AFRICAAM 8:  Conjure and Manifest: Building a Sustainable Artistic Practice (CSRE 8)

In this course, student-artists spend time investigating their artistic practice as a framework for promoting power, wellness, and creativity; and as a tangible means for navigating the first steps of their artistic careers. We spend time critically examining the philosophies and works of Black artists including James Baldwin, Octavia Butler, RZA (Wu-Tang Clan) and Nayyirah Waheed, in order to explore new visions for the artist as activist, as futurist and as spiritual healer. We then use a mixture of these ideas and our own, along with meditation and mindfulness experiences, to begin conjuring and manifesting intimate relationships with our art practice and ourselves. Student-artists will develop creative confidence, formulate game plans for success, and begin to find balance between the uncertainty and ultimate freedom that life as an artist can bring.

Terms: Aut | Units: 3 | Grading: Credit/No Credit

AFRICAAM 43:  Introduction to English III: Introduction to African American Literature (AMSTUD 12A, ENGLISH 12A)

(Formerly English 43/143). In his bold study, What Was African American Literature?, Kenneth Warren defines African American literature as a late nineteenth- to mid-twentieth-century response to the nation's Jim Crow segregated order. But in the aftermath of the Jim Crow era and the Civil Rights movement, can critics still speak, coherently, of "African American literature"? And how does this political conception of African American literary production compare with accounts grounded in black language and culture? Taking up Warren's intervention, this course will explore African American literature from its earliest manifestations in the spirituals and slave narratives to texts composed at the height of desegregation and decolonization struggles at mid-century and beyond.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

Instructors: Rasberry, V. (PI)

AMSTUD 55N:  Social Movements through Song in Modern America (HISTORY 55N)

 This discussion class will explore a series of social movements in modern America through the songs produced to support efforts to achieve labor unions, civil rights and racial justice, peace, and women's rights. For each class we will read short historical texts to provide contexts for the movements and then concentrate on the role of music within them. We will listening to and discuss several core songs for each topic. Biographical and autobiographical readings on a key set of musicians (including Joe Hill, Woody Guthrie, Pete Seeger, Malvina Reynolds, and Bernice Johnson Reagon) will provide personal accounts of the relationship of songs to social movement . The music we include in class will range from ballads to anthems, from oral traditions to the work of singer-songwriters.

Terms: Aut | Units: 3-4 | UG Reqs: WAY-SI | Grading: Letter (ABCD/NP)

Instructors: Freedman, E. (PI)

AMSTUD 120:  Digital Media in Society (COMM 120W, COMM 220)

Contemporary debates concerning the social and cultural impact of digital media. Topics include the historical origins of digital media, cultural contexts of their development and use, and influence of digital media on conceptions of self, community, and state. Priority to juniors, seniors, and graduate students. To request a permission number, please email blazzari@stanford.edu. Include your student ID, major, and year.

Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-SocSci, WAY-SI | Grading: Letter (ABCD/NP)

Instructors: Turner, F. (PI)

AMSTUD 143X:  Starstuff: Space and the American Imagination (ARTHIST 264B, FILMSTUD 264B)

Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship. 

Terms: Aut | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

Instructors: Kessler, E. (PI)

ANTHRO 12:  Anthropology and Art

Modernity. How the concept of art appears timeless and commonsensical in the West, and with what social consequences. Historicizing the emergence of art. Modernist uses of primitive, child art, asylum, and outsider art.

Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

ARCHLGY 156:  Design of Cities (CLASSICS 156)

Long-term, comparative and archaeological view of urban planning and design. Cities are the fastest changing components of the human landscape and are challenging our relationships with nature. They are the historical loci of innovation and change, are cultural hotspots, and present a tremendous challenge through growth, industrial development, the consumption of goods and materials. We will unpack such topics by tracking the genealogy of qualities of life in the ancient Near Eastern city states and those of Graeco-Roman antiquity, with reference also to prehistoric built environments and cities in the Indus Valley and through the Americas. The class takes an explicitly human-centered view of urban design and one that emphasizes long term processes.

