School of Humanities and Sciences
AFRICAAM 36: REPRESENT! Covering Race, Culture, and Identity In The Arts through Writing, Media, and Transmedia.
This course is an exploration into how to cover race, culture, and identity in the arts in journalism, such as print, web, video, radio, and podcasting. During the quarter, we will be working toward creating work that is publishable in various venues and outlets. Those who enroll in the class will be expected to produce quality content (e.g. articles, blog posts, video reports, podcasts) for media outlets.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
AMSTUD 186B: American Song in the 20th Century and after
Critical and creative exploration of song in the Americas. Genres include art song; blues, gospel, jazz and country; pop, soul, rock and hip-hop; bossa nova, nueva canción and salsa; electronic and experimental. Take home and in-class assignments will include critical and creative writing, and music composition, production and performance; final projects may emphasize any of the above.
Terms: Spr | Units: 3-4 | Grading: Letter or Credit/No Credit
ARABLANG 10: Arabic Calligraphy
Calligraphy requires no linguistic background, stipulates no artistic skill for one to appreciate it and is the supreme art form of the Islamic world. Other Islamic arts (architecture, metal work, ceramics, glass, and textiles) draw on calligraphy as their principal source of embellishment. Interactive lecture-workshop sketches its development and illustrates the forms of Arabic calligraphy in use today.
Terms: Spr | Units: 2 | Grading: Letter or Credit/No Credit
ARTHIST 3: Introduction to World Architecture
This lecture course surveys the history of architecture and urbanism, from the first societies to the present, in Europe, West and East Asia, the Americas, and Africa. It considers the social and political circumstances of architectural invention as well as plumbing the depth of artistic context by which particular formal choices resonate with an established representational culture.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
ARTHIST 100N: The Artist in Ancient Greek Society
Why did the Greeks value the work of craftsmen but not the men themselves? 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? Even those who carved the Parthenon were still regarded as “mechanics,” with soft bodies and soft minds (Xenophon) “indifferent to higher things” (Plutarch). 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 | Grading: Letter (ABCD/NP)
ARTHIST 155C: Abstract Expressionism: Painting/Modern/America
The course will focus on American abstract painting from the 1930s to the 1960s, emphasizing the works of art at the Anderson Collection at Stanford. We will focus on looking closely at pictures by Jackson Pollock, Mark Rothko, Willem de Kooning, and other renowned abstract painters, developing skills of speaking and writing about these works of art. We will also place these pictures in their mid-20th century context: World War II and the Cold War; Hollywood and popular culture generally; Beat literature; and locations such as New York and San Francisco.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
ARTHIST 166: Representing Fashion
Course on the representation of fashion in the 20th and 21st century, with focus on fashion photography. Topics include: history of fashion illustration, fashion photography, and fashion films; intersection of art and commerce; role of designers, photographers, editors, and models; studio v. street photography; the place of mass media, alternative magazines, and online publications; and use of media, photography, and design theory for interpretation of fashion representations. Illustrators and artists include Lepape, Erte, Avedon, Penn, Klein, Newton, Sherman, and Leibovitz.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
ARTSTUDI 155: Social Sculpture
This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events.”
Terms: Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
ARTSTUDI 284: Art and Biology
Rather than how art has assisted the biological sciences as in medical illustration, focus is on how biology has influenced art making practice. New technologies and experimental directions, historical shifts in artists’ relationship to the living world, the effects of research methods on the development of theory, and changing conceptions of biology and life. Projects address these themes and others that emerge from class discussions and presentations.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
CEE 139: Design Portfolio Methods
Students present designs completed in other studio courses to communicate design intentions and other aspects of their work. Instruction in photography; preparation of a design portfolio; and short essays that characterize portfolio contents. Oral presentation workshops offered through the Center for Teaching and Learning. Limited enrollment. Prerequisites: two Art or Architecture studio courses, or consent of instructor.
Terms: Spr | Units: 2 | Grading: Letter or Credit/No Credit
CLASSICS 21Q: Eight Great Archaeological Sites in Europe
Preference to sophomores. Focus is on excavation, features and finds, arguments over interpretation, and the place of each site in understanding the archaeological history of Europe. Goal is to introduce the latest archaeological and anthropological thought, and raise key questions about ancient society. The archaeological perspective foregrounds interdisciplinary study: geophysics articulated with art history, source criticism with analytic modeling, statistics interpretation. A web site with resources about each site, including plans, photographs, video, and publications, is the basis for exploring.
