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OSPOXFRD 16: Creative Writing and Human Rights

Human rights concepts through their emergence in literary form(s), using creative writing, including nonfiction, fiction and poetry, to explore empathy and the most effective ways of inducing it in readers.
Terms: Aut | Units: 5 | UG Reqs: WAY-CE, WAY-ED

OSPPARIS 12: Paris Photography Workshop

Exploration of Paris through camera and lab techniques. Both theoretical and practical aspects of creative photography. Extensive field work. Students must bring camera or phone with camera. Enrollment limited. Taught in English.
Terms: Win | Units: 3 | UG Reqs: WAY-CE
Instructors: Baudouin, N. (PI)

OSPPARIS 36: French Writing Workshop

Offered upon request for students who have completed an Advanced French course. Focus on French writing style, enabling students to understand and master the subtleties of French writing.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE
Instructors: Molkou, E. (PI)

PEDS 128B: Designing for Pediatric Patients (DESINST 260B, PEDS 228B)

This two-quarter class will focus on the pediatric population who have feeding challenges in the neonatal ICU, the labor and delivery room, and at home once discharged. Students will practice design thinking methodology as a pathway for medical device and/or systems innovation. Limited enrollment via application. Must sign up for DESINST260A and DESINST260B. See dschool.stanford.edu/classes for more information.
Terms: Spr | Units: 3 | UG Reqs: WAY-CE

PEDS 228B: Designing for Pediatric Patients (DESINST 260B, PEDS 128B)

This two-quarter class will focus on the pediatric population who have feeding challenges in the neonatal ICU, the labor and delivery room, and at home once discharged. Students will practice design thinking methodology as a pathway for medical device and/or systems innovation. Limited enrollment via application. Must sign up for DESINST260A and DESINST260B. See dschool.stanford.edu/classes for more information.
Terms: Spr | Units: 3

PHIL 193E: Film & Philosophy CE (FRENCH 154E, ITALIAN 154E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | UG Reqs: WAY-CE

PWR 91CL: Intermediate Writing: Self & Science

"Self & Science" mines the intersection of memoir and science writing. In this advanced experimental writing course, students will read a selection of essays by writers including Lewis Thomas, Oliver Sacks, Annie Dillard, and Mark Doty, which illustrate the shared intellectual foundation in observation of scientific and poetic inquiry. Building on these readings, students will be challenged to produce an experimental essay that transgresses genre boundaries in the service of considering how personal reflection can narrate researched discoveries. Over the course of the quarter, students are invited to bolster their overall communication acumen, enhance their ability to share valuable discoveries beyond the confines of their major discipline, and practice the difficult bliss of engaging a discerning public audience. Click here for course video and full description: https://undergrad.stanford.edu/programs/pwr/courses/advanced-courses/self-science
Last offered: Spring 2017 | UG Reqs: WAY-CE

PWR 91CW: Intermediate Writing: Seeing is Believing

In this course, students will study and practice techniques and rhetorics of data visualization based on principles of rhetorical history, visual rhetorics and graphic design as well as cognitive science, design thinking, and other disciplines that inform critical conversations around information display and data visualization. For more information visit https://undergrad.stanford.edu/programs/pwr/courses/additional-elective-courses/seeing-isand-believing-rhetoric-big-data-visualization.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Wright, C. (PI)

PWR 91D: Intermediate Writing: Your American Life

In this course, you¿ll read and listen to some of the most moving and insightful pieces of the last decade, explore the important differences between print and oral storytelling, and then script and record your own full-length audio piece. Along the way, we will explore many craft elements that apply equally to print and audio pieces. You will learn, for example, how to organize your material, choose an effective structure, blend dramatization and reflection, ground insights in concrete scenes, create a strong narrative arc, and manage elements such as characterization, description, and dialogue. We will also, of course, explore craft elements unique to the audio form and you will learn how to use your voice and other sonic elements to craft the kind of piece you might hear on This American Life.nnThrough a special arrangement with the Stanford Storytelling Project, in the spring of 2012 this course will feature special sessions with prominent contributors to This American Life. n Prerequisite: first two levels of the writing requirement or equivalent transfer credit. For more information, see http://www.stanford.edu/dept/undergrad/cgi-bin/drupal_pwr/advanced_pwr.
Last offered: Autumn 2013 | UG Reqs: WAY-CE

PWR 91E: Intermediate Writing: The Oral Tradition: Myth, Folklore, and Fairy Tale

Contemporary storytelling covers a variety of media - from movies to novels, theatre and beyond. What this course offers is an in depth study of the roots of that practice - the oral tradition.nnnOver the course we will explore many different motifs and structures that arise in the oral tradition, myth, folklore and fairy tale. What universal themes do we detect, and what separates the progression of a pacific north west Trickster story from an Arthurian romance? Why is it that in the early twenty first century many of our most acclaimed art forms carry narrative forms that are thousands of years old? Star Wars, Lord of the Rings and the recent broadway show Jerusalem, all follow scenic progressions informed by myth.nnnThe first encounter with the story will be an oral narrative - the myth told unscripted in the classroom. The stories, which range from the Arthurian romance Parzival to Trickster folk tales, will be told in several sections - with a running exegesis and student response more »
Contemporary storytelling covers a variety of media - from movies to novels, theatre and beyond. What this course offers is an in depth study of the roots of that practice - the oral tradition.nnnOver the course we will explore many different motifs and structures that arise in the oral tradition, myth, folklore and fairy tale. What universal themes do we detect, and what separates the progression of a pacific north west Trickster story from an Arthurian romance? Why is it that in the early twenty first century many of our most acclaimed art forms carry narrative forms that are thousands of years old? Star Wars, Lord of the Rings and the recent broadway show Jerusalem, all follow scenic progressions informed by myth.nnnThe first encounter with the story will be an oral narrative - the myth told unscripted in the classroom. The stories, which range from the Arthurian romance Parzival to Trickster folk tales, will be told in several sections - with a running exegesis and student response alongside. Many of these stories are now transcripts and have become works of literature. We will explore both the complementary aspects of this development, and areas of tension.nnnDuring the course each student will embark on a project that demonstrates a thorough understanding of the topics covered, and utilizes those elements in their wider practice of writing and rhetoric. nnnThe project will be to research a story handed down within the family - an adventure of some distant relative, or a family migration from one country to another. Factoring in elements from the taught class, the student will mythologize the story: by writing an in depth commentary on its implications - factoring in contemporary, psychological and metaphorical associations. The second element will be to tell the story to the class. In these way we experience myth as a living principle, not something just from `a long time ago.¿
Last offered: Winter 2014 | UG Reqs: WAY-CE
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