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351 - 360 of 1219 results for: all courses

CSRE 51Q: Comparative Fictions of Ethnicity (AMSTUD 51Q, COMPLIT 51Q)

Explorations of how literature can represent in complex and compelling ways issues of difference--how they appear, are debated, or silenced. Specific attention on learning how to read critically in ways that lead one to appreciate the power of literary texts, and learning to formulate your ideas into arguments. Course is a Sophomore Seminar and satisfies Write2. By application only
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, Writing 2, WAY-EDP

CSRE 55N: Black Panther, Hamilton, Díaz, and Other Wondrous Lives (COMPLIT 55N)

This seminar concerns the design and analysis of imaginary (or constructed) worlds for narratives and media such as films, comics, and literary texts. The seminar's primary goal is to help participants understand the creation of better imaginary worlds - ultimately all our efforts should serve that higher purpose. Some of the things we will consider when taking on the analysis of a new world include: What are its primary features - spatial, cultural, biological, fantastic, cosmological? What is the world's ethos (the guiding beliefs or ideals that characterize the world)? What are the precise strategies that are used by the artist to convey the world to us and us to the world? How are our characters connected to the world? And how are we - the viewer or reader or player - connected to the world? Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Saldivar, J. (PI)

CSRE 63N: The Feminist Critique: The History and Politics of Gender Equality (AMSTUD 63N, FEMGEN 63N, HISTORY 63N)

This course explores the long history of ideas about gender and equality. Each week we read, dissect, compare, and critique a set of primary historical documents (political and literary) from around the world, moving from the 15th century to the present. We tease out changing arguments about education, the body, sexuality, violence, labor, politics, and the very meaning of gender, and we place feminist critics within national and global political contexts.
Last offered: Autumn 2020 | UG Reqs: WAY-A-II, WAY-SI

CSRE 95I: Space, Public Discourse and Revolutionary Practices (ARTHIST 118A, GLOBAL 145)

This course examines the mediums of public art that have been voices of social change, protestnand expressions of community desire. It will offer a unique glimpse into Iran¿sncontemporary art and visual culture through the investigation of public art practices such asngraffiti and street art, as well as older traditions of Naghali and Iranian Coffeehouse Painting.nnBeginning Iranian case studies will be expanded in comparison with global examples that spannprojects that include Insite (San Diego/Tijuana), Project Row Houses (Houston, TX) the DMZnProject (Korea), Munster Skulpture Projects (Germany), among others. Students will alsonexamine the infrastructural conditions of public art, such as civic, public, and private funding,nrelationships with local communities, and the life of these projects as they move in and out ofnthe artworld. This encompassing view anchors a legacy of Iranian cultural contributions in largerntrajectories of art history, contemporary art, and community arts practice. Guest artists,ncurators, and researchers with site visits included. Students will propose either new public artnproposals, exhibitions, or research to provoke their own ideas while engaging the ever changingnstate of public discourse in these case studies
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

CSRE 102C: History of World Cinema III: Queer Cinemas around the World (ARTHIST 164, ARTHIST 364, CSRE 302C, FEMGEN 100C, FEMGEN 300C, FILMEDIA 100C, FILMEDIA 300C, GLOBAL 193, GLOBAL 390, TAPS 100C, TAPS 300C)

Provides an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. Specific topics may vary by term/year/instructor. This term's topic, Queer Cinemas around the World, engages with a range of queer cinematic forms and queer spectatorial practices in different parts of the world, as well as BIPOC media from North America. Through film and video from Kenya, Malaysia, India, The Dominican Republic, China, Brazil, Palestine, Japan, Morocco, the US etc., we will examine varied narratives about trans experience, same-sex desire, LGBTQI2S+ rights, censorship, precarity, and hopefulness. This course will attune us to regional cultural specificities in queer expression and representation, prompting us to move away from hegemonic and homogenizing understandings of queer life and media. Notes: Screenings will be held on Fridays at 1:30PM in Oshman Hall. Screening times will vary slightly from week to week.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum | Repeatable 2 times (up to 10 units total)
Instructors: Iyer, U. (PI)

CSRE 106A: Black Mirror: A.I.Activism (AMSTUD 106B, ARTHIST 168A, ENGLISH 106A, SYMSYS 168A)

