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1 - 10 of 44 results for: ANTHRO

ANTHRO 42: Megacities (URBANST 142)

This class will examine a variety of ways that the city has been represented and understood in anthropology, architecture, literature, film, and journalism in order to better understand how everyday life and experience has been read in conjunction with urban forms. Issues covered will include the co-constitution of space and identities; consumption, spectacle, and economic disparity; transportation and health; colonialism and post-colonialism. Assignments will include writing and drawing projects based on close observation and reading.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II

ANTHRO 54N: For Makers and Thinkers: How to Use Art in Research and Vice Versa

This course is specifically designed for social science and humanities students who want to learn how to use art to expand their research questions and/or develop an art practice, and for arts students who want to find ways to deeply engage social science and humanities research in their practice. The course will: 1. Introduce students to the work of artists who used their practice to deeply engage social issues (Ian Rowland, Cornelia Parker, Fred Wilson and many others). These artists will be contextualized with readings including: critical commentaries on their work; theoretical literature; and primary literature on the issues they address (in these examples, slavery, material culture, museum studies). Critical questions will include: Why did the artist select particular media for their work? How does the art provide a different perspective on, engagement with, or relationship to the issues they address? How does the meaning of the art change with or without contextualization? How do more »
This course is specifically designed for social science and humanities students who want to learn how to use art to expand their research questions and/or develop an art practice, and for arts students who want to find ways to deeply engage social science and humanities research in their practice. The course will: 1. Introduce students to the work of artists who used their practice to deeply engage social issues (Ian Rowland, Cornelia Parker, Fred Wilson and many others). These artists will be contextualized with readings including: critical commentaries on their work; theoretical literature; and primary literature on the issues they address (in these examples, slavery, material culture, museum studies). Critical questions will include: Why did the artist select particular media for their work? How does the art provide a different perspective on, engagement with, or relationship to the issues they address? How does the meaning of the art change with or without contextualization? How does this artist draw on and expand art history and other artists' work? Are there critical issues the work raises but is underpowered to address? 2. Provide support for students to work on their own quarter-length independent projects and research based in drawing, photography, creative writing, or other art practice which may shift according to research findings in the duration of the course. Part of the syllabus will be contingent on student projects. Regular group crit/support sessions will be held in class based on clear deadlines. 3. Introduce students to various methods of working with primary and source materials for arts-based projects, such as improvisation, juxtaposition, performance, role-play, "moment work" and scenography. "Makers" workshops will be held to introduce students to arts methods and may include: wax casting, life drawing, graphic art, etc. (The instructor will apply for Maker's funding to support these workshops.) Students will complete the course with a solid introduction to at least 20 contemporary artists and an understanding of how to discuss and contextualize artwork in the context of several disciplines: art, social science theory, and art criticism. They will also have experience in building and completing their own project and learn how to justify their work, understand how different art media impact their exploration and ultimate product, and work through various challenges in the process. They will also gain experience in crit sessions, which will be directed by the profession with a question-based format, in both giving and receiving feedback. They will document their work and learn how to produce a portfolio of the project.
Terms: Spr | Units: 3
Instructors: Jain, S. (PI)

ANTHRO 93: Prefield Research Seminar

Preparation for anthropological field research in other societies and the U.S. Data collection techniques include participant observation, interviewing, surveys, sampling procedures, life histories, ethnohistory, and the use of documentary materials. Strategies of successful entry into the community, research ethics, interpersonal dynamics, and the reflexive aspects of fieldwork. Significant work is required outside of class. Prerequisites: Consent by instructor. Significant work outside of class time is expected of the student for this course.
Terms: Spr | Units: 5
Instructors: Inoue, M. (PI)

ANTHRO 95: Research in Anthropology

Independent research conducted under faculty supervision, normally taken junior or senior year in pursuit of a senior paper or an honors project. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-10 | Repeatable 3 times (up to 10 units total)

ANTHRO 95B: Independent Study for Honors or Senior Paper Writing

Required of Anthropology honors or senior paper candidates. Taken in the final quarter before handing in the final draft of the Honors or Senior Paper and graduating. This independent study supports work on the honors and senior papers for students with an approved honors or senior paper application in Anthropology. Prerequisite: consent of Anthropology faculty advisor. Terms: Aut, Win, Spr, Sum Units: 1-5(not repeatable for credit)
Terms: Aut, Win, Spr, Sum | Units: 1-5

ANTHRO 96: Directed Individual Study

Prerequisite: consent of instructor.
Terms: Aut, Spr | Units: 1-10 | Repeatable for credit

ANTHRO 97: Internship in Anthropology

Opportunity for students to pursue their specialization in an institutional setting such as a laboratory, clinic, research institute, or government agency. May be repeated for credit. Service Learning Course (certified by Haas Center). F-1 international students enrolled in this course cannot start working without first obtaining a CPT-endorsed I-20 from Bechtel International Center (enrolling in the CPT course alone is insufficient to meet federal immigration regulations).
Terms: Aut, Win, Spr, Sum | Units: 1-10 | Repeatable for credit

ANTHRO 103B: History of Archaeological Thought (ARCHLGY 103)

Introduction to the history of archaeology and the forms that the discipline takes today, emphasizing developments and debates over the past five decades. Historical overview of culture, historical, processual and post-processual archaeology, and topics that illustrate the differences and similarities in these theoretical approaches. Satisfies Archaeology WIM requirement.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, GER:DB-SocSci, WAY-SI

ANTHRO 111: Archaeology of Gender and Sexuality (ANTHRO 211B, ARCHLGY 129, FEMGEN 119)

How archaeologists study sex, sexuality, and gender through the material remains left behind by past cultures and communities. Theoretical and methodological issues; case studies from prehistoric and historic archaeology.
Terms: Spr | Units: 5 | UG Reqs: WAY-SI, WAY-EDP
Instructors: Voss, B. (PI)

ANTHRO 121B: "The Will to Adorn": An Anthropology of Dress (AFRICAAM 121B, ANTHRO 221B, ARCHLGY 121B, ARCHLGY 221B)

This seminar explores sartorial practices as a means for examining formations of identities and structural inequalities across space and time. Building off the definition of dress, pulled from Mary Ellen Roach-Higgins and Joanne B. Eicher, this course examines sartorial practices as social-cultural practices, shaped by many intersecting operations of power and oppression including racism, sexism, and classism, that involve modifications of the corporal form (i.e., scarification, body piercings, and hair alteration) as well as all three-dimensional supplements added to the body (i.e., clothing, hair combs, and jewelry). The emphasis on intersecting operations of power and oppression within this definition of dress draws on Kimberlé Crenshaw's conceptualization of intersectionality. Through case studies and examples from various parts of the world, we will explore multiple sources of data - documentary, material, and oral - that have come to shape the study of dress. We examine how dress intersects with facets of identity, including race, age, ethnicity, sexuality, and class.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-EDP, WAY-SI
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