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21 - 30 of 139 results for: all courses

CHEM 28N: SCIENCE COMMUNICATION AND INNOVATION

Preference to freshmen. From the unique perspective and contributions of students in the class, the course will explore evolutionary and revolutionary scientific advances, including the connections of science to society, art, biotechnology, health care, the environment, energy and the economy as well as strategies for communicating science to the public. The course content will be driven by the interests and passions of the participants who will engage academic and industrial thought leaders, providing an opportunity for students to translate their passion for science, research and journalism into articles, websites, podcasts and videos of interest to others. This fusion of journalism and science has led to a new undergraduate organization ( https://fascinatepublication.org), which for some participants would be a venue for continuing involvement in science-journalism. The course is an unique opportunity to create course content, research science of interest and produce publications based on science that excites the participants and to share the fun, excitement and importance of such science to the Stanford and global community.
Terms: Aut | Units: 3
Instructors: Wender, P. (PI)

CHEM 29N: Chemistry in the Kitchen

This course examines the chemistry relevant to food and drink preparation, both in homes and in restaurants, which makes what we consume more pleasurable. Good cooking is more often considered an art rather than a science, but a small bit of understanding goes a long way to make the preparation and consumption of food and drink more enjoyable. The intention is to have demonstrations and tastings as a part of every class meeting. We will examine some rather familiar items in this course: eggs, dairy products, meats, breads, vegetables, pastries, and carbonated beverages. We shall playfully explore the chemistry that turns food into meals. A high-school chemistry background is assumed; bring to class a good appetite and a healthy curiosity.
Terms: Win | Units: 3 | UG Reqs: WAY-SMA
Instructors: Zare, R. (PI)

CHEMENG 31N: When Chemistry Meets Engineering

Preference to freshmen. Chemistry and engineering are subjects that are ubiquitous around us. But what happens when the two meet? Students will explore this question by diving into experimental problems that scientists and engineers have to face on a daily basis. Many processes that are taken for granted have been developed by understanding science at a very fundamental level and then applying it to large and important industrial processes. In this seminar, students will explore some of the basic concepts that are important to address chemical engineering problems through experimental work. Students will build materials for energy and environmental applications, understand how to separate mixtures into pure compounds, produce fuels, and will learn to look at the chemical properties of molecules that are part of daily life with a different eye.
Terms: Aut | Units: 3 | UG Reqs: WAY-SMA

CLASSICS 10N: Odysseus Does Dublin: Joyce's Ulysses and Modernist Myth

Upon publication nearly a century ago, Ulyssesby the Irish writer James Joyce was met by many readers with bewilderment and disgust. The story of meanderings around Dublin's districts, both posh and seamy, by a modern Odysseus and Telemachus was banned as pornographic for more than a decade in both the US and UK. Nevertheless, the book rapidly gained recognition as a masterpiece and is now considered one of the most important works of world literature. This seminar will be devoted to a careful reading of the entire text within a number of frames, including classical Greek epic models and ideas about myth, as well as more immediate social, political, and artistic contexts. No previous familiarity with Joyce's work is assumed.
Terms: Win | Units: 3
Instructors: Martin, R. (PI)

CLASSICS 12N: Income and wealth inequality from the Stone Age to the present (HISTORY 12N)

Rising inequality is a defining feature of our time. How long has economic inequality existed, and when, how and why has the gap between haves and have-nots widened or narrowed over the course of history? This seminar takes a very long-term view of these questions. It is designed to help you appreciate dynamics and complexities that are often obscured by partisan controversies and short-term perspectives, and to provide solid historical background for a better understanding of a growing societal concern.
Terms: Aut | Units: 4 | UG Reqs: WAY-SI
Instructors: Scheidel, W. (PI)

CLASSICS 16N: Sappho: Erotic Poetess of Lesbos (FEMGEN 24N)

Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.
Terms: Win | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-CE, WAY-ED
Instructors: Peponi, A. (PI)

CLASSICS 17N: To Die For: Antigone and Political Dissent (TAPS 12N)

(Formerly CLASSGEN 6N.) Preference to freshmen. Tensions inherent in the democracy of ancient Athens; how the character of Antigone emerges in later drama, film, and political thought as a figure of resistance against illegitimate authority; and her relevance to contemporary struggles for women's and workers' rights and national liberation. Readings and screenings include versions of Antigone by Sophocles, Anouilh, Brecht, Fugard/Kani/Ntshona, Paulin, Glowacki, Gurney, and von Trotta.
Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-ED, WAY-ER
Instructors: Rehm, R. (PI)

CLASSICS 18N: The Artist in Ancient Greek Society (ARTHIST 100N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

CLASSICS 43N: The Archaeological Imagination (ARCHLGY 43N)

More than excavating ancient sites and managing collections of old things, Archaeology is a way of experiencing the world: imagining past lives through ruins and remains; telling the story of a prehistoric village through the remains of the site and its artifacts; dealing with the return of childhood memories; designing a museum for a community. The archaeological imagination is a creative capacity mobilized when we experience traces and vestiges of the past, when we gather, classify, conserve and restore, when we work with such remains to deliver stories, reconstructions, accounts, explanations, or whatever. This class will explore such a wide archaeological perspective in novels, poetry, fantasy literature, the arts, movies, online gaming, and through some key debates in contemporary archaeology about human origins, the spread of urban life, the rise and fall of ancient empires.
Terms: Win | Units: 3
Instructors: Shanks, M. (PI)

CLASSICS 54N: Archaeology in the Digital Age (ARCHLGY 54N)

Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time he more »
Like so many fields, archaeology is being transformed by new opportunities and challenges of technologies inconceivable only a generation ago: online tourist photographs are assisting replication of an arch destroyed by terrorists, detailed scans reveal how tools were manufactured and used 2000 years ago, and excavated remains historically texture lost worlds for games like Assassin¿s Creed. These artifacts and sites allow us to recreate human pasts in different ways, but only if we can make the most of every partial clue that archaeology uncovers. How do approaches like laser scanning and digital modeling help us maximize archaeological documentation and analysis? How will 3D visualization bring archaeological finds to the public in more innovative, immersive, and democratic ways than ever before? How can we put the past into the hands of a global community anywhere and at any time through interactive digital reconstructions and physical replicas? Can 4D approaches integrating time help us understand ancient social processes through digital approaches? What ethical questions of practice, ownership, and display arise as archaeology confronts each of these new opportunities? How do such developments force us to reexamine the complex ways in which technologies are changing our relationship with the human past? This seminar bridges the theoretical and the practical, allowing students to develop hands-on projects¿using 3D analysis of objects on campus¿that ask fundamental questions about how artifacts worked in the past, how they speak in the present, and how new digital tools can transform their voices in the future. Trips to collections on campus and in the area, as well as visits from diverse experts in the field and case studies from the instructor¿s own excavation (a Roman shipwreck of marble architectural materials) allow engagement with emerging technological approaches to the archaeological record.
Terms: Spr | Units: 3
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