Terms: Aut | Units: 3-5 | Grading: Letter or Credit/No Credit

Instructors: Shanks, M. (PI)

ARTHIST 1B:  Introduction to the Visual Arts: History of Western Art from the Renaissance to the Present 

This course surveys the history of Western painting from the start of the 14th century to the late 20th century and our own moment. Lectures introduce important artists (Giotto, Rembrandt, Velazquez, Goya, Manet, Matisse, Pollock, and others), and major themes associated with the art of particular periods and cultures. The course emphasizes training students to look closely at - and to write about - works of art.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

Instructors: Krueger, H. (PI) ; Nemerov, A. (PI)

ARTHIST 171:  Baudelaire to Bardot: Art, Fashion, and Film in Modern France

This course primarily concerns how French artists, writers, and filmmakers have explored the intersecting themes of fashion and modernity in various media including painting, sculpture, architecture, the decorative arts, poetry, novels, film, dance, and mass advertising. Using modern France as a case study, we will think critically about how the fashion, design, and luxury industries have influenced the production and reception of modern art - and vice versa. While the course is organized thematically, we will move chronologically from the late-18th century to the 1950s, conducting a survey of some of the major developments in French visual culture along the way. Finally, we will consider the ways that fashion-minded artists, designers, and entrepreneurs have helped to create, reflect, and critique modern French identities. 

Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)

Instructors: Braude, M. (PI)

ARTSINST 160:  The Changing Art Ecosystem: Entrepreneurial Approaches for Artists and Arts Organizations (ARTSINST 360)

This course looks at opportunities created by a rapidly changing art world. Artists, arts leaders, and creative entrepreneurs are taking advantage of new platforms and models for making art and for bringing art to new audiences. The course will feature guest speakers who are developing new ways to engage audiences, create powerful collaborations, and identify new funding sources for artistic activity. While drawing upon speakers and examples in the visual arts, this course will introduce methods for understanding and engaging with audiences and funders that are applicable to all types of art. Students will also have the opportunity to investigate collaborative models of their own choosing and will be encouraged to design completely new models--either for realizing an individual art project or for establishing an arts organization. Students will be taught methods for investigating the needs, motivations and resources of audiences/funders. Grading will be based on class participation, which will be supported by submitting periodic reflections and questions, and one project presentation. The course is available to advanced undergraduate students and graduate students and will be offered pass/fail.

Terms: Aut | Units: 2 | Grading: Credit/No Credit

ARTSTUDI 16:  Sculpture for Non-Majors

Terms: Aut | Units: 2 | Grading: Letter or Credit/No Credit

Instructors: Keener, C. (PI)

ARTSTUDI 17X:  Photography for Non-Majors: Discovering Photography

This course is designed to introduce the beginning photographer to the basics of making, looking at and discussing fine-art photographs. Students will learn the fundamentals of camera operation¿including focus, exposure, depth of field, and motion control. Emphasis will also be placed on learning the basic visual and linguistic vocabulary of photography through in-class discussions focused on the concerns addressed by fine-art photographers since the inception of the media. Students will be encouraged to approach their own image making with the intent of developing a series or set of images, rather than thinking in singular pictures.

Terms: Aut | Units: 2 | Grading: Letter or Credit/No Credit

ARTSTUDI 141:  Plein Air Painting Now

Surrounded by so many technologies for image production, why choose to take a course based on a style of painting developed over a hundred years ago? The standard answer to this question has changed remarkably little. Rather than answering that the camera cannot capture what the eye sees, we might instead respond that neither the computer, nor the camera, nor video, can reproduce in paint the subjective gaze of the contemporary viewer. Contained within this answer lies the trajectory for the class "PLEIN AIR PAINTING NOW!" In this course students will be introduced to various water based media appropriate for plein air painting and learn various techniques and strategies for making paintings outdoors. The course will include the traditional discussions of brushes, paints, the different types of supports as well as easels, umbrellas and chairs. A broad variety of painting techniques will be demonstrated. We will set up in various locations around campus, paying particular attention to the specifics of the site as this will serve as the jumping off point for discussion of the readings that form the second component of the class. Please note that this class takes place outdoors.

Terms: Aut, Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

Instructors: Peterson, B. (PI)

ARTSTUDI 147:  Artist's Book

Explores contemporary aesthetic interpretations of the book as an art object while invigorating traditional artistic practices of the art of the book. Through the medium of drawing, collage, and mixed media students produce their own artist's book. The course familiarizes students with bookbinding and the various techniques used, as well as exploring the narrative, text and image, and the book as a sculptural object.

Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

Instructors: Ebtekar, A. (PI)

ARTSTUDI 160:  Intro to Digital/Physical Design

Contemporary production processes both manufacturing and media processes often span the digital and the physical. 3D Depth cameras can scan real world models or movements, which can be manipulated or adjusted digitally, then re-output to the physical world via a myriad of 2D and 3D printing and laser cutting technologies. Crowd sourced information is uploaded to social media, which in turn guides our physical meeting places. Google street-view maps our physical world, and augmented reality displays overlay it. How as artists or designers to we grapple with and use this digital/physical permeability to create new experiences and meaning for our current time? This introductory studio course explores various tool sets as well as artists working across these genres. This course is a good baseline exploration for anyone interested in designing or making art with emerging contemporary tools.

Terms: Aut, Win, Spr | Units: 3-4 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)

Instructors: O'Dell, J. (PI)

ARTSTUDI 162:  Embodied Interfaces

Our computers, phones and devices see us predominately as fingers and single eyes staring at screens. What would happen if our technology acknowledged more of our rich physical presence and capabilities in its design? How have artists and designers used different sensing technologies to account for more of our embodied selves in their works? In this studio course we will explore various sensing technologies and design pieces that engage our whole selves. Interfaces explored will range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We will analyze different tools for their appropriateness for different tasks and extend them through our designs.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

ARTSTUDI 165:  Social Media and Performative Practices 

How can social media, mobile applications, or other more traditional media be used to engage people in new social situations? Could you design an app that gets people to talk with strangers (Miranda July), or a poster that causes a revolt in an office space (Packard Jennings), or a truck that changes how people think about nursing mothers (Jill Miller)? What about platforms that encourage political dialog or social changes? This studio course examines how contemporary artists and designers engage people in a process of social dialog, critique and political change through the existing media and non-traditional art practices. With the constant development of new apps and social media platforms and the pressure from society of everyone having an online presence, the class will investigate and focus specifically on how these tools can be used as a resource to create and present artworks creatively. The students in this class will be introduced to a variety of artwork examples and study different artist’s approach to media, technically as well as conceptually. Experimentation is highly emphasized throughout this course, as the goal is for the students to create and produce works that uses social media in new ways to tell stories, connect with, mystify or surprise the audience. A selection of software and other tools will be introduced in class that will assist the students in producing work for the required assignments.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

Instructors: Lynnerup, M. (PI)

ARTSTUDI 168:  Data as Material

How can data be used as material in art and design projects. Beyond straight-forward ideas of data-visualization, this studio course seeks to investigate how we construct meaning from sets of information, and how the construction of those sets determines the meaning itself. This course also investigates different display aesthetics and how this is also a strategy for generating meaning. Artists studied include those who use various forms of personal, public, and social data as part of their practice. Historical examples from conceptual artists and other genres are considered along with contemporary artists working with data in digital or hybrid digital/physical formats. 

Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

Instructors: Holberton, R. (PI)

ARTSTUDI 170:  Introduction to Photography

Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. Course requires the use of a 35mm camera. The Department will supply if necessary. (lower level)

Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)

Instructors: Calm, J. (PI) ; Dawson, R. (PI) ; Felzmann, L. (PI)

ARTSTUDI 173E:  Cell Phone Photography

The ubiquity of cell phone photography has had a widespread impact on the tradition, practice, and purposes of photography, as well as concepts of art and what art should be for. In this class, we discuss the documentarian bent of much cell phone photography, its potential as a component of citizen journalism, the ways in which the environments of these photographs (Instagram, Tumblr) are changing ideas of the image and of authorship, and effects that cell phone photography may be having on us as subjects. Alongside these discussions, students will create works of art utilizing the experimental, documentary, and social potentials of cell phone photography.

Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

Instructors: O'Dell, J. (PI)

CHILATST 147L:  Studies in Music, Media, and Popular Culture: Latin American Music and Globalization (MUSIC 147L, CSRE 147L, MUSIC 247L)

Focuses on vernacular music of Latin America and the Caribbean, including Mexico, Cuba, Dominican Republic, Peru, Brazil, Colombia, and Argentina. Musical examples discussed in relation to: globalization, migration, colonialism, nationalism, diaspora, indigeneity, politics, religion, dance, ethnicity, and gender. How music reflects and shapes cultures, identities, and social structures. Genres addressed: bachata, bossa nova, cumbia, forro, ranchero, reggaeton, rock, salsa, tango, and others. Seminar, guest performances, reading, listening, and analysis. Pre-/corequisite (for music majors): MUSIC 22. (WIM at 4 units only.)

