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ENGLISH 94Q: The Future is Feminine (FEMGEN 94Q)

Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as mo more »
Gender is one of the great social issues of our time. What does it mean to be female or feminine? How has femininity been defined, performed, punished, or celebrated? Writers are some of our most serious and eloquent investigators of these questions, and in this class we'll read many of our greatest writers on the subject of femininity, as embodied by both men and women, children and adults, protagonists and antagonists. From Virginia Woolf to Ernest Hemingway, from Beloved to Gone Girl (and even "RuPaul's Drag Race"), we'll ask how the feminine is rendered and contested. We'll do so in order to develop a history and a vocabulary of femininity so that we may, in this important time, write our own way in to the conversation. This is first and foremost a creative writing class, and our goals will be to consider in our own work the importance of the feminine across the entire spectrum of gender, sex, and identity. We will also study how we write about femininity, using other writers as models and inspiration. As we engage with these other writers, we will think broadly and bravely, and explore the expressive opportunities inherent in writing. We will explore our own creative practices through readings, prompted exercises, improv, games, collaboration, workshop, and revision, all with an eye toward writing the feminine future.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Pufahl, S. (PI)

ENGLISH 102: Pathogens and Populations: Representing Infectious Disease

Infectious diseases are too small to see and too large to fathom. Biologically, microscopic invaders, viruses even smaller than our cells, can travel across the planet and infect billions of humans. Socially, individual contacts have the potential to devastate families, fracture communities, and decimate whole civilizations. How can we comprehend, let alone make meaningful decisions about, complex multi-scale systems of people and pathogens?The main way we try to understand infectious diseases is putting them into other forms that straddle these scales, in short, representing them. To address the resulting representational problems, this course explores a range of scientific and cultural representations of disease. We will ask: What are the underlying assumptions and limits made in our attempts to describe a pathogen spreading through a population? How can board games, mathematical models, and oral histories show the randomness behind catastrophic outbreaks? Or, how might a network model illustrate the way HIV spreads among characters in a novel? How does the epidemiological case study rely on the same principles as tabloid stories about "superspreaders" like Typhoid Mary?The goal of the course is to understand and critique the ways infectious disease is represented, and especially to understand what and who is excluded in different modes of representation. This course is appropriate for students interested in public health, medicine, life writing, science writing, history of science, and media studies. In addition to scientific papers, course material will include plays, poems, board games, comics, novels, oral narratives, and newspaper articles.
Last offered: Autumn 2022 | UG Reqs: WAY-A-II

ENGLISH 106A: Black Mirror: A.I.Activism (AMSTUD 106B, ARTHIST 168A, CSRE 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.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II, WAY-EDP

ENGLISH 110: The Indian Novel

When we imagine the exemplary global or postcolonial novel, we're likely to think of novels from India. But the current dominance of Indian Anglophone fiction was hardly the tryst with destiny it seems in retrospect. This course offers a perspective on the emergence of the Anglophone novel in India through a conversation with its linguistic and generic others works in the competing modes of short stories, poetry, and film. The course may include writings by Mulk Raj Anand, G.V. Desani, Anita Desai, and Arundhati Roy, as well as selections from the volume A History of the Indian Novel in English.
Last offered: Spring 2023 | UG Reqs: WAY-A-II, WAY-EDP

ENGLISH 112C: Humanities Core: Great Minds of the Italian Renaissance and their World (HUMCORE 122)

What enabled Leonardo da Vinci to excel in over a dozen fields from painting to engineering and to anticipate flight four hundred years before the first aircraft took off? How did Michelangelo paint the Sistine Chapel Ceiling? What forces and insights led Machiavelli to write "The Prince"? An historical moment and a cultural era, the Italian Renaissance famously saw monumental achievements in literature, art, and architecture, influential developments in science and technology, and the flourishing of multi-talented individuals who contributed profoundly, expertly, and simultaneously to very different fields. In this course on the great thinkers, writers, and achievers of the Italian Renaissance, we will study these "universal geniuses" and their world. Investigating the writings, thought, and lives of such figures as Leonardo da Vinci, Niccol¿ Machiavelli, and Galileo Galilei, we will interrogate historical and contemporary ideas concerning genius, creativity, and the phenomenon of "Renaissance man" known as polymathy. Taught in English. On Tuesdays you meet in your own course, and on Thursday all the HumCore seminars in session that quarter meet together: https://humanitiescore.stanford.edu/.
| UG Reqs: WAY-A-II, WAY-SI

ENGLISH 113A: African American Ecologies (AFRICAAM 113A)

