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571 - 580 of 1064 results for: all courses

FRENCH 287: Sex, Gender, and Violence: French Women Writers Today (FEMGEN 187X, FEMGEN 287X, FEMGEN 387X, FRENCH 187, FRENCH 387)

Long before the 2017 #Metoo campaign, French women writers have explored through powerful fictions and autobiographies the different shades of economic, social, psychological, physical, or sexual violence that is exerted against, but also by and between, women. How does literature - the power of words - address, deconstruct or comfort power dynamics (during sex and between the sexes) that are usually silenced, taboo or unspeakable? Themes explored: sex and gender, sex and power, rape culture, sexual and moral taboos (incest, abortion, pornography, infanticide, lesbianism), the body as social stigma or source of meaning. Special attention given to narrative and descriptive strategies designed to avert, expose, deconstruct or account for specifically feminine experiences (rape, orgasm, pregnancy). Authors include Marie Darrieusecq, Christine Angot, Annie Ernaux, Marie NDiaye, Virginie Despentes, Leila Slimani, Ivan Jablonka along with feminist theory. Taught in French.
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-ED

GERMAN 68N: Franz Kafka: Literature and the Modern Human Condition

This class will address major works by Franz Kafka and consider Kafka as a modernist writer whose work reflects on modernity. We will also examine the role of Kafka's themes and poetics in the work of contemporary writers.
Last offered: Winter 2020 | UG Reqs: WAY-A-II

GERMAN 75N: Famous Last Words

What would you say if you knew it would be the last thing you would ever say? Who would you want to hear your words? Would you want to inspire somebody? Terrify them? Shout your defiance or your love in their direction?nThis is a course about last words the final utterances left as legacies for the world in the face of revolution, war, betrayal, heartbreak, or that simplest of endings, death. We will look at a wide variety of last words, including last words codified as genres¿quotations, suicide notes, epitaphs, dying declarations, Japanese death poems, confessions, and the like as literary devices (last sentences, envois, punch lines, epilogues), and as forms of social or cultural practice (the making of heroes, idols, and martyrs in religious, political, and popular culture). We will look at fictional last words, real last words, last words spoken by heroes, gods, and ordinary people. And we will end the course, each of us, by writing out our own last words imagining what we each would write, if we had to sum up what mattered most to us, and if we wanted some small selection of signs to stand in, as it has for many of the authors we will read, for our life and the legacy of it.
Last offered: Autumn 2018 | UG Reqs: WAY-A-II

GERMAN 97: 10 Poems That Will Change Your Life

This course is for anyone who has ever been afraid of poetry, anyone who has ever thought that poems are too difficult to understand, a course for anyone who has fallen in love with poetry before, and for anyone who has used a poem to make a difference in someone's life. You will learn how to read, understand, and if you don't already like poetry. We will read poems from different centuries, different kinds of writers, and different media (paper, computer screens, and even DNA); they will be about loss and love and war and loyalty and bacteria. Some of them will be about you. You will develop interpretive skills that come with this range of poetic forms and structures and will learn how to think about what it means for something to be poetic, whether it is a poem, a Leonard Cohen song, a last minute field goal, or a toilet. Can the poems in this class really change your life? (What would that even mean? We'll discuss.) Maybe; maybe not. But they're certainly going to try.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II

GERMAN 101: Germany in 5 Words

This course explores German history, culture and politics by tracing five (largely untranslatable) words and exploring the debates they have engendered in Germany over the past 200 years. This course is intended as preparation for students wishing to spend a quarter at the Bing Overseas Studies campus in Berlin, but is open to everyone. Taught in English.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Daub, A. (PI)

GERMAN 120A: Berlin: Literature and Culture in the 20th Century and Beyond

For much of the twentieth century Berlin has been at the epicentre of geopolitics, the Berlin Wall standing as the physical manifestation of a fragile world order. Huge social and political upheavals in the city have inspired much cultural production. Through novels, poetry, films, speeches and more we will examine the Golden Era of Weimar Berlin, the National Socialist period, the Cold War division, reunification, and the contemporary city. Authors include Keun, Döblin, Fallada, Schernikau, Wolf, Brussig, Erpenbeck. Taught in GermanPrerequisite: GERLANG 3 or permission of instructor.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II

GERMAN 120B: Fairy Tales

In this course, we will explore the fairy tale genre both from a systematic and historical perspective. We will start by asking how fairy tales differ from other short prose texts like legends and fables. We will then focus on bigger themes, allowing us to discern differences within this literary form, namely: the fantastic and the real, motif constancy and variation, narration and orality, animality and the human. Over the course of the seminar, we will not only delve into the world-famous folk tale collection of the Grimm brothers, but also the more stylized Romantic "Kunstmärchen" tradition (Goethe, Brentano, Hoffmann). Examples from the later 19th-century (Keller, Storm) and the 20th century (Hofmannsthal, Kafka, Döblin, Bachmann) demonstrate attempts to reformulate the fairy tale tradition by transgressing its boundaries. Taught in German. Prerequisite: GERLANG 3 or permission of instructor.
Terms: Win, Sum | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

GERMAN 120C: German in Public: 99 German Songs

Germany is the land of Beethoven and Brahms, but has also given the world Marlene Dietrich, Nena, and Rammstein. This course aims to introduce you to a variety of music repertories, and a range of ways through popular songs to think and talk about 200 years of German history, art, culture, and politics. While we explore some of the great ¿classics¿ of the musical canon in the German speaking countries, we will also discover the social, critical, and political impacts expressed and triggered by folksongs, rock, punk, hip-hop, techno, and heavy metal music. Our focus will be on particular German genres and obsessions by listening not only good songs but also bad ones, very goofy and entertaining pieces. A class to hum along to! Taught in German. Prerequisite: One year of German or permission of instructor.
Last offered: Spring 2020 | UG Reqs: WAY-A-II

GERMAN 120D: The German Graphic Novel

This course is an introduction to the history, theory, and social life of German graphic novels. We will look at early examples of text-and-image (Sebastian Brant¿s "Ship of Fools," a satire published in 1497, Heinrich Hoffmann¿s "Der Struwwelpeter," an 1845 children¿s book detailing various forms of misbehavior in spine-chilling visual detail, or Wilhelm Busch¿s 1895 tale of the mischievous brothers "Max und Moritz") and modern and contemporary comics, political caricatures, and graphic novels from Swiss, German, and Austrian artists (Nicolas Mahler, Gerhard Haderer, Manfred Deix, Ulli Lust, Max Goldt, or Anke Feuchtenberger). This course is in German; no prior knowledge of the topic is required. You will develop your German reading, speaking, and writing skills through a variety of short creative assignments and in-class discussions, develop critical reading skills as they attend to specific formal features, and improve your abilities to think historically about the emergence and development of aesthetic forms.
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

GERMAN 125: Nietzsche: Life as Performance (GERMAN 325, TAPS 152L, TAPS 325)

Nietzsche famously considered that "there is no 'being' behind the deed, its effect, and what becomes of it; the 'doer' is invented as an afterthought - the doing is everything." How should we understand this idea of a deed without a doer, how might it relate to performance, and what influence has it had on modern culture? In order to answer these questions, we will consider Nietzsche's writings alongside some of the artworks that influenced Nietzsche or were influenced by him.
Last offered: Spring 2020 | UG Reqs: WAY-A-II
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