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This course serves as an introduction to Korean culture, society, and history before the modern period. It begins with a discussion of early Korea and controversies over Korean origins; the bulk of the course will be devoted to the Chos'n period (1392-1910), that from the end of medieval Korea to the modern period. Topics to be covered include: Korean national and ethnic origins, the role of religious and intellectual traditions such as Buddhism and Confucianism, popular and indigenous religious practices, the traditional Korean family and social order, state and society during the Chos'n dynasty, vernacular prose literature, Korean's relations with its neighbors in East Asia, and changing conceptions of Korean identity.nThe course will be conducted through the reading and discussion of primary texts in English translation alongside scholarly research. As such, it will emphasize the interpretation of historical sources, which include personal letters, memoirs, and diaries, traditional histories, diplomatic and political documents, along with religious texts and works of art. Scholarly work will help contextualize these materials, while the class discussions will introduce students to existing scholarly debates about the Korean past. Students will be asked also to examine the premodern past with an eye to contemporary reception. The final project for the class is a film study, where a modern Korean film portraying premodern Korea will be analyzed as a case study of how the past works in public historical memory in contemporary Korea, both North and South. An open-ended research paper is also possible, pending instructor approval.

Orphan works--copyrighted works that have no readily identifiable owner--represent the single greatest legal hurdle to creativity today. A film maker wants to make a documentary about the portrayal of minority groups in 1950s motion pictures, but cannot track down the present copyright owners of the dozens of film clips that must be licensed to complete the project. A video game producer has found just the right sound recordings to sample in its latest release, but cannot locate their copyright owners to negotiate a license. The examples can be multiplied across all forms of creative commerce. The copyright doctrine of fair use will excuse some, but far from all, of these uses, and the doctrine's application is at best unpredictable. Legislative fixes for the orphan works problem have been attempted both in the US and abroad, but with little success. Following two years of hearings, Congress in 2008 came close to passing an orphan works bill proposed by the US Copyright Office, but ultimately stepped away from the effort. This policy lab will evaluate the prospects for an alternative--but so far untested--solution to the problem of orphan works: private insurance products that will underwrite the legal and economic risk of using copyrighted works in situations where transaction costs make the negotiation of a license impracticable. Participants in the lab will interview stakeholders to investigate the feasibility of private insurance covering the use of orphan works. Among the stakeholders interviewed will be insurers and other insurance industry institutions; content owners across a range of industries and content users across a range of institutions. Experts from the US Copyright Office will also participate in a teaching capacity, on a periodic basis, to provide context for the challenge of orphan works and the work the Office has done on this issue. Elements used in grading: Attendance, Class Participation, Written Assignments, Final Paper. CONSENT APPLICATION: To apply for this course, students must complete and submit a Consent Application Form available at https://registrar.law.stanford.edu/. Interested students should apply by September 16, 2022 at 5:00 PM.

Over the course of the past two decades there has been increasing recognition that, despite its commitment to the concept of proof beyond a reasonable doubt, our criminal justice system yields a steady stream of wrongful convictions. This Seminar will focus on some causes, preventions and potential remedies for this phenomenon. Subjects to be addressed include eyewitness identification, interrogations and confessions, jailhouse informant testimony, forensic evidence, the psychology of tunnel vision and confirmation bias, the role of appellate review and habeas corpus, the role of clemency, the impact of the problem on the death penalty, and issues around compensation of those who have been wrongly convicted. As we study these subjects, we will also reflect on whether taking some reforms too far will impair on the efficacy of legitimate law enforcement. The class will meet for two hours each week. In addition, there will be three additional evening or weekend sessions (to be scheduled at the convenience of the participants). During each of these additional sessions, students will watch a film involving a wrongful conviction and will engage in conversation about the particular case involved. Each student will be responsible for preparing a paper on an appropriate topic to be chosen in consultation with the instructor. Consent Instructions: After the term begins, students accepted into the course can transfer from section (01) into section (02), which meets the R requirement, with consent of the instructor. Elements used in grading: Class participation; Paper.

Practicing law is very much a creative enterprise. Effective advocates and counselors provide innovative and thoughtful solutions to complex problems. But there often isn't enough attention devoted in law school either to thinking creatively or to reflecting in a creative way on the issues students confront inside and outside the classroom. This course will respond to this gap by building a bridge between law and the arts, with the goal of helping students hone their ability to think creatively and use disciplined imagination. Law & Creativity will meet twice a week and have dual components designed to inform one another. The first session will be structured as a seminar in which students gather to examine and discuss creative treatments of legal and professional issues in a variety of media (including film, fiction, and nonfiction). The second session will follow the creative-writing workshop model in which students submit their own fiction and creative nonfiction pieces for group discussion. Through the workshop process, students will develop the skills necessary to constructively critique and workshop one another's work, and learn a variety of techniques for improving their own creative writing. Elements used in grading: Class attendance, participation and final paper.

Copyright today is global, and copyright counselling, litigation and licensing increasingly require a general understanding of foreign copyright law and of the international copyright system. This course will focus on the exploitation of US-based music, film, literature, software and other copyrighted works in foreign markets, and of foreign works in US markets, through licensing, litigation, or both. The course will survey the principal legal systems and international treaty arrangements for the protection of copyrighted works as well as the procedural questions that lie at the threshold of protection. There are no prerequisites for the class. Elements used in grading: two problem sets, one mid-course and the other at the end of the course, class participation.

An advanced writing course in nonfiction craft, drawing, and contemplative practice. a significant portion of each class meeting will focus on the development and sharpening of writing craft, especially of the essay, in a hybrid form both scholarly and personal. We will also explore writing as meditative practice, through examples and through short exercises. We will deepen our cultural understanding of the desert and its impact, through art, literature, philosophy, film, and contemplative practice, and the course will build toward a four-day camping trip to the dunes of Death Valley, six weeks into the quarter.

Materials science and engineering for electronic device applications. Kinetic molecular theory and thermally activated processes; band structure; electrical conductivity of metals and semiconductors; intrinsic and extrinsic semiconductors; elementary p-n junction theory; operating principles of light emitting diodes, solar cells, thermoelectric coolers, and transistors. Semiconductor processing including crystal growth, ion implantation, thin film deposition, etching, lithography, and nanomaterials synthesis.

Materials base for engineering new classes of coatings and devices. Techniques to grow thin films at atomic scale and to fabricate multilayers/superlattices at nanoscale. Vacuum growth techniques including evaporation, molecular beam epitaxy (MBE), sputtering, ion beam assisted deposition, laser ablation, chemical vapor deposition (CVD), and electroplating. Future direction of material synthesis such as nanocluster deposition and nanoparticles self-assembly. Relationships between deposition parameters and film properties. Applications of thin film synthesis in microelectronics, nanotechnology, and biology. SCPD offering.

Linear-elastic and elastic-plastic fracture mechanics from a materials science perspective, emphasizing microstructure and the micromechanisms of fracture. Plane strain fracture toughness and resistance curve behavior. Mechanisms of failure associated with cohesion and adhesion in bulk materials, composites, and thin film structures. Fracture mechanics approaches to toughening and subcritical crack-growth processes, with examples and applications involving cyclic fatigue and environmentally assisted subcritical crack growth. Prerequisite: 151/251, 198/208, or equivalent. SCPD offering.