Terms: Aut | Units: 3-4 | UG Reqs: WAY-A-II, WAY-ED | Repeatable for credit | Grading: Letter or Credit/No Credit

Instructors: Costache, I. (PI) ; Kronengold, C. (PI) ; Leal, J. (PI) ; Schultz, A. (PI)

CLASSICS 163:  Greek Art In and Out of Context (ARTHIST 203)

The seminar considers Greek artifacts in the context of Greek life (including the life of the workshop), and the endless ways in which craftsmen served the needs of Greek society. Their foundries, factories and ceramic studios produced the material goods that defined Greek life: temples, statues and other offerings for the gods; arms and armor for warriors; sporting equipment and prizes for athletes; houses, clothing and crockery for the family; ships and sailcloth, wagons and ploughs, wine and oil-presses for a thriving domestic and overseas economy; gravestones and funeral vases for the dead. (Formerly CLASSART 109.)  Most of the antiquities exhibited in museums, or purchased by private collectors from galleries and auction houses, survive because they were buried with people who used and cherished them. The Greeks’ belief that the artifacts they valued in life would serve them in the afterlife informs the second part of the seminar, which is devoted to the recent history of tomb looting and the illicit trafficking in antiquities.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Maxmin, J. (PI)

COMM 104W:  Reporting, Writing, and Understanding the News

Techniques of news reporting and writing. The value and role of news in democratic societies. Gateway class to journalism. Prerequisite for all COMM 177/277 classes. Limited enrollment. Preference to COMM majors.

Terms: Aut, Win, Spr | Units: 5 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)

Instructors: Phillips, C. (PI)

COMM 125:  Perspectives on American Journalism (AMSTUD 125, COMM 225)

(Graduate students register for COMM 225.) An examination of the practice of American journalism, focusing on the political, social, cultural, economic and technological forces that have shaped the U. S. press since the early 1800s. Aimed at consumers as well as producers of news, the objective of this course is to provide a framework and vocabulary for judging the value and quality of everyday journalism. 

Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-SocSci, WAY-SI | Grading: Letter (ABCD/NP)

Instructors: Glasser, T. (PI) ; Varma, A. (TA)

COMPLIT 144A:  Istanbul the Muse: The City in Literature and Film

The multiple layers of culture and history in Istanbul, a city on two continents between East and West, wrapped in past and present have inspired great art and literature. The class explores how Istanbul inspired artists and writers, and focuses on the idea of '€œinbetweenness'€ through art, literature, music, and film seen chronologically. In addition to discussing literary, historical, and secondaty texts we will explore visual genres such as film, painting, and photography. All readings, screenings, and discussions will be in English.

Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

Instructors: Karahan, B. (PI)

CSRE 170:  Introduction to American Indian Literature (NATIVEAM 170) 

This course provides a general introduction to American Indian literatures, beginning with early translations, including oral literatures and autobiographies, and continuing with contemporary poetry and fiction written by American Indian writers. We will want to pay particular attention to the American Indian writers’ connections to a specific locale or place. In what ways are the stories and poems evocative of a long-standing relationship to a "home landscape"? What is the nature of the relationship? How is that relationship to place similar to or different from our own? At the same time, we will want to pay attention to the nature and scope of the various representations of American Indians in the texts we examine, and ask how the representations reinforce and/or dispel popular and often stereotypical images of American Indian people. Finally, we will want to be aware of and understand our position as readers, particularly as readers who come from and are constituted by historical, social, political, cultural, and ethnic worlds different from or similar to the worlds we find in the books that we are reading.

Terms: Aut | Units: 5 | Grading: Letter or Credit/No Credit

CSRE 177:  Writing for Performance: The Fundamentals (FEMGEN 177, TAPS 177, TAPS 277)

Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.

Terms: Aut, Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE | Grading: Letter (ABCD/NP)

Instructors: Moraga, C. (PI)

CSRE 183:  Re- Imagining American Borders (AMSTUD 183, FEMGEN 183)

How novelists, filmmakers, and poets perceive racial, ethnic, gender, sexual preference, and class borders in the context of a national discussion about the place of Americans in the world. How Anna Deavere Smith, Sherman Alexie, or Michael Moore consider redrawing such lines so that center and margin, or self and other, do not remain fixed and divided. How linguistic borderlines within multilingual literature by Caribbean, Arab, and Asian Americans function. Can Anzaldúa's conception of borderlands be constructed through the matrix of language, dreams, music, and cultural memories in these American narratives? Course includes examining one's own identity.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

Instructors: Duffey, C. (PI)

DANCE 30:  Chocolate Heads Movement Band Performance Workshop (AFRICAAM 37)

Students from diverse dance styles (ballet to hip-hop to contemporary) participate in the dance-making/remix process and collaborate with musicians, visual artists, designers and spoken word artists, to co-create multidisciplinary fully produced production and installation. Open to student artists of different genres, styles, disciplines and levels. By audition and/or discussion with the instructor.

