2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
Browse
by subject...
    Schedule
view...
 

601 - 610 of 1219 results for: all courses

FRENCH 132: Literature, Revolutions, and Changes in 19th- and 20th-Century France

This course explores central texts of 19th- and 20th-Century French literature, following the evolution of important literary movements during those centuries of cultural and social transformation. We will study texts in all major genres (prose, poetry, theater, film) related to movements such as Romanticism, Realism, Naturalism, Surrealism, Theater of the Absurd, and the Nouveau Roman. We will regularly relate literature and film to developments in other arts, such as painting and music. Authors and filmmakers include Chateaubriand, Stendhal, Balzac, Flaubert, Maupassant, Baudelaire, Rimbaud, Apollinaire, Proust, Ionesco, Varda, Godard, Sarraute, and Ernaux. All readings, discussion, and assignments are in French. Students are highly encouraged to complete FRENLANG 124 or to successfully test above this level through the Language Center.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Pesic, A. (PI)

FRENCH 133: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, COMPLIT 133, COMPLIT 233A, CSRE 133E, JEWISHST 143)

This course provides students with an introductory survey of literature and cinema from Francophone Africa and the Caribbean in the 20th and 21st centuries. Students will be encouraged to consider the geographical, historical, and political connections between the Maghreb, the Caribbean, and Sub-Saharan Africa. This course will help students improve their ability to speak and write in French by introducing students to linguistic and conceptual tools to conduct literary and visual analysis. While analyzing novels and films, students will be exposed to a diverse number of topics such as national and cultural identity, race and class, gender and sexuality, orality and textuality, transnationalism and migration, colonialism and decolonization, history and memory, and the politics of language. Readings include the works of writers and filmmakers such as Aim¿ C¿saire, Albert Memmi, Ousmane Semb¿ne, Le¿la Sebbar, Mariama B¿, Maryse Cond¿, Dany Laferri¿re, Mati Diop, and special guest L¿onora Miano. Taught in French. Students are encouraged to complete FRENLANG 124 or successfully test above this level through the Language Center. This course fulfills the Writing in the Major (WIM) requirement.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum, WAY-EDP

FRENCH 140: Paris: Capital of the Modern World (FRENCH 340, HISTORY 230C, URBANST 184)

This course explores how Paris, between the eighteenth and twentieth centuries, became the political, cultural, and artistic capital of the modern world. It considers how the city has both shaped and been shaped by the tumultuous events of modern history- class conflict, industrialization, imperialism, war, and occupation. It will also explore why Paris became the major world destination for intellectuals, artists and writers. Sources will include films, paintings, architecture, novels, travel journals, and memoirs. Course taught in English with an optional French section.
Last offered: Spring 2020 | UG Reqs: WAY-A-II, WAY-SI

FRENCH 148: Cinema and the Real: Italian Neo-Realism and the French New Wave (FRENCH 248, ITALIAN 148, ITALIAN 248)

Between the 1940s and 1960s, in Italy and France, a handful of movie directors revolutionized the art of cinema. In the wake of World War II they entirely re-defined the aesthetics of the 7th art in films such as "Bicycle Thieves," "400 Blows," "Rome Open City," and "Breathless." These works shared an aesthetic and a philosophy of "the real" - they eschewed big studios and sets in favor of natural light, on-location shooting, and non-professional actors to capture the present moment. This survey course will explore how the dialogue between Italian neo-realism and the French New Wave has yielded some of the most revolutionary filmic masterpieces of both traditions, while raising theoretical and philosophical questions about form, time, space, fiction, representation, and reality. Films: Roberto Rossellini, Vittorio de Sica, Luchino Visconti, Federico Fellini, François Truffaut, Jean-Luc Godard, Alain Resnais and Agnès Varda.
Last offered: Autumn 2020 | UG Reqs: WAY-A-II

FRENCH 149: Love at First Sight: Visual Desire, Attraction, and the Pleasures of Art (ARTHIST 119, ARTHIST 319, FRENCH 349, ITALIAN 149, ITALIAN 349)

Why do dating sites rely on photographs? Why do we believe that love is above all a visual force? How is pleasure, even erotic pleasure, achieved through looking? While the psychology of impressions offers some answers, this course uncovers the ways poets, songwriters, and especially artists have explored myths and promoted ideas about the coupling of love and seeing. Week by week, we will be reflecting on love as political critique, social disruption, and magical force. And we will do so by examining some of the most iconic works of art, from Dante's writings on lovesickness to Caravaggio's Narcissus, studying the ways that objects have shifted from keepsakes to targets of our cares. While exploring the visual roots and evolutions of what has become one of life's fundamental drives, this course offers a passionate survey of European art from Giotto's kiss to Fragonard's swing that elicits stimulating questions about the sensorial nature of desire and the human struggle to control emotions.
Last offered: Summer 2021 | UG Reqs: WAY-A-II