Terms: Aut, Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, Writing 2 | Grading: Letter (ABCD/NP)
COMPLIT 10N: Shakespeare and Performance in a Global Context
Preference to freshmen. The problem of performance including the performance of gender through the plays of Shakespeare. In-class performances by students of scenes from plays. The history of theatrical performance. Sources include filmed versions of plays, and readings on the history of gender, gender performance, and transvestite theater.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II | Grading: Letter or Credit/No Credit
COMM 176: Advanced Digital Media Production (COMM 276)
In-depth reporting and production using audio, images and video. Focus on an in-depth journalism project with appropriate uses of digital media: audio, photography, graphics, and video. Topics include advanced field techniques and approaches (audio, video, still) and emphasis on creating a non-fiction narrative arc in a multimedia piece of 10-12 minutes. Prerequisite: COMM 275 or consent of instructor.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)
CSRE 134: Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 234B, 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. 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.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
CSRE 179G: Indigenous Identity in Diaspora: People of Color Art Practice in North America
This “gateway” core course to the IDA emphasis in CSRE offers a 21st century examination of people of color aesthetics and related politics, drawing from contemporary works (literature, music, visual and performing arts) in conversation with their native (especially American Indigenous and African) origins. Issues of gender and sexuality in relation to cultural identity are also integral to this study. Students will be required to produce a final work, integrating critical writing with a creative project.
Terms: Spr | Units: 3-5 | Grading: Letter or Credit/No Credit
DANCE 108: Hip Hop Meets Broadway
What happens when Hip Hop meets “Fosse”, “Aida”, “Dream Girls” and “In the Heights”? The most amazing collaboration of Hip Hop styles adapted to some of the most memorable Broadway Productions. This class will explore the realm between Hip Hop Dance and the Broadway Stage. Infusing Acting thru dance movement and exploring the Art of Lip Sync thru Hip Hop Dance styles.
Terms: Spr | Units: 1 | Repeatable for credit | Grading: Satisfactory/No Credit
DANCE 197: Dance in Prison: The Arts, Juvenile Justice, and Rehabilitation in America
Participatory seminar. The nexus of art, community, and social action, using dance to study how the performing arts affect self-construction, perception and experiences of embodiment, and social control for incarcerated teenagers in Santa Clara Juvenile Hall. Service Learning Course (certified by Haas Center).
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-ED | Grading: Letter or Credit/No Credit
FEMGEN 314: Performing Identities
This course focuses on contemporary South Asian and Black diasporic art work that concerns itself with questions of atrocity and activism. We will ask how artists engage world-historical events and what constitutes activism. Theoretical work will be wide-ranging as will the kinds of art and topics studied: indeed, we will discuss everything from Agamben to AIDS, Ai Wei-Wei to feminist punk in Russia, female circumcision in Sweden to U.N. aid workers in Afghanistan, queer subjects and global ideas freedom.
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)
FILMPROD 106: Image and Sound: Filmmaking for the Digital Age
Do two-minute YouTube videos with millions of hits, six second vines, or interactive storytelling modules alter our understanding of film structure? Even while these emerging forms stretch the boundaries of what it means to be a filmmaker, many of the core principles of visual storytelling remain unchanged. In this hands-on film production class, students will learn filmmaking fundamentals, and explore how to apply those principles when creating film projects using tools such as iPhones, consumer cameras, and FCP X.
Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit
FILMPROD 114: Introduction to Film and Video Production
Hands-on. Techniques of film and video making including conceptualization, visualization, story structure, cinematography, sound recording, and editing. Enrollment limited to 12 students. Priority to junior/senior Film & Media Studies majors.
Terms: Aut, Spr | Units: 5 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)
FRENCH 168: Imagining the Oceans (COMPLIT 168, ENGLISH 168)
How has Western culture constructed the world’s oceans since the beginning of global ocean exploration? How have imaginative visions of the ocean been shaped by marine science, technology, exploration, commerce and leisure? Authors read might include Cook, Equiano, and Steinbeck; Defoe, Verne, Stevenson, Conrad, Woolf and Hemingway; Coleridge, Baudelaire, Moore, Bishop and Walcott. Films by Painlevé and Bigelow. Seminar co-ordinated with a spring 2015 Cantor Arts Center public exhibition. Visits to Cantor; other possible field trips include Hopkins Marine Station and SF Maritime Historical Park.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
FRENCH 258: The Great War: WWI in Literature, Film, Art, and Memory
This course concerns how writers, artists, and other cultural producers understood and represented the traumas of the First World War and its aftermath. We’ll explore the connections between the War and the emergence of post-War modernist movements, as writers and artists created new works to help them make sense of the catastrophe and the new world it wrought. Though France provides our starting point, we’ll also travel beyond the Hexagon to incorporate other views and major works. Course readings will be in English, though students may elect to read works in French if they wish.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit
GERMAN 283: Brecht (TAPS 382)
Arguably the most influential theatrical artist of the twentieth century, Bertolt Brecht continues to be a lightning rod for debates over art and politics. This course will consider Brecht as playwright, director, and theorist. Alongside reading and discussing texts such as Threepenny Opera, Mother Courage, and Galileo, students will also be expected to participate in occasional in-class performances in order better to grapple with his plays and theories. No previous theatrical experience is necessary.