Terms: Aut, Win | Units: 2 | Repeatable for credit | Grading: Satisfactory/No Credit

Instructors: Hayes, A. (PI)

DANCE 163:  Introduction to Dance and History: From Postwar to the Present (FEMGEN 163D, TAPS 163, TAPS 263)

This course explores the cultural and historical unfolding of the genre of contemporary performance known as postmodern dance over the past six decades. It begins with the formative influence of the émigré Bauhaus artists of the 1930s, then the postwar experiments of the Beat artists in the 1950s, to Merce Cunningham, the Judson Dance Theatre, postmodern formalism, neo-expressionism, dance theatre and through to the global, spectacle-rich, cross-genre dance work of the early 21st century as the most recent extended legacy of this history. This course uses dance history to trace with special emphasis the effects of these visual art and movement experimentalists on gender representation and nationalist identity construction in the negotiation of boundaries between dance and life.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

Instructors: Ross, J. (PI)

DLCL 152A:  DLCL Film Series: Monsters (DLCL 354A)

Join us this quarter for an investigation of monsters and monstrosity across international cinema history! Starting with Murnau's classic monster movie Nosferatu (1922) and Jean Cocteau's beloved La Belle et la Bête (1946), we will move from supernatural monsters to the unforgettable yet all-too-human antagonists of Fritz Lang's M (1930) and Charles Laughton's The Night of the Hunter (1955). Recent films on monstrosity, including The Hunt (Thomas Vinterberg, 2012), Let the Right One In (Thomas Alfredson, 2008), and The Skin I Live In (Pedro Almodóvar, 2011) will give us a chance to discuss the ways that modern society produces and excludes so-called monsters. We will also watch Paul Thomas Anderson's There Will Be Blood (2007), Roman Polanski's Rosemary's Baby (1968), and Guillermo del Toro's Pan's Labyrinth (2006), films that blur the boundaries of fantasy and reality and offer new perspectives on what is at stake in identifying a monster. Discussion topics will include how monstrosity challenges ideas about humanity, morality, the body, gender, class, and society, as well as the different ways that films have represented monstrosity across cultures, schools of cinema, film technologies, and time. Please be aware that some films may include graphic or disturbing content. All screenings are free and open to the public and audience members are encouraged to participate in the discussions following the films.

Terms: Aut, Win, Spr | Units: 1 | Repeatable for credit | Grading: Letter or Credit/No Credit

Instructors: Starkey, K. (PI)

EASTASN 176Z:  Chinese Music Performance

This class offers a unique opportunity to learn and perform Chinese music in the dynamic setting of Stanford's Chinese Music Ensemble. We will perform traditional Chinese music on a variety of Chinese instruments and study the fascinating history of Chinese music performance practice. Students will also work individually with music coaches. The course will promote an awareness of Chinese musical culture and is open to students of all levels of experience. Anyone with an interest in learning and performing Chinese music on Chinese instruments is welcome to join. Zero unit enrollment option available with instructor permission. See website ( http://music.stanford.edu) for policy and procedure. May be repeated for credit for 15 total units. By enrolling in this course you are giving consent for the video and audio recording and distribution of your image and performance for use by any entity at Stanford University.

Terms: Aut, Win, Spr | Units: 0 | Repeatable for credit | Grading: Satisfactory/No Credit

Instructors: Cai, J. (PI)

ENGLISH 32N:  Reading Digitally

Exploration of how technology is changing the ways in which we read and think about literature. These changes include the use of text mining, social platforms and the creation of interactive textual platforms. Together, we will discuss these changes in detail as we investigate the new area of study, called, collectively, the Digital Humanities and how this new field is reshaping what it means to read and study literature in the University of the 21st century.

