given the individual attention offered to Stanford participants by the instructor, our students can begin the classes in the middle of the year. All the studio art classes are primarily intended for students with good language skills who are majoring or minoring in Art, Art History, Product Design, Architecture or STS. These students have priority for attending the class. Auditors are not accepted. Stanford students enrolled at the EAP will be encouraged to participate in collaborative projects with their French counterparts. For more specifics about the school and its program, see http://eapseine.fr (in French).

This course covers different painting techniques for pictorial representation through various themes and enables students to develop their creativity. The work of each student is evaluated on a case-by-case basis, and the class structure can be more open or more directed based on their needs. It is offered by a reputed preparatory arts practice school in Paris, the "Ecole d'Arts Plastiques" (EAP). The course is year-long, but given the individual attention offered to Stanford participants by the instructor, our students can begin the classes in the middle of the year. All the studio art classes are primarily intended for students with good language skills who are majoring or minoring in Art, Art History, Product Design, Architecture or STS. These students have priority for attending the class. Auditors are not accepted. Stanford students enrolled at the EAP will be encouraged to participate in collaborative projects with their French counterparts. For more specifics about the school and its program, see http://eapseine.fr (in French).

This drawing course focuses on observation of a model to be copied. It encourages students to analyze one aspect of a general structure, while using various materials and techniques in a limited amount of time. It is offered by a reputed preparatory arts practice school in Paris, the "Ecole d'Arts Plastiques" (EAP). The course is year-long, but given the individual attention offered to Stanford participants by the instructor, our students can begin the classes in the middle of the year. All the studio art classes are primarily intended for students with good language skills who are majoring or minoring in Art, Art History, Product Design, Architecture or STS. These students have priority for attending the class. Auditors are not accepted. Stanford students enrolled at the EAP will be encouraged to participate in collaborative projects with their French counterparts. For more specifics about the school and its program, see http://eapseine.fr (in French).

How are electric and magnetic fields generated by static and moving charges, and what are their applications? How is light related to electromagnetic waves? Represent and analyze electric and magnetic fields to understand electric circuits, motors, and generators. Wave nature of light to explain interference, diffraction, and polarization phenomena; geometric optics to understand how lenses and mirrors form images. Workings and limitations of optical systems such as the eye, corrective vision, cameras, telescopes, and microscopes. Discussions based on the language of algebra and trigonometry. An integrated version of Physics 23 and 24, targeted to premedical students who are studying abroad with integrated labs. Prerequisite: PHYSICS 21 or 21S. This course meets the STEM track requirement for the Paris Program during Winter Quarter 2019-2020.

How does Paris obtain its fresh food for the 8 millions meals that are served every day in the city? Where is this food produced and how is it brought to the city? What recent initiatives promote a more sustainable food system in France? These questions offer an opportunity to explore broader issues related to food systems in the urban era, rural-urban linkages, and sustainable food consumption, using Paris as a case study. The objective of this course is to better understand the food system of a large citysuch as Paris, with a focus on the underlying human-environment interactions. Part I of the course will focus on food production in the peri-urban areas of Paris and other regions in France. 70% of the food consumed in Paris comes from France. We will start with von Thunen's model of the central state.We will also discuss the rise of urban agriculture, with a field visit of an urban agriculture site under the municipality's "Parisculteurs"program. Part II will focus on food distribution and consumption in the city. We will discuss concepts such as agglomeration economies and supply chains. We will conduct interviews atan open-air market in Paris where «maraîchers» bring in their own production to sell. Part III will focus on recent trends to increase the sustainability of food production in France. We will discuss emerging social norms related to sustainable food and how they interact with agricultural and environmental policies in France and the European Union. This will include the rise of organic agriculture, geographical indications, various public and private eco-labeling initiatives, and attitudes toward genetically-modified crops in France.

Paris and the African-American diaspora have been historically intertwined through political activism, literature, architecture, cinema, music, and beyond. In this course we will map the spatial presence of the avant-garde of African-American artists in Paris and how their being in the City of Light has inherently shaped the French Capital and its understanding of alterity throughout the twentieth and the twenty-first century. We will not only focus on the Parisian connections and the long-lasting imprint they left on Paris by othering the urban landscape, offering alternative conceptions of the parisian territories for generations of Black and non-Black artists to come, but also on their own journeys of self-discovering and intellectual awakening in the streets of Paris: how Paris transforms them and how they transform Paris. From Richard Wright to Beyoncé, from James Baldwin to Ta-Nehisi Coates, from Josephine Baker to Thomas Chatterton Williams, from Beverly Loraine Greene to Angela Davis & Black Lives Matter in Paris : exploring how the pioneers of the Afro-American parisian diaspora paved the way for the future generations of Paris noir. From Café Tournon to the Louvre museum, from Montparnasse to La Sorbonne, from the Unesco headquarters co-designed by Beverly Loraine Greene the First African-American woman to be a registered architect in the USA, we will explore the ways those parisian territories, symbols of power, knowledge and French (non) art de vivre came to define the socio-political Paris of Afro-American artists and public intellectuals, and to refine their intimate vision of America from a distance.