Terms: Spr | Units: 3-5 | Grading: Letter or Credit/No Credit
HISTORY 25: St. Petersburg: A Cultural Biography
This course explores the rich cultural heritage of St. Petersburg: art, architecture, urban planning, literature, dance, music, theater. Lectures will be extensively slide-illustrated, particularly on architecture and art. Readings will be posted in Coursework for CSP participants and will be available but optional for undergraduate students. Satisfactory credit for undergraduates will be earned by attending 80% of the lectures and by submitting a 5-page paper on a topic of the student’s choice utilizing the CSP assigned readings and sources suggested by the instructor.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit
ILAC 241: Fiction Workshop in Spanish
Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
ITALIAN 101: Italy: The Good, the Bad and the Ugly
Renowned for its rich cultural tradition, Italy is also one of the most problematic nations in Europe. This course explores the contradictions at the heart of Italy, focusing key phenomena, such as art, corruption, migration, and crises of all kinds. Through the study of historical and literary texts, films, and news media, the course seeks to examine Italy’s present and future trajectory by looking to its past as a point of comparison. Taught in English.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
JAPANGEN 152: Art Animation
While anime has spread around the world, Japanese art animators have been busy developing a parallel tradition, built from a more personal, experimental, and idiosyncratic approach to the medium. Looking closely at key works from major artists in the field, this course explores art animation from a variety of perspectives: animation scene; philosophical attempts to account for animated movement; and art animation’s unique perspective on Japanese culture.
Terms: Spr | Units: 2-4 | Grading: Letter (ABCD/NP)
RELIGST 21: Religion in Science Fiction and Fantasy
Science fiction and fantasy create alternate worlds that incorporate religious institutions and beliefs that illuminate how we think about religion now and for the future. Texts work off diverse religious traditions: Islam, Buddhism, Catholic and Protestant forms of Christianity, Mayan religion, and Voudou are some that appear. Themes of free will and determinism, immortality, apocalypse and redemption. Myth, ritual, prophecy, the messianic hero, monasticism and mysticism. Texts like Dune, Count Zero, Sandman, Grass and the like explore religion in the contemporary imagination. Main assignment: write a short story.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
RELIGST 179: Doing the Sacred: Religion and Performance
This course investigates religion as practice and performance, rather than as belief and doctrine. A performance-centered emphasis helps us understand how domination and authority, as well as creativity and individual resistance, underlie culture. We will discuss performances that make modern readers uncomfortable, such as sacrifice and flagellation, and examine why they are meaningful within their specific cultural context.
Terms: Spr | Units: 4 | Grading: Letter or Credit/No Credit
STS 103Q: Reading and Writing Poetry about Science
Preference to sophomores. Students will study recent poetry inspired by the phenomena and history of the sciences in order to write such poems themselves. These poems bring sensuous human experience to bear on biology, ecology, neuroscience, physics, astronomy, and geology, as well as on technological advances and missteps. Poets such as Mark Doty, Jody Gladding, Albert Goldbarth, Jorie Graham, Sarah Lindsay, Adrienne Rich, W.S. Merwin, or C. K. Williams. Grounding in poetics, research in individually chosen areas of science, weekly analytical and creative writing. Enrollment limited to 12.
Terms: Spr | Units: 3 | Grading: Letter or Credit/No Credit
TAPS 151D: The Critic as Artist
Criticism is art. Are artists therefore critics? Our interrogation will be generated by dance and performance, with possible forays into live visual art, theater, hybrid forms and whatever else we think might suit our purposes. Various methodologies will be debated and employed throughout the course, as students are encouraged to begin (or continue) developing personal philosophies and voices through their writing, however it does or doesn’t intersect with their other artistic and intellectual practices.
