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341 - 350 of 1219 results for: all courses

COMPLIT 284A: Poetry and Mysticism (COMPLIT 184A)

This course explores the interfaces of poetic and mystical speech across times and cultures. Topics include performance; subjectivity; spiritual/erotic love; linguistic fragmentation; the limits of language; and, finally, the question of apophasis as a subversive act. Sources range from the 10th to the 20th century and include Ramon Llull, Santa Teresa, Saint John of the Cross, the Judaic tradition, Hallaj, Rumi, Persianate Sufism, Meister Eckhart, Angelus Silesius, Paul Celan, Simone Weil, Georges Bataille, Juan Goytisolo, and Andrei Tarkovsky. Taught in English.
Last offered: Autumn 2021 | UG Reqs: WAY-A-II

COMPLIT 285: Texts and Contexts: French-English Translation (CSRE 285, FRENCH 185, FRENCH 285)

This course introduces students to the ways in which translation has shaped the image of France and the Francophone world. What texts and concepts were translated, how, where, and to what effect? Students will work on a translation project throughout the quarter and translate texts from French to English and English to French. Topics may include the role of translation in the development of cultures; the political dimension of translation, translation in the context of migration, and the socio-cultural frameworks that shape translations. Case studies: Camus, Chamoiseau, Djebar, Fanon, Sow Fall, Proust. Prior knowledge of French language required.
Last offered: Winter 2021 | UG Reqs: WAY-A-II, WAY-CE

COMPLIT 287: Hope in the Modern Age (GERMAN 287, JEWISHST 287)

Immanuel Kant famously considered "What may I hope?" to be the third and final question of philosophy. This course considers the thinkers, from Immanuel Kant to Judith Butler, who have attempted to answer this question from within the context of modernity. Has revolution replaced religion as the object of our hope? Has Enlightenment lived up to its promises? These topics and more will be discussed, with readings from thinkers including Hegel, Marx, Nietzsche, Benjamin, Adorno, and Arendt, alongside the literature of writers such as Kafka, Celan, Nelly Sachs, among others, and with particular focus on the question of hope within the German-Jewish tradition.
Last offered: Autumn 2021 | UG Reqs: WAY-A-II, WAY-SI

COMPLIT 293: Literary Translation: Theory and Practice (DLCL 293, ENGLISH 293)

An overview of translation theories and practices over time. The aesthetic, ethical, and political questions raised by the act and art of translation and how these pertain to the translator's tasks. Discussion of particular translation challenges and the decision processes taken to address these issues. Coursework includes assigned theoretical readings, comparative translations, and the undertaking of an individual translation project.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Santana, C. (PI)

CSRE 4: The Sociology of Music (AMSTUD 4, SOC 4)

This course examines music - its production, its consumption, and it contested role in society - from a distinctly sociological lens. Why do we prefer certain songs, artists, and musical genres over others? How do we 'use' music to signal group membership and create social categories like class, race, ethnicity, and gender? How does music perpetuate, but also challenge, broader inequalities? Why do some songs become hits? What effects are technology and digital media having on the ways we experience and think about music? Course readings and lectures will explore the various answers to these questions by introducing students to key sociological concepts and ideas. Class time will be spent moving between core theories, listening sessions, discussion of current musical events, and an interrogation of students - own musical experiences. Students will undertake a number of short research and writing assignments that call on them to make sociological sense of music in their own lives, in the lives of others, and in society at large.
Last offered: Winter 2022 | UG Reqs: WAY-A-II, WAY-SI

CSRE 11: Introduction to Dance Studies (DANCE 11, FEMGEN 11, TAPS 11)

This class is an introduction to dance studies and the complex meanings bodily performances carry both onstage and off. Using critical frames drawn from dance criticism, history and ethnography and performance studies, and readings from cultural studies, dance, theater and critical theory, the class explores how performing bodies make meanings. We will read theoretical and historical texts and recorded dance as a means of developing tools for viewing and analyzing dance and understanding its place in larger social, cultural, and political structures. Special attention will be given to new turns in queer and feminist dance studies. This course blends theory and embodied practice. This means as we read, research, and analyze, we will also dance. Students enrolled should expect to move throughout the quarter and complete a two-part choreographic research project. TAPS 11 has been certified to fulfill the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-A-II
Instructors: Jones, T. (PI)

CSRE 13N: Race, Blackness, Antiquity (CLASSICS 13N)

What was the definition of 'race' twenty-five hundred years ago? What did black skin color indicate in the centuries before the Trans-Atlantic slave trade? In this course, students will investigate the history of black skin color in Greek and Roman antiquity alongside the legacy of race within the field of Classics (ancient Greek and Latin literature). In addition to interrogating the terms 'race' and 'blackness' as it applies to an ancient time period, students will cross-examine the role that race and cultural imperialism have played in the formation of the current discipline of Classics. This course will benefit greatly from students with a broad spectrum of interests; all are welcome to join the discussion.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 35N: Black Music Revealed: Black composers, performers, and themes from the 18th century to the present (AFRICAAM 134, MUSIC 35N)

Online seminar on the achievements of Black composers and performers in ragtime, jazz, and classical music, from Chevalier de Saint-Georges, whose music influenced Mozart, and George Bridgetower, for whom Beethoven composed his "Kreutzer" Sonata, to Anthony Davis's opera "The Central Park Five". Students will examine issues of cultural borrowing in operas by Mozart and Verdi, and shows like Showboat and Porgy and Bess. Guest speakers will include composers and performers. Students will work together in groups to produce materials on course topics in coordination with the African American Museum & Library at Oakland. (Cardinal Course certified by the Haas Center)
Last offered: Winter 2023 | UG Reqs: WAY-A-II

CSRE 39: Long Live Our 4Bil. Year Old Mother: Black Feminist Praxis, Indigenous Resistance, Queer Possibility (AFRICAAM 39, FEMGEN 39, NATIVEAM 39)

How can art facilitate a culture that values women, mothers, transfolks, caregivers, girls? How can black, indigenous, and people of color frameworks help us reckon with oppressive systems that threaten safety and survival for marginalized people and the lands that sustain us? How can these questions reveal the brilliant and inventive forms of survival that precede and transcend harmful systems toward a world of possibility? Each week, this course will call on artists, scholars, and organizers of color who clarify the urgency and interconnection of issues from patriarchal violence to environmental degradation; criminalization to legacies of settler colonialism. These same thinkers will also speak to the imaginative, everyday knowledge and creative healing practices that our forebears have used for millennia to give vision and rise to true transformation.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 41Q: Black & White Race Relations in American Fiction & Film (AFRICAAM 101Q, AMSTUD 42Q)

Movies and the fiction that inspires them; power dynamics behind production including historical events, artistic vision, politics, and racial stereotypes. What images of black and white does Hollywood produce to forge a national identity? How do films promote equality between the races? What is lost or gained in film adaptations of books? NOTE: Students must attend the first day; admission to the class will be determined based on an in class essay.
Last offered: Winter 2020 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-EDP
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