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GERMAN 253: Hannah Arendt: Facing Totalitarianism (COMPLIT 353B, GERMAN 353, JEWISHST 243A)

Like hardly any other thinker of the modern age, Hannah Arendt's thought offers us timeless insights into the fabric of the modern age, especially regarding the perennial danger of totalitarianism. This course offers an in-depth introduction to Arendt's most important works in their various contexts, as well as a consideration of their reverberations in contemporary philosophy and literature. Readings include Arendt's The Origin of Totalitarianism, The Human Condition, Between Past and Future, Men in Dark Times, On Revolution, Eichmann in Jerusalem, and The Life of the Mind, as well as considerations of Hannah Arendt's work by Max Frisch, Jürgen Habermas, Seyla Benhabib, Judith Butler, Giorgio Agamben, and others. Special attention will be given to Arendt's writings on literature with an emphasis on Kafka, Brecht, Auden, Sartre, and Camus. This course will be synchronously conducted, but will also use an innovative, Stanford-developed, online platform called Poetic Thinking. Poetic Thinking allows students to share both their scholarly and creative work with each other. Based on the newest technology and beautifully designed, it greatly enhances their course experience.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI

GLOBAL 110: Love in the Time of Cinema (FILMSTUD 137, FILMSTUD 337, GLOBAL 211)

Romantic coupling is at the heart of mainstream film narratives around the world. Through a range of film cultures, we will examine cinematic intimacies and our own mediated understandings of love and conjugality formed in dialog with film and other media. We will consider genres, infrastructures, social activities (for example, the drive-in theater, the movie date, the Bollywood wedding musical, 90s queer cinema), and examine film romance in relation to queerness, migration, old age, disability, and body politics more broadly.
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

GLOBAL 135: Around the World in Ten Films (FILMSTUD 135, FILMSTUD 335)

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II
Instructors: Levi, P. (PI)

GLOBAL 139: History of Philosophy from Al-Kindi to Averroes (PHIL 101A)

The rise of Islam saw a flourishing of philosophical and scientific activity across Islamic civilizations from Central Asia to Spain. Between the 7th to 13th centuries, many of the major philosophers in the history of philosophy lived in the Muslim world and wrote in Arabic. They saw themselves, just as later philosophers in medieval Europe, as working in part in the same tradition as Plato and Aristotle. This course surveys this important chapter in the history of philosophy, examining the key philosophical problems, analyses, arguments and ideas developed by philosophers such as Al-Kindi, Al-Razi, Al-Farabi, Avicenna, Al-Ghazali and Averroes, as well as their views on the role and aims of philosophy itself. We will look closely at their writings (in English translation) on philosophical topics in mind, metaphysics, epistemology, ethics, and politics.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Al-Witri, Z. (PI)

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

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

GLOBAL 249A: The Iranian Cinema: Image and Meaning (COMPLIT 249A)

This course will focus on the analysis of ten Iranian films with the view of placing them in discourse on the semiotics of Iranian art and culture. The course will also look at the influence of a wide array of cinematic traditions from European, American, and Asian masters on Iranian cinema. Note: To satisfy a Ways requirement, this course must be taken for at least 3 units. In AY 2020-21, a letter grade or 'CR' grade satisfies the Ways requirement.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)

GLOBAL 249B: Iranian Cinema in Diaspora (COMPLIT 249B)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What more »
Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE: to satisfy a Ways requirement, this course must be taken for at least 3 units. In AY 2020-21, a letter grade or 'CR' grade satisfies the Ways requirement.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)

GLOBAL 249C: Contemporary Iranian Theater (COMPLIT 249C)

Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the d more »
Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dearth of visual documents, an attempt will be made to present a picture of Iranian theater to the student. Students are expected to read the recommended available translated plays of the contemporary Iranian playwrights and participate in classroom discussions. Note: to satisfy a Ways requirement, this course must be taken for at least 3 units. In AY 2020-21, a letter grade or 'CR' grade satisfies the Ways requirement.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)

HISTORY 3S: A Global History of the Apocalypse: Millenarian Movements in the Modern World

This course will examine the rise, fall, and legacy of modern millenarian movements-- movements that claim that our corrupt world is about to be swept away, to be replaced with a particular version of paradise-- in a global perspective. Drawing on an array of sources ranging from proclamations, diaries, criminal confessions, newspaper accounts, cartoons, songs, photographs, and films, we will explore what, if anything, these movements had in common, and their connections to and influences on one another.
Last offered: Spring 2020 | UG Reqs: WAY-A-II, WAY-SI

HISTORY 40A: The Scientific Revolution

(Same as History 140A. History majors and others taking 5 units, register for History 140A.) What do people know and how do they know it? What counts as scientific knowledge? In the 16th and 17th centuries, understanding the nature of knowledge engaged the attention of individuals and institutions including Copernicus, Galileo, Descartes, Newton, the early Royal Society, and less well-known contemporaries. New meanings of observing, collecting, experimenting, and philosophizing, and political, religious, and cultural ramifications in early modern Europe.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Riskin, J. (PI)
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