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GLOBAL 145: Revolutionary Practices: Space and Public Discourse in Iran (CSRE 95I)

The course examines the mediums of public art that have been voices of social change, protest and expressions of community desire in Iran. It will offer a unique glimpse into Iran's contemporary art and visual culture through the investigation of public art practices such as graffiti and street art, as well as older traditions of oral storytelling such as Naghali and Iranian Coffeehouse Painting. Iranian case studies will be expanded in comparison with local and global examples, while students examine the infrastructural conditions of public art, such as civic, public, and private funding, relationships with local communities, and the life of these projects as they move in and out of the artworld. This encompassing view anchors a legacy of Iranian cultural contributions in larger trajectories of art history, contemporary art, and community arts practice. The class format is both lecture and art studio practice. Students will propose either new public art works or research to provoke their own ideas while engaging the ever-changing state of public discourse in these case studies.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Ebtekar, A. (PI)

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: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Aut | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
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: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
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: This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Beyzaie, B. (PI)

HISTORY 14N: Making the Middle Ages

Through hands-on engagement with Stanford's diverse collections of medieval artifacts-- from grungy coins to lavish manuscripts-- this course offers an introduction to the cultures of Europe and the Mediterranean world from 400-1400 CE. In addition, the course will explore competing contemporary understandings of the "Middle Ages" and the role of the "medieval" in shaping what it means to be "modern".
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Dorin, R. (PI)

HISTORY 36S: Martin Luther's World: Rebellion, Heresy, and Dissent in Sixteenth-Century Europe

Until recently the Protestant Reformation has occupied a privileged position in the history of Western Civilization, and Martin Luther has played the leading role in that story. The Reformation, no less than the Renaissance, encompassed a confluence of ideas, methods, and mentalities. This course uses Luther as a lens to study the history of the sixteenth-century Reformation in its late-medieval context as well as the writing of that history in contemporaneous and later centuries. Priority given to history majors and minors.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Amato, J. (PI)

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: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Riskin, J. (PI)

HISTORY 42N: The Missing Link

This course explores the history of evolutionary science, focusing upon debates surrounding the evolutionary place of human beings in the natural world, by examining the history of the idea of a "missing link," an intermediate form between humans and apes. We will consider famous hoaxes such as the Piltdown Man, and films and stories such as King Kong and Planet of the Apes, as well as serious scientific work such as that of Eugène Dubois, the paleoanthropologist and geologist who discovered Homo erectus (first called Java Man and then Pithecanthropus erectus) and first developed the notion of a missing link. We will take an interest not only in scientific aspects of missing-link theories but in their accompanying political, social and cultural implications. And we'll watch some classic monster films.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)
Instructors: Riskin, J. (PI)

HISTORY 48: The Egyptians (AFRICAAM 30, CLASSICS 82, HISTORY 148)

Overview of ancient Egyptian pasts, from predynastic times to Greco-Roman rule, roughly 3000 BCE to 30 BCE. Attention to archaeological sites and artifacts; workings of society; and cultural productions, both artistic and literary. Participation in class is required.
Terms: not given this year, last offered Autumn 2017 | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

HISTORY 50A: Colonial and Revolutionary America

(Same as HISTORY 150A. History majors and others taking 5 units, register for 150A.) Survey of the origins of American society and polity in the 17th and 18th centuries. Topics: the migration of Europeans and Africans and the impact on native populations; the emergence of racial slavery and of regional, provincial, Protestant cultures; and the political origins and constitutional consequences of the American Revolution.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-SocSci, GER:EC-AmerCul, WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Gienapp, J. (PI)
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