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141 - 150 of 840 results for: all courses

ARCHLGY 109A: Archaeology of the Modern World (ANTHRO 109A, ANTHRO 209A)

Historical archaeology, also called the archaeology of the modern world, investigates the material culture and spatial history of the past five centures. As a discipline, historical archaeology has been characterized by (1) a methodological conjunction between history and archaeology; (2) a topical focus on the ¿three Cs¿: colonization, captivity, and capitalism ¿ forces which arguably are constitutive of the modern world; and (3) an epistemological priority to recovering the perspectives of ¿people without history.¿ Each of these three trends is widely debated yet they continue to profoundly shape the field. This seminar provides an in-depth examination of the emergence and development of this historical archaeology, with a focus on current issues in theory and method. For undergraduates, the prerequisite is Anthro 3 or consent of instructor.
Last offered: Autumn 2017 | UG Reqs: WAY-ED, WAY-SI

ARCHLGY 113B: Religious Practices in Archaeological Cultures (ANTHRO 113B, ANTHRO 213B)

According to Hawkes (1954), religion or ideology is the most difficult part of social life to access archaeologically. Luckily, not all scholars agree; according to Fogelin (2008) 'religion is not something people think about, but something people do¿. Thus, archaeology, an inherently multidisciplinary subject that studies material culture, is well suited to delve into religion and its underpinnings.nThis course will explore religious practices, as they can be defined and interpreted from archaeological contexts spanning the Paleolithic to historic periods. Definitions of religion differ from author to author but they mostly agree that religion is a fully integrated and thus integral part of human social life. Politics, economics, identity and social class influence religion, and religion influences how these forces play out in society. Thus, the course will also examine the significance of ritual and religion in a variety of social contexts.
Last offered: Winter 2016 | UG Reqs: WAY-A-II, WAY-ED

ARCHLGY 129: Archaeology of Gender and Sexuality (ANTHRO 111, FEMGEN 119)

How archaeologists study sex, sexuality, and gender through the material remains left behind by past cultures and communities. Theoretical and methodological issues; case studies from prehistoric and historic archaeology.
Terms: Aut | Units: 5 | UG Reqs: WAY-ED, WAY-SI
Instructors: Voss, B. (PI)

ARCHLGY 135: Constructing National History in East Asian Archaeology (ARCHLGY 235, CHINA 175, CHINA 275)

Archaeological studies in contemporary East Asia share a common concern, to contribute to building a national narrative and cultural identity. This course focuses on case studies from China, Korea, and Japan, examining the influence of particular social-political contexts, such as nationalism, on the practice of archaeology in modern times.
Last offered: Autumn 2018 | UG Reqs: GER:DB-SocSci, WAY-ED, WAY-SI

ARTHIST 1A: Introduction to the Visual Arts: Prehistoric through Medieval (CLASSICS 56)

This course explores monuments from the pre-historic through the medieval periods with a focus on their sensory dimensions. How did the ritual and the décor manipulate the viewer and produced different states of consciousness in the cave art of Lascaux? How was power structured as a sensual experience in the empires of Assyria, Babylon, and Egypt? How did the concept of democracy realize itself in the development of pictorial and sculptural naturalism in Classical Athens? We will engage some of the greatest monuments of human civilization produced in the most distant past in places far away and bring them nearby engaging also with the art at the Cantor Museum and the facsimiles of manuscripts at the Stanford Libraries. The lectures introduce major monuments, while the discussion sections allow students to gain new powers of observation and deepen their analytical skills through a direct engagement with objects on display at the museum.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED

ARTHIST 105B: Medieval Journeys: Introduction through the Art and Architecture (ARTHIST 305B, DLCL 123)

The course explores the experience and imagination of medieval journeys through an interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages in particular the art and architecture of the period. The Middle Ages is presented as a network of global economies, fueled by a desire for natural resources, access to luxury goods and holy sites. We will study a large geographical area encompassing the British Isles, Europe, the Mediterranean, Central Asia, India, and East Africa and trace the connectivity of these lands in economic, political, religious, and artistic terms from the fourth to the fourteenth century C.E. The students will have two lectures and one discussion session per week. Depending on the size of the class, it is possible that a graduate student TA will run the discussion session. Our goal is to give a skills-oriented approach to the Middle Ages and to engage students in creative projects that will satisfy 1. Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference. NOTE: for AY 2018-19 HISTORY 115D Europe in the Middle Ages, 300-1500 counts for DLCL 123.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-ED

ARTHIST 106B: What Do Medieval Images Want? Theories of the Image in Byzantium, Islam, and the Latin West (ARTHIST 306B)

What is an image? The medieval response was tied to religious identity. At the core of the debate was whether the image was just a mimetic representation or a living entity: matter imbued with divine spirit. Byzantium, Islam, and the Latin West each developed their own positions and used it as a platform for political legitimacy. We will study the development of the medieval image theories by focusing on specific monuments and objects and by reading both primary sources in translation and current scholarly interpretations.
| UG Reqs: WAY-A-II, WAY-ED

ARTHIST 145: Culture Wars: Art and Social Conflict in the USA, 1890-1950 (AMSTUD 145M, ARTHIST 345, FEMGEN 145)

This course examines social conflicts and political controversies in American culture through the lens of visual art and photography. We consider how visual images both reflect and participate in the social and political life of the nation and how the terms of citizenship have been represented¿and, at times, contested¿by artists throughout the first half of the 20th century. The class explores the relation between American art and the body politic by focusing on issues of poverty, war, censorship, consumerism, class identity, and racial division.
Last offered: Spring 2014 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

ARTHIST 151: Migration and Diaspora in American Art, 1800-Present (AMSTUD 151, ARTHIST 351, ASNAMST 151D, CSRE 151D)

This lecture course explores American art through the lens of immigration, exile, and diaspora. We will examine a wide range of work by immigrant artists and craftsmen, paying special attention to issues of race and ethnicity, assimilation, displacement, and political turmoil. Artists considered include Emmanuel Leutze, Thomas Cole, Joseph Stella, Chiura Obata, Willem de Kooning, Mona Hatoum, and Julie Mehretu, among many others. How do works of art reflect and help shape cultural and individual imaginaries of home and belonging?
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 162B: Art and Social Criticism (AFRICAAM 102B, AMSTUD 102, CSRE 102A, FEMGEN 102)

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition's agit-prop opposing the Vietnam War and ACT-UP's emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago's The Dinner Party (1979), Fred Wilson's Mining the Museum (1992), and Glenn Ligon's paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades more »
Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition's agit-prop opposing the Vietnam War and ACT-UP's emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago's The Dinner Party (1979), Fred Wilson's Mining the Museum (1992), and Glenn Ligon's paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades feminist artists Adrian Piper, Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of Occupy and the Movement for Black Lives. We will also consider the collective aesthetic activisms in the Post-Occupy era including Global Ultra Luxury Faction, Climate Justice art projects, and the visual culture of Trump era mass protests. Why are each of these examples successful as influential and enduring markers of social criticism? What have these socially responsive practices contributed to our understanding of American history?
Last offered: Autumn 2018 | UG Reqs: WAY-A-II, WAY-ED
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