Terms: Aut | Units: 3 | Grading: Letter (ABCD/NP)

Instructors: Algee-Hewitt, M. (PI)

ENGLISH 139B:  American Women Writers, 1850-1920 (AMSTUD 139B, FEMGEN 139B) 

The ways in which female writers negotiated a series of literary, social, and intellectual movements, from abolitionism and sentimentalism in the nineteenth century to Progressivism and avant-garde modernism in the twentieth. Authors include Harriet Beecher Stowe, Harriet Jacobs, Rebecca Harding Davis, Emily Dickinson, Kate Chopin, Edith Wharton, Gertrude Stein, Willa Cather, and Charlotte Perkins Gilman.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II | Grading: Letter or Credit/No Credit

Instructors: Richardson, J. (PI)

ENGLISH 144:  Major Modernists: Virginia Woolf, James Joyce, Katherine Mansfield, T. S. Eliot

What is, or was, literary Modernism (1910-1940)? Why did writers feel such a passionate need to change how fiction traditionally had been written? What did those changes entail? At stake were questions of cultural, political, social and literary historical meaning, including artistic relevance, legacy, and the ever-relevant clash between creative and professional identity. This class will put into dialogue with each other four major innovators, Virginia Woolf, James Joyce, Katherine Mansfield, and T. S. Eliot. 

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

Instructors: Staveley, A. (PI)

ENGLISH 150:  Poetry and the Internet

How has contemporary poetry been transformed by the Internet and other new media? How have poets responded to the new media forms, from Facebook to Twitter, that now absorb the attention of so many people? How have poets utilized the torrents of information accessible to them with a few keystrokes? Focus will mostly be on poetry written after 2000; secondary readings will draw from literary criticism, media theory, and sociology.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

Instructors: Bernes, J. (PI)

ENGLISH 151H:  Wastelands

Have human beings ruined the world? Was it war, or industry, or consumerism, or something else that did it? Beginning with an in-depth exploration of some of the key works of literary modernism, this class will trace the image of the devastated landscape as it develops over the course of the 20th and 21st centuries, arriving finally at literary representations of the contemporary zombie apocalypse. Authors to include T.S Eliot, Ernest Hemingway, Nathanael West, Willa Cather, Cormac McCarthy, and others.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: McGurl, M. (PI)

ENGLISH 152G:  Harlem Renaissance and Modernism (AFRICAAM 152G, AMSTUD 152G)

Examination of the explosion of African American artistic expression during 1920s and 30s New York known as the Harlem Renaissance. Amiri Baraka once referred to the Renaissance as a kind of "vicious Modernism", as a "BangClash", that impacted and was impacted by political, cultural and aesthetic changes not only in the U.S. but Europe, the Caribbean and Latin America. Focus on the literature, graphic arts, and the music of the era in this global context.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

Instructors: Elam, M. (PI)

FEMGEN 188Q:  Imagining Women: Writers in Print and in Person (CSRE 188Q) 

Gender roles, gender relations and sexual identity explored in contemporary literature and conversation with guest authors. Weekly meetings designated for book discussion and meeting with authors. Interest in writing and a curiosity about diverse women's lives would be helpful to students. Students will use such tools as close reading, research, analysis and imagination. Seminar requires strong voice of all participants. Oral presentations, discussion papers, final projects.

Terms: Win | Units: 4-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED, Writing 2 | Grading: Letter (ABCD/NP)

Instructors: Miner, V. (PI)

FILMPROD 105:  Script Analysis (FILMPROD 305)

Analysis of screenplay and film from the writer's perspective, with focus on ideation, structure, and dramatic tension in narrative features. Sources include screenplays and screenings.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

Instructors: Tobin, A. (PI)

FILMPROD 106:  Image and Sound: Filmmaking for the Digital Age

Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX.

Terms: Aut, Win, Spr | Units: 3 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)

Instructors: Green, L. (PI) ; Jensen, C. (PI)

FILMSTUD 4:  Introduction to Film Study

Formal, historical, and cultural issues in the study of film. Classical narrative cinema compared with alternative narrative structures, documentary films, and experimental cinematic forms. Issues of cinematic language and visual perception, and representations of gender, ethnicity, and sexuality. Aesthetic and conceptual analytic skills with relevance to cinema.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Cohen, D. (PI) ; Levi, P. (PI) ; Lauesen, C. (TA)

FILMSTUD 100B:  History of World Cinema II, 1930-1959 (FILMSTUD 300B)

The impact of sound to the dissolution of Hollywood's studio system.

Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Greenhough, A. (PI)

FILMSTUD 115:  Documentary Issues and Traditions (FILMSTUD 315)

Issues include objectivity/subjectivity, ethics, censorship, representation, reflexivity, responsibility to the audience, and authorial voice. Parallel focus on form and content. 