FRENCH 154: Film & Philosophy (ENGLISH 154F, ITALIAN 154, PHIL 193C)

What makes you the individual you are? Should you plan your life, or make it up as you go along? Is it always good to remember your past? Is it always good to know the truth? When does a machine become a person? What do we owe to other people? Is there always a right way to act? How can we live in a highly imperfect world? And what can film do that other media can't? We'll think about all of these great questions with the help of films that are philosophically stimulating, stylistically intriguing, and, for the most part, gripping to watch: Do The Right Thing (Lee), The Dark Knight (Nolan), Eternal Sunshine of the Spotless Mind (Kaufman), Arrival (Villeneuve), My Dinner with Andr¿ (Malle), Blade Runner (Scott), La Jet¿e (Marker), Fight Club (Fincher), No Country for Old Men (Coen), The Seventh Seal (Bergman), and Memento (Nolan). Attendance at weekly screenings is mandatory; and fun. We will not be using the waitlist on Axess - if you would like to enroll and the course is full/closed please email us to get on the waitlist!
Last offered: Autumn 2022 | UG Reqs: GER:DB-Hum, WAY-A-II

FRENCH 159: French Kiss: The History of Love and the French Novel (FRENCH 256, HISTORY 236F)

The history of the French novel is also the history of love. How did individuals experience love throughout history? How do novels reflect this evolution of love through the ages? And, most significantly, how have French novels shaped our own understanding of and expectations for romantic love today? The course will explore many forms of love from the Ancien R¿gime to the 20th century. Sentiment and seduction, passion and desire, the conflict between love and society: students will examine these themes from a historical perspective, in tandem with the evolution of the genre of the novel (the novella, the sentimental novel, the epistolary novel, the 19th-century novel, and the autobiographical novel). Some texts will be paired with contemporary films to probe the enduring relevance of love "¿ la fran¿aise" in the media today. Readings include texts by Lafayette, Pr¿vost, Laclos, Dumas fils, Flaubert, Colette, Yourcenar, and Duras. This is an introductory course to French Studies, with a focus on cultural history, literary history, interpretation of narrative, thematic analysis, and close reading. Undergraduate students should enroll for FRENCH159, while graduate students may enroll for FRENCH256. Readings and discussion in English.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI

FRENCH 163: A Brief History of Now: Song and Poetry from Sappho to Taylor Swift (COMPLIT 163)

What techniques do singers share between traditions from antiquity to the present? How do they produce a sense of a moment to be seized, a contrast between hope and despair, and here and now? Transhistorical, comparative analysis of lyric modes and conventions such as apostrophe, the desire to sing and uselessness of doing so, when and where they diverge in different lyric genres and traditions. Poets and songwriters include Catullus, Sappho, Li Qingzhao, troubadours, Dante, Labe, Donne, Taylor Swift, Bob Dylan, SZA. Each week, students will enrich the discussion by introducing to the class their own suggestions of relevant works.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II

FRENCH 173: Couture Culture (ARTHIST 273, ARTHIST 473, FRENCH 373)

Fashion, art, and representation in Europe and the US between 1860 and today. Beginning with Baudelaire, Impressionism, the rise of the department store and the emergence of haute couture, culminating in the spectacular fashion exhibitions mounted at the Metropolitan and other major art museums in recent years. Students participate actively in class discussion and pursue related research projects.
Last offered: Autumn 2021 | UG Reqs: WAY-A-II

FRENCH 175: CAPITALS: How Cities Shape Cultures, States, and People (COMPLIT 100, DLCL 100, GERMAN 175, HISTORY 206E, ILAC 175, ITALIAN 175, URBANST 153)

This course takes students on a trip to major capital cities at different moments in time, including Renaissance Florence, Golden Age Madrid, colonial Mexico City, imperial Beijing, Enlightenment and romantic Paris, existential and revolutionary St. Petersburg, roaring Berlin, modernist Vienna, and transnational Accra. While exploring each place in a particular historical moment, we will also consider the relations between culture, power, and social life. How does the cultural life of a country intersect with the political activity of a capital? How do large cities shape our everyday experience, our aesthetic preferences, and our sense of history? Why do some cities become cultural capitals? Primary materials for this course will consist of literary, visual, sociological, and historical documents (in translation).
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints