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251 - 260 of 862 results for: all courses

CSRE 134: Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, EDUC 214, NATIVEAM 134)

Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter (ABCD/NP)

CSRE 140C: Stand Up Comedy and the "Great American Joke" Since 1945 (AMSTUD 140)

Development of American Stand Up Comedy in the context of social and cultural eruptions after 1945, including the Borscht Belt, the Chitlin¿ Circuit, the Cold War, censorship battles, Civil Rights and other social movements of the 60s and beyond. The artistry of stories, monologues, jokes, impersonations, persona, social satire, scatology, obscenity, riffs, rants, shtick, and more by such artists as Lenny Bruce, Dick Gregory, Richard Pryor, George Carlin, Margaret Cho, Sarah Silverman, Jon Stewart, Stephen Colbert, as well as precursors such as Mark Twain, minstrelsy and vaudeville and related films, TV shows, poems and other manifestations of similar sensibilities and techniques.
Terms: not given this year, last offered Winter 2016 | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

CSRE 140S: Casablanca - Algiers - Tunis : Cities on the Edge (AFRICAAM 236B, FRENCH 236, FRENCH 336, HISTORY 245C, URBANST 140F)

Casablanca, Algiers and Tunis embody three territories, real and imaginary, which never cease to challenge the preconceptions of travelers setting sight on their shores. In this class, we will explore the myriad ways in which these cities of North Africa, on the edge of Europe and of Africa, have been narrated in literature, cinema, and popular culture. We will look at the historical development shaping their respective architecture and why they became the three major urban centers in North Africa. Home to Muslims, Christians, and Jews, they are an ebullient laboratory of social, political, religious, and cultural issues, global and local, between the nineteenth and twenty-first centuries. We will look at mass images of these cities, from films to maps, novels to photographs, sketching a new vision of these magnets as places where power, social rituals, legacies of the Ottoman and French colonial past, and the influence of the global economy collude and collide. Special focus on class, gender, and race. Open to both undergrad and grad students!
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Ulloa, M. (PI)

CSRE 147D: Studies in Music, Media, and Popular Culture: Music and Urban Film (MUSIC 147K, MUSIC 247K)

How music and sound work in urban cinema. What happens when music's capacity to transform everyday reality combines with the realism of urban films? Provides an introduction to traditional theories of film music and film sound; considers how new technologies and practices have changed the roles of music in film. Readings discuss film music, realistic cinema, urban musical practices and urban culture. Viewing includes action/adventure, Hindi film, documentary, film noir, hip hop film, the musical, and borderline cases by Jean-Luc Godard, Spike Lee, Wong Kar-Wai and Tsai Ming-Liang. Pre- or corequisite (for music majors): MUSIC 22. (WIM at 4 unit level only.)
Terms: Aut | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

CSRE 149: The Laboring of Diaspora & Border Literary Cultures (COMPLIT 149, ILAC 149)

Focus is given to emergent theories of culture and on comparative literary and cultural studies. How do we treat culture as a social force? How do we go about reading the presence of social contexts within cultural texts? How do ethno-racial writers re-imagine the nation as a site with many "cognitive maps" in which the nation-state is not congruent with cultural identity? How do diaspora and border narratives/texts strive for comparative theoretical scope while remaining rooted in specific local histories. 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: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

CSRE 152: Introduction to Improvisation in Dance: From Salsa to Vodun to Tap Dance (AFRICAAM 52, TAPS 152)

This seminar introduces students to Dance Studies by exploring the topic of improvisation, a central concept in multiple genres of dance and music. We will survey a range of improvised dance forms¿from salsa to vodun to tap dance¿through readings, video viewings, discussion, and movement exercises (no previous dance experience required). When studying each genre, we will examine how race, gender, sexuality, citizenship, and other power structures affect the practices and theorizations of improvisation. Topics include community and identity formation; questions of technique versus ¿natural¿ ability; improvisation as a spiritual practice; and the role of history in improvisers¿ quest for spontaneity. Course material will focus on improvised dance, but we will also read pertinent literature in jazz music, theatre, and the law.
Terms: not given this year, last offered Winter 2016 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

CSRE 152K: Mixed-Race Politics and Culture (AFRICAAM 226, AMSTUD 152K, ENGLISH 152K)

Today, almost one-third of Americans identify with a racial/ethnic minority group, and more than 9 million Americans identify with multiple races. What are the implications of such diversity for American politics and culture? This course approaches issues of race from an interdisciplinary perspective, employing research in the social sciences and humanities to assess how race shapes perceptions of identity as well as political behavior in 21st-century U.S. Issues surrounding the role of multiculturalism, immigration, acculturation, racial representation, and racial prejudice in American society. Topics include the political and social formation of race; racial representation in the media, arts, and popular culture; the rise and decline of the "one-drop rule" and its effect on political and cultural attachments; the politicization of census categories and the rise of the multiracial movement.
Terms: not given this year, last offered Winter 2018 | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

CSRE 153Q: Reading and Writing the Gendered Story (FEMGEN 153Q)

Exploration of novels, stories, memoirs and micro-narratives in which gender plays a major role. The texts are by writers of varied genders and sexual orientations as well as varied class, racial and national backgrounds. Written assignments present a mixture of academic and creative options.
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)
Instructors: Miner, V. (PI)

CSRE 154C: Shall We Dance? Social Dancing as Political Practice

This seminar investigates social dancing as a political practice, and the dance floor as a place where race, ethnicity, class status, and sexuality are formed and contested. While many students may be familiar with salsa, and can imagine how it produces particular kinds of Latin/a feminities, this course asks students to expand the notion of social dancing beyond partner-dancing spheres. Course materials will focus on dance practices from the late-nineteenth century to present-day, ranging from rural Louisiana dancehalls to NYC nightclubs to Iranian backyards. We will examine how dances become racially coded (e.g., what makes a dance black or Latin@?), and understand how categories such as gender, class, and regionality intersect with such racializations. Students will engage in a range of activities, including reading, viewing films, and participating in occasional movement workshops (no previous dance experience required). Each student¿s final project will require independent, sustained, ethnographic research in a social dance setting of choice (e.g., student dance club, yoga studio, aerobics class, or YouTube).
Terms: not given this year, last offered Spring 2016 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

CSRE 154D: Black Magic: Ethnicity, Race, and Identity in Performance Cultures (AFRICAAM 154G, FEMGEN 154G, TAPS 154G)

In 2013, CaShawn Thompson devised a Twitter hashtag, #blackgirlmagic, to celebrate the beauty and intelligence of black women. Twitter users quickly adopted the slogan, using the hashtag to celebrate everyday moments of beauty, accomplishment, and magic. In contrast, #blackmagic is used to describe everything from the uncanny to the personal. This course examines the discursive phenomenon of "black magic" and its permutations throughout Anglo-American histories. We will investigate the binaries of black/dark, white/light magic that has entered our contemporary lexicon, reading material on religion, magic performance, and theater.
Terms: not given this year, last offered Spring 2018 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
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