Terms: Aut | Units: 4 | UG Reqs: GER:DB-SocSci, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Krawitz, J. (PI)

HISTORY 15D:  The Civilization and Culture of the Middle Ages (HISTORY 115D, RELIGST 115X)

This course provides an introduction to Medieval Europe from the fall of Rome to the Renaissance. While the framework of the course is chronological, we’ll concentrate particularly on the structure of medieval society. Rural and urban life, kingship and papal government, wars and plagues provide the context for our examination of the lives of medieval people, what they believed, and how they interacted with other, both within Christendom and beyond it.

Terms: Aut | Units: 3-5 | UG Reqs: WAY-SI | Grading: Letter (ABCD/NP)

Instructors: Griffiths, F. (PI)

HISTORY 165:  Mexican American History through Film (CHILATST 165, CSRE 165C) 

Focus is on the 20th century. Themes such as immigration, urbanization, ethnic identity, the role of women, and the struggle for civil rights.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-ED, WAY-SI | Grading: Letter (ABCD/NP)

Instructors: Camarillo, A. (PI)

HUMSCI 100:  10 Jobs in 10 Weeks: Leveraging Your Liberal Arts Career

This course is designed to give students a taste of 10 career fields in 10 weeks. Each week features an alum from a different industry, and a hands-on project pulled from their typical workday. In addition to guest speakers and in-class projects, focus is on tangible takeaways such as building a personal brand pyramid. Students also collaborate on exercises that teach them to articulate the core skills humanities and arts students bring to the table. Priority to undergraduates in the humanities and arts. Enrollment limited to 20. For more information, see https://beam.stanford.edu/students/bachelors-co-terms-masters/courses.

Terms: Win | Units: 1 | Grading: Satisfactory/No Credit

Instructors: O'Neill, J. (PI) ; Wood, D. (PI)

INTNLREL 141A:  Camera as Witness: International Human Rights Documentaries 

Rarely screened documentary films, focusing on global problems, human rights issues, and aesthetic challenges in making documentaries on international topics. Meetings with filmmakers.

Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-ED | Grading: Letter (ABCD/NP)

Instructors: Bojic, J. (PI)

ITALIAN 143:  Favorite Italian Films

In this course we will view and discuss 9 beloved & critically acclaimed Italian films, primarily from the 1980s and 90s, including Cinema paradiso, Il postino, Mediterraneo, and La vita è bella. This course is especially intended for returnees from the Florence program who want to maintain and develop their spoken Italian. A film screening time will be scheduled during the first week of class. Taught in Italian. Prerequisites: ITALLANG 21 or equivalent (4 quarters of Italian)

Terms: Aut | Units: 2 | Grading: Letter or Credit/No Credit

Instructors: Springer, C. (PI)

JAPANGEN 122:  Translating Cool: Globalized Popular Culture in Asia (JAPANGEN 222, KORGEN 122)

Did you grow up watching Pokémon and Power Rangers? Have you danced along to "Gangnam Style"? As we become increasingly exposed to Asian popular culture and the Internet facilitates instant access to new media, previous localized forms of entertainment--animated cartoons, comics, video games, music videos, film, and soap operas--have become part of a global staple. However, these cultural forms have emerged not only in their original form with mediation of subtitles. Many have undergone various processes of adaptation and translation so that we no longer recognize that these products had ever originated elsewhere. This course will immerse students in a range of Japanese and Korean cultural phenomena to reveal the spectrum of translation practices across national boundaries. We will inquire into why these cultural forms have such compelling and powerful staying power, contextualize them within their frames of production, and explore the strategies, limitations, and potential of translational practices. Contact instructor for place. dafnazur@stanford.edunKnight 201.

Terms: Aut | Units: 3-4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Zur, D. (PI)

JAPANGEN 124:  Manga as Literature (JAPANGEN 224) 

Analysis of representative manga as narratives that combine verbal and visual elements, with attention to historical and cultural background. Representative manga by Tezuka Osamu, Tatsumi Yoshihiro, Koike Kazuo, Taniguchi Jiro, Natsume Ono, Kono Fumiyo, and others. All readings in English. Class meets in Knight Bldg, Rm 018. Contact instructor (sdcarter@stanford.edu) for place.

Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

Instructors: Carter, S. (PI)

MUSIC 20A:  Jazz Theory (AFRICAAM 20A)

Introduces the language and sounds of jazz through listening, analysis, and compositional exercises. Students apply the fundamentals of music theory to the study of jazz. Prerequisite: 19 or consent of instructor.

