2016-2017 2017-2018 2018-2019 2019-2020 2020-2021
Browse
by subject...
    Schedule
view...
 
  COVID-19 Scheduling Updates!
Due to recent announcements about Autumn Quarter (see the President's update), please expect ongoing changes to the class schedule.

101 - 110 of 1064 results for: %

ARCHLGY 83: Pots, People, and Press: Greek Archaeology in the Media (CLASSICS 93)

Archaeological discovery has long captured the popular imagination, and the media undoubtedly plays a crucial role in this phenomenon. In the case of Greek archaeology, much of this imagination has been intertwined with the legacies of ancient Greek culture(s) in the construction of modern identities and ideologies, including the concept of ¿Western Civilization.¿ This course explores the intersections between academic research, media narratives, and the social, political, and cultural context of Greek archaeology from the 19th century to the present. Through a diachronic range of case studies, we will engage with a selection of media accounts and representations, alongside scholarly work and commentaries. In doing so, the class will more broadly examine issues surrounding archaeological evidence and interpretation, narrative formation, the reception and appropriation of the past, conceptualizations of race and ethnicity, nationalism and archaeology, and cultural heritage management. No prior knowledge of Greek archaeology is required.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Duray, A. (PI)

ARCHLGY 96: The Secret Lives of Statues from Ancient Egypt to Confederate Monuments (ARTHIST 104A, CLASSICS 96)

Statues, human-shaped sculptures, walk a fine line between being inert matter and living entities. Throughout human existence, humans have recognized that statues are not alive even as they understand that statues are capable of becoming potent allies or enemies. They are capable of engendering profound emotional responses, embodying potent ideas, and co-opting the past in service of the present. However, the same materiality that endows statues with these exceptional capacities also makes them vulnerable to humans intent on acquiring otherwise-expensive materials cheaply, commiting sectarian violence by proxy, and obliterating the material manifestations of others¿ memories.nnIn this course, we will study sixteen (groups of) statues thematically. To do this, we will draw on a wide variety of disciplines, including archaeology, art history, history, law, media studies, museum studies, and religious studies, to articulate how people in diverse places and times have revered and reviled statues precisely because they are uncanny objects that seem to have an all-too-human kind of agency. In so doing, we will gain appreciation for and insight into how and why the statues in our own lives are significant.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Gisch, D. (PI)

ARCHLGY 109: Religions of Ancient Eurasia (CLASSICS 165)

This course will explore archaeological evidence for the ritual and religions of Ancient Eurasia, including Greco-Roman polytheism, early Christianity, and early Buddhism. Each week, we will discuss the most significant themes, methods, and approaches that archaeologists are now using to study religious beliefs and rituals. Examples will focus on the everyday social, material, and symbolic aspects of religion. The course will also consider the role of archaeological heritage in religious conflicts today and the ethical dilemmas of archaeology in the 21st century.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-SI

ARCHLGY 118: Engineering the Roman Empire (CLASSICS 168)

Enter the mind, the drafting room, and the building site of the Roman architects and engineers whose monumental projects impressed ancient and modern spectators alike. This class explores the interrelated aesthetics and mechanics of construction that led to one of the most extensive building programs undertaken by a pre-modern state. Through case studies ranging from columns, domes and obelisks to road networks, machines and landscape modification, we investigate the materials, methods, and knowledge behind Roman innovation, and the role of designed space in communicating imperial identity.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

ARCHLGY 127: HERITAGE POLITICS (ANTHRO 127D, ARCHLGY 227)

Heritage is a matter of the heart and not the brain, David Lowenthal once said. It does not seek to explore the past, but to domesticate it and enlist it for present causes. From the drafting of the first royal decrees on ancient monuments in the 17th century, political interests have had a hand in deciding which traditions, monuments and sites best represent and best serve the needs of the nation. The sum of these domestication efforts, the laws, institutions and practices established to protect and manage heritage, is what we call heritage governance. In this seminar you will learn about the politics of 21st century heritage governance at national and international level. Students will become familiar with key conventions and learn about the functioning of heritage institutions. We will also examine the hidden practices and current political developments that impact heritage governance: how UNESCO heritage sites become bargaining tools in international relations, how EU heritage policies are negotiated in the corridors of Brussels, and how the current re-nationalization of Western politics can affect what we come to know as our common past.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-SI

ARCHLGY 134: Museum Cultures: Material Representation in the Past and Present (ARCHLGY 234, ARTHIST 284B)

Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable 3 times (up to 15 units total)
Instructors: Hodge, C. (PI)

ARCHLGY 151: Ten Things: An Archaeology of Design (CLASSICS 151)

Connections among science, technology, society and culture by examining the design of a prehistoric hand axe, Egyptian pyramid, ancient Greek perfume jar, medieval castle, Wedgewood teapot, Edison's electric light bulb, computer mouse, Sony Walkman, supersonic aircraft, and BMW Mini. Interdisciplinary perspectives include archaeology, cultural anthropology, science studies, history and sociology of technology, cognitive science, and evolutionary psychology.
Terms: Win | Units: 3 | UG Reqs: GER:DB-SocSci, WAY-A-II, WAY-SI

ARCHLGY 166: The Body in Roman Art (CLASSICS 166)

(Formerly CLASSART 105.) Ancient and modern ideas about the body as ideal and site of lived experience. Themes include representation, portrayal, power, metamorphosis, and replication. Works that exemplify Roman ideas of heroism and power versus works portraying nude women, erotic youth, preserved corpses, and suffering enemies. Recommended: background in ancient Mediterranean art, archaeology, history, or literature. May be repeated for credit.
Last offered: Spring 2016 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

ARTHIST 1A: Decolonizing the Western Canon: Introduction to Art and Architecture from Prehistory to Medieval (CLASSICS 56)

Traditional Art History viewed the Renaissance as its pinnacle; it privileged linear perspective and lifelikeness and measured other traditions against this standard, neglecting art from the Near East, Egypt, the Middle Ages, or Islam. This course will disrupt this colonizing vision by conceptualizing artworks as "methexis" (participation, liveliness, or enactment) as opposed to mimesis (imitation or lifelikeness). We will study the development of the Western canon and its systematic eradication of difference through a renewed understanding of what an artwork is.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

ARTHIST 1B: How to Look at Art and Why: An Introduction to the History of Western Painting

This course explores the relation of art to life¿how and why works of art, even from hundreds of years ago, matter in a person¿s life. It trains students to find the words to share their thoughts about art with their peers, friends, and family. Some fundamental questions the course considers: How do we get beyond the idea that the study and making of art are elite, ¿privileged¿ activities apart from the real world? How do we develop a sense of discernment¿of deciding for ourselves which artists matter, and which don¿t¿without being a snob? How can works of art teach us to feel the wonder of being alive and our deep debt to the past, to the dead? Focusing on painters such as Michelangelo, Rembrandt, Goya, Manet, Morisot, and Charlotte Salomon, this course will pursue these questions with the aim of challenging and encouraging students to develop their own ways of thinking and feeling¿generously and ethically¿about the past and the present. Sections will focus on original works of art at the Cantor Arts Center. No prerequisites required.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
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