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271 - 280 of 962 results for: all courses

COMPLIT 249C: Contemporary Iranian Theater (GLOBAL 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)

COMPLIT 252A: Great Arabic Poetry

Introduction to the canon of Arabic poetry from the sixth to the twenty-first century. Imru' al-Qays, al-Mutanabbi, Mahmud Darwish, and more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Key, A. (PI)

COMPLIT 252B: Great Arabic Prose

Introduction to the best Arabic Literature from the 790s to 2016. Al-Jahiz, Naguib Mahfouz, and much more. Readings in Arabic. Two years of Arabic at Stanford or equivalent required. Counts for the Arabic Track in the MELLAC Minor. 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: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Key, A. (PI)

COMPLIT 253: Hannah Arendt: Facing Totalitarianism (GERMAN 253, JEWISHST 243A)

Like hardly any other thinker of the modern age, Hannah Arendtss thought offers us timeless insights into the fabric of the modern age, especially regarding the perennial danger of totalitarianism. This course offers an in-depth introduction to Arendt's most important works in their various contexts, as well as a consideration of their reverberations in contemporary philosophy and literature. Readings include Arendt's The Origin of Totalitarianism, The Human Condition, Between Past and Future, Men in Dark Times, On Revolution, Eichmann in Jerusalem, and The Life of the Mind, as well as considerations of Hannah Arendt's work by Max Frisch, Jürgen Habermas, Seyla Benhabib, Judith Butler, Giorgio Agamben, and others. Special attention will be given to Arendt's writings on literature with emphasis on Kafka, Brecht, Auden, Sartre, and Camus.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit
Instructors: Eshel, A. (PI)

CSRE 1T: The Public Life of Science and Technology (STS 1)

The course focuses on key social, cultural, and values issues raised by contemporary scientific and technological developments through the STS interdisciplinary lens by developing and applying skills in three areas: (a) The historical analysis of contemporary global matters (e.g., spread of technologies; climate change response); (b) The bioethical reasoning around health issues (e.g., disease management; privacy rights); and (c) The sociological study of knowledge (e.g., intellectual property, science publishing). A discussion section is required and will be assigned the first week of class.
Terms: Win | Units: 4 | UG Reqs: GER:DB-SocSci, WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)

CSRE 32H: Buddhism in America (ASNAMST 32, RELIGST 32S)

This course examines the transmission, growth, and transformation of Buddhism in America from the nineteenth century to the present day. We will treat American Buddhism as a distinct regional variety of Buddhism with its own history, characteristics, and debates. Through select readings, films, discussions, and research, students will explore the main events and issues that have shaped the American encounter with Buddhism. We will learn the history of Buddhism in the United States, major traditions of American Buddhism, and contemporary issues and debates. Topics covered will include Orientalism, gender, race, science and meditation, and Buddhism in classrooms and prisons.
Terms: not given this year, last offered Summer 2018 | Units: 3 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

CSRE 41: Black & White Race Relations in American Fiction & Film (AFRICAAM 101, AMSTUD 101)

Movies and the fiction that inspires them; power dynamics behind production including historical events, artistic vision, politics, and racial stereotypes. What images of black and white does Hollywood produce to forge a national identity? How do films promote equality between the races? What is lost or gained in film adaptations of books? NOTE: Students must attend the first day; admission to the class will be determined based on an in class essay.
Terms: not given this year, last offered Spring 2018 | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

CSRE 51Q: Comparative Fictions of Ethnicity (AMSTUD 51Q, COMPLIT 51Q)

We may "know" "who" we "are," but we are, after all, social creatures. How does our sense of self interact with those around us? How does literature provide a particular medium for not only self expression, but also for meditations on what goes into the construction of "the Self"? After all, don't we tell stories in response to the question, "who are you"? Besides a list of nouns and names and attributes, we give our lives flesh and blood in telling how we process the world. Our course focuses in particular on this question--Does this universal issue ("who am I") become skewed differently when we add a qualifier before it, like "ethnic"? Note: To be eligible for WAYS credit, you must take course for a Letter Grade.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)

CSRE 55N: Batman, Hamilton, Díaz, and Other Wondrous Lives (COMPLIT 55N)

This seminar concerns the design and analysis of imaginary (or constructed) worlds for narratives and media such as films, comics, and literary texts. The seminar's primary goal is to help participants understand the creation of better imaginary worlds - ultimately all our efforts should serve that higher purpose. Some of the things we will consider when taking on the analysis of a new world include: What are its primary features - spatial, cultural, biological, fantastic, cosmological? What is the world's ethos (the guiding beliefs or ideals that characterize the world)? What are the precise strategies that are used by the artist to convey the world to us and us to the world? How are our characters connected to the world? And how are we - the viewer or reader or player - connected to the world? Note: This course must be taken for a letter grade to be eligible for WAYS credit.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Saldivar, J. (PI)

CSRE 61: Introduction to Dance Studies: Dancing Across Stages, Clubs, Screens, and Borders (DANCE 161D, FEMGEN 161D, TAPS 161D)

This introduction to dance studies course explores dance practice and performance as means for producing cultural meaning. Through theoretical and historical texts and viewing live and recorded dance, we will develop tools for analyzing dance and understanding its place in social, cultural, and political structures. This uses dance and choreography as a lens to more deeply understand a wide range of identity and cultural formations, such as gender, race, sexuality, (dis)ability, (trans)nationality, and empire. We will analyze dancing bodies that move across stages, dance clubs, film screens, and border zones. We will examine dance from diverse locales and time periods including ballet, modern and contemporary dance, contact improvisation, folkloric dance, burlesque, street dance, queer club dance, drag performance, music videos, TV dance competitions, and intermedia/new media performance. In addition to providing theoretical and methodological grounding in dance studies, this course develops performance analysis skills and hones the ability to write critically and skillfully about dance. No previous experience in dance is necessary to successfully complete the course.
Terms: not given this year, last offered Autumn 2017 | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
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