Lecture/small group course exploring intersections of STEM, arts and humanities scholarship and practice that engages with, and generated by, exponential technologies. Our course explores the social ethical and artistic implications of artificial intelligence systems with an emphasis on aesthetics, civic society and racial justice, including scholarship on decolonial AI, indigenous AI, disability activism AI, feminist AI and the future of work for creative industries.
| UG Reqs: WAY-A-II, WAY-EDP

CSRE 111A: From Colonialism to K-pop: Race and Gender in South Korean Culture (COMPLIT 111K, FEMGEN 111A, KOREA 111, KOREA 222)

Some may associate South Korea with the following: BTS, North Korean nukes, Samsung, Hyundai, Squid Games. Some may repeat what South Korea has said about itself: that it is racially homogenous, an ethnic community that can trace their ancestry back 5000 years. Some may wonder how a country that is often perceived as Christian and conservative developed pop culture like K-pop, or queer subcultures, or feminist activism. This class will use South Korea as a case study to think historically and geographically about race and gender through the following topics: when did racial discourses begin to emerge in Korea? What have been South Korea's significant encounters with the figure of the Other in its modern history? How were women implicated in the changing landscape of colonial Korea, the Korean War, Korea's Vietnam War experience, and compressed modernization? How have the influx of migrant labor and North Korean refugees impacted ideas about race in South Korea? And finally, what does K-pop tell us about shifting South Korean views of race and gender? The primary materials that we will analyze will be drawn from Korean fiction, film, and media in translation.
Last offered: Winter 2023 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 113: Passing: Hidden Identities Onscreen (FEMGEN 112, JEWISHST 112)

Characters who are Jewish, Black, Latinx, women, and LGBTQ often conceal their identities - or "pass" - in Hollywood film. Our course will trace how Hollywood has depicted"passing" from the early 20th century to the present. Just a few of our films will include Gentleman's Agreement (1947), Imitation of Life (1959), School Ties (1992), White Chicks (2004), and Blackkklansman (2018). Through these films, we will explore the overlaps and differences between antisemitism, racism, misogyny, and queerphobia, both onscreen and in real life. In turn, we will also study the ideological role of passing films: how they thrill audiences by challenging social boundaries and hierarchies, only to reestablish familiar boundaries by the end. With this contradiction, passing films often help audiences to feel enlightened without actually challenging the oppressive status quo. Thus, we will not treat films as accurate depictions of real-world passing, but rather as cultural tools that help audiences to manage ideological contradictions about race, gender, sexuality, and class. Students will finish the course by creating their own short films about passing.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-EDP, WAY-A-II
Instructors: Branfman, J. (PI)

CSRE 118D: Musics and Appropriation Throughout the World (AFRICAAM 218, MUSIC 118)

This course critically examines musical practices and appropriation through the amplification of intersectionality. We consider musics globally through recourse to ethnomusicological literature and critical race theories. Our approach begins from an understanding that the social and political contexts where musics are created, disseminated, and consumed inform disparate interpretations and meanings of music, as well as its sounds. Our goal is to shape our ears to hear the effects of slavery, colonialism, capitalism, nationalism, class, gender difference, militarism, and activism. We interrogate the process of appropriating musics throughout the world by making the power structures that shape privileges and exclusions audible.
Last offered: Winter 2023 | UG Reqs: WAY-A-II, WAY-EDP

CSRE 124B: German Jews: Thought, Race, and Identity (GERMAN 124, JEWISHST 124)

This course offers an introduction to German Jewish thought from the 18th century to the present day. We will explore the way Jews in the German-speaking world understood their identities in the face of changing cultural and political contexts and the literary and philosophical works they produced in the face of antisemitism, discrimination, and genocide. This course covers the major themes and events in German-Jewish cultural history, including the Haskalah (Jewish Enlightenment), fin de si'cle Vienna, Zionism, exile and migration, the Holocaust, and the modern German Jewish renaissance, with readings from Moses Mendelsohn, Karl Marx, Franz Kafka, Hannah Arendt, Max Czollek, and more. We will pay special attention to the way the German Jewish experience challenges our understanding of identity categories such as race and religion, as well as concepts of whiteness, Europeanness, and the modern nation state.
Terms: Spr | Units: 3 | UG Reqs: WAY-EDP, WAY-A-II
Instructors: Hodrick, C. (PI)
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