Terms: Spr | Units: 3 | Grading: Letter or Credit/No Credit
TAPS 159G: The Theater of War: Art, Violence, and the Technologies of Death
We will read plays and study films dealing with war and the technologies of destruction, including Aeschylus’ Persians, Sophocles’ Philoctetes, Euripides’ Trojan Women, Shakespeare’s Macbeth, O’Casey’s The Plough and the Stars and The Silver Tassie, Brecht’s Galileo and Mother Courage, Kubrick’s Paths of Glory and Dr. Strangelove, Bergman’s Shame, Nichol’s Catch-22, Wertmuller’s Seven Beauties, Brenton’s The Genius, Frayn’s Copenhagen, Nottage’s Ruined, among others.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
School of Earth Science
EARTHSCI 193: Natural Perspectives: Geology, Environment, and Art
We’ll visit several sites of geologic and environmental interest, discuss their formation and significance, and use drawing as tool for close observation. Students will gain an understanding of the natural processes shaping California, acquire new skills and techniques for artistic expression, and gain an appreciation for how scientific and aesthetic perspectives complement and enhance one another in the study of nature. No previous scientific or artistic experience is required.
Terms: Aut, Spr | Units: 1 | Repeatable for credit | Grading: Satisfactory/No Credit
School of Medicine
OB 388: Leadership in the Entertainment Industry
The entertainment industry is one of the largest and most important industries in the world and is characterized by tremendous opportunities and great uncertainties. Topics to be examined include the process of project development, production, and marketing; emerging technologies and their impact on the industry; the roles studio and network executives, directors, film and television producers, writers, actors, agents, and others play in the making and distribution of film and television productions.
Units: 3 | Grading: GSB Letter Graded
OBGYN 81Q:Perspectives on the Abortion Experience in Western Fiction
Explores the role of media in delivering abortion-related messages as well as the broader questions of how abortion and related issues are fundamentally integrated into the social fabric of US and global societies. How abortion is portrayed in novels and films provides the student of history, anthropology, and biology with insights into the author’s or director’s perspectives, and into societal attitudes and mores.
Terms: Spr | Units: 3 | Grading: Letter or Credit/No Credit
SURG 242:Art and Anatomy Studio
Discusses the intersection of art and anatomy and provides the opportunity to explore one art medium in depth. Students select a medium from drawing, painting, sculpture, digital art and art appreciation, and work in small groups with a mentor artist. Class time includes art instruction, creation and feedback. May be repeated for credit. May be taken for 1-3 units; units awarded commensurate with project time. Prerequisites: SURG 203A, SURG 203B, or SURG 101.
Terms: Spr | Units: 1 | Repeatable for credit | Grading: Medical Option (Med-Ltr-CR/NC)
School of Engineering
ME 110: Design Sketching
Freehand sketching, rendering, and design development. Students develop a design sketching portfolio for review by program faculty. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 2 | Repeatable for credit | Grading: Satisfactory/No Credit
ME 200: Judging Historical Significance Through the Automobile
This seminar is for students to learn how to assess the impact of historical importance through the lens of the automobile. Students will participate in discussions about measuring and judging historical importance from a number of perspectives – engineering, aesthetic, historical, etc. They will then decide on criteria and use these to be a part of a judging team at the Pebble Beach Concours d’Elegance, the leading concours for automobiles in the United States. Using the criteria established by the students, the judging team, including the students, will decide the recipient of the Stanford/Revs Automotive History Trophy for 2015 and have the opportunity to present it on the lawn at Pebble Beach Lodge on August 16th. Must apply using this application: http://revs.stanford.edu/course/703. Must attend first class to be considered for acceptance, no exceptions.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit
ME 366: Creative Gym: A Design Thinking Skills Studio
Build your creative confidence and sharpen your design thinking skills. Train your intuition and expand the design context from which you operate every day. This experimental studio will introduce d.school students to fast- paced experiential exercises that lay the mental and physical foundation for a potent bias toward action, and a wider knowledge of the personal skills that expert design thinkers utilize in all phases of their process.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit
ME 378: Tell, Make, Engage: Action Stories for Entrepreneuring
Individual storytelling action and reflective observations gives the course an evolving framework of evaluative methods, formed and reformed by collaborative development within the class. Stories attached to an idea or a discovery, are considered through iterative narrative work and small group research projects. This course will use qualitative and quantitative methods for story engagement, assessment, and class determined research projects with practice exercises, artifacts, short papers and presentations.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit
MS&E 277: Creativity and Innovation
Experiential course explores factors that promote and inhibit creativity and innovation in individuals, teams, and organizations. Teaches creativity tools using workshops, case studies, field trips, expert guests, and team design challenges. Enrollment limited to 40. Admission by application. See http://dschool.stanford.edu/classes.
Terms: Win, Spr | Units: 3-4 | Grading: Letter (ABCD/NP)