African American perspectives on the environment have long been suppressed in mainstream ecological discourse, despite the importance of questions of land, labor, and resource to the historical and ongoing experiences of Black people in the United States. Against this exclusion, this course takes up African American literature as a unique site of ecological knowledge and environmental thought. Drawing on texts, art, music, and film from the late nineteenth century to the present, this course considers planetary problems of ecological catastrophe and climatic change in relation to the everyday structures of U.S.-American racial politics. Through close analyses of texts and films set on plantations and steamships, in gardens and coal mines, students will explore the environmental dimensions of African American literature, and gain a deeper understanding of the real-world histories with which these works engage. Texts will include novels by Zora Neale Hurston, Percival Everett, and Toni M more »
African American perspectives on the environment have long been suppressed in mainstream ecological discourse, despite the importance of questions of land, labor, and resource to the historical and ongoing experiences of Black people in the United States. Against this exclusion, this course takes up African American literature as a unique site of ecological knowledge and environmental thought. Drawing on texts, art, music, and film from the late nineteenth century to the present, this course considers planetary problems of ecological catastrophe and climatic change in relation to the everyday structures of U.S.-American racial politics. Through close analyses of texts and films set on plantations and steamships, in gardens and coal mines, students will explore the environmental dimensions of African American literature, and gain a deeper understanding of the real-world histories with which these works engage. Texts will include novels by Zora Neale Hurston, Percival Everett, and Toni Morrison, short stories and essays by Charles Chesnutt, Jamaica Kincaid, Katherine McKittrick, and adrienne marie brown, and films and multimedia works by Julie Dash, Stephanie Dinkins, and Jordan Peele. Important topics will include the ecology of the plantation, black feminist ecological thought, and the significance of water in African American life and culture.
Terms: Spr | Units: 5 | UG Reqs: WAY-EDP, WAY-A-II
Instructors: Gordon, W. (PI)

ENGLISH 113P: Media and Communication from the Middle Ages to the Printing Press (ENGLISH 13P, HISTORY 13P, HISTORY 113P, MUSIC 13P, MUSIC 113P)

Did you know that the emperor Charlemagne was illiterate, yet his scribes revolutionized writing in the West? This course follows decisive moments in the history of media and communication, asking how new recording technologies reshaped a society in which most people did not read or write--what has been described as the shift "from memory to written record." To understand this transformation, we examine forms of oral literature and music, from the Viking sagas, the call to crusade, and medieval curses (Benedictine maledictions), to early popular authors such as Dante and the 15th-century feminist scribe, Christine de Pizan. We trace the impact of musical notation, manuscript and book production, and Gutenberg's print revolution. To paraphrase Marshall McLuhan's famous dictum, how did the medium shape the message? Along the way, we will consider how the medieval arts of memory and divine reading (lectio divina) can inform communication in the digital world. This is a hands-on course: students will handle medieval manuscripts and early printed books in Special Collections, and will participate in an "ink-making workshop," following medieval recipes for ink and for cutting quills, then using them to write on parchment. The course is open to all interested students.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Phillips, J. (PI)

ENGLISH 115: Virtual Italy (ARCHLGY 117, CLASSICS 115, HISTORY 238C, ITALIAN 115)

Classical Italy attracted thousands of travelers throughout the 1700s. Referring to their journey as the "Grand Tour," travelers pursued intellectual passions, promoted careers, and satisfied wanderlust, all while collecting antiquities to fill museums and estates back home. What can computational approaches tell us about who traveled, where and why? We will read travel accounts; experiment with parsing; and visualize historical data. Final projects to form credited contributions to the Grand Tour Project, a cutting-edge digital platform. No prior programming experience necessary.
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Ceserani, G. (PI)

ENGLISH 118: Literature and the Brain (COMPLIT 138, COMPLIT 238, ENGLISH 218, FRENCH 118, FRENCH 218, PSYC 126, PSYCH 118F)

How does fiction make us better at reading minds? Why do some TV shows get us to believe two contradictory things at once? And can cognitive biases be a writer's best friend? We'll think about these and other questions in the light of contemporary neuroscience and experimental psychology, with the help of Song of Solomon (Toni Morrison), Madame Bovary (Gustave Flaubert), season 1 of Westworld (Lisa Joy / Jonathan Nolan), and short readings from writers like Louise Glück, Jorge Luis Borges, Virginia Woolf, and Marcel Proust. We'll also ask what we see when we read; whether the language we speak affects the way we think; and why different people react differently to the same book. Plus: is free will a fiction, or were you just forced to say that?
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II

ENGLISH 122C: Medieval Fantasy Literature

This is a comparative medieval literature course that surveys Anglo-Norman and English romance, English and Norse heroic epic, and Norse and Celtic mythology. What significance and meaning did medieval writers from different times and places see in magic and monsters; what superstitions and beliefs converged in their efforts to represent things from the other side, and what compelled them to do so? We will address such questions by reading the literature against the social, cultural, and religious contexts that shaped medieval life and artistic production. Finally we will turn to some modern works inspired by these medieval texts, reflecting on how literary medievalism has cultivated the tropes of medieval fantasy to produce works which mediate between an imagined history, sublime fabrication, and contemporary concerns.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II
Instructors: Ashton, M. (PI)
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