Terms: Aut | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit

Instructors: Nadel, J. (PI)

MUSIC 154A:  Sound Art I (ARTSTUDI 131)

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)

Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-CE | Grading: Letter or Credit/No Credit

Instructors: DeMarinis, P. (PI)

MUSIC 152A:  Careers in Media Technology 

Careers in Media Technology explores how leading audio, music, and video technology companies, such as Pandora, Adobe, Sonos, Dolby, Gracenote, iZotope, and Avid bring products from idea to market. We examine best practices, roles, day-to-day responsibilities, desired skillsets, and department/team function. This seminar is intended for all students considering full-time positions or internships in media technology industry. No prior engineering background required. Topics include: product management, project management (agile), software development in large organizations, UX/UI design, marketing, hardware development, R&D, sales, operations (HR, IP/patents), and the hiring process. Online lectures available. Class time includes discussion and meetings with industry professionals.

Terms: Aut | Units: 1 | Grading: Letter or Credit/No Credit

Instructors: LeBoeuf, J. (PI)

NATIVEAM 76SI:  The Art and Artifacts of the Battle of the Little Bighorn

This course will prepare students for the opening of “Red Horse: Drawings of the Battle of the Little Bighorn” at the Cantor Arts Center in January 2016. The exhibit will feature twelve ledger art pieces by Red Horse, a Minneconjou Lakota warrior who fought against Custer and the 7th Cavalry at the Battle of the Little Bighorn in June 1876. Students will learn about the historical and artistic significance of these works and engage in critical discussion of the role that history, aesthetics, and anthropology should play in the showing of Red Horse's work. Students will select art and artifacts to be included in an accompanying "student response" exhibit at the Cantor, and their final research papers will be edited and compiled to create supplementary materials for the museum to use.

Terms: Aut | Units: 2 | Grading: Satisfactory/No Credit

Instructors: Biestman, K. (PI)

NATIVEAM 143A:  American Indian Mythology, Legend, and Lore (ENGLISH 43A, ENGLISH 143A) 

(English majors and others taking 5 units, register for 143A.) Readings from American Indian literatures, old and new. Stories, songs, and rituals from the 19th century, including the Navajo Night Chant. Tricksters and trickster stories; war, healing, and hunting songs; Aztec songs from the 16th century. Readings from modern poets and novelists including N. Scott Momaday, Louise Erdrich, and Leslie Marmon Silko, and the classic autobiography, "Black Elk Speaks."

Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

Instructors: Fields, K. (PI)

REES 220G:  Demons, Witches, Old Believers, Holy Fools, and Folk Belief: Popular Religion in Russia (HISTORY 220G, HISTORY 320G, REES 320G)

19th and early 20th centuries. Peasants, parish priests, witches, possessed persons, cults and sects, old believers, saints, and women's religious communities. Nominally Christian, and members of the Orthodox Church, Russians embraced beliefs and customs that combined teaching from Church and folk traditions.

Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

Instructors: Kollmann, J. (PI)

RELIGST 271A:  Dante's Spiritual Vision

Poetry, ethics, and theology in Dante's Divine Comedy. Supplementary readings from classical authors such as St. Thomas Aquinas, and from modern writers, such as Jorge Borges. Fulfills capstone seminar requirement for the Philosophy and Literature tracks. Students may take 271A without taking 271B. Consent of the instructor required.

Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Yearley, L. (PI)

SLAVIC 145:  Survey of Russian Literature: The Age of Experiment (SLAVIC 345)

This course discusses the transition from predominantly poetic to predominantly prosaic creativity in the Russian literature of the first half of the 19th century Russian literature and the birth of the great Russian novel. It covers three major Russian writers “-- Alexander Pushkin, Mikhail Lermontov and Nikolai Gogol -- and examines the changes in the Russian literary scene affected by their work. An emphasis is placed on close reading of literary texts and analysis of literary techniques employed in them. Taught in English.

Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

Instructors: Fleishman, L. (PI)

TAPS 21:  StoryCraft

StoryCraft is a hands-on, experiential workshop offering participants the opportunity, structure and guidance to craft compelling personal stories to be shared in front of a live audience. The class will focus on several areas of storytelling: Mining how do you find your stories and extract the richest details? Crafting how do you structure the content and shape the language? Performing  how do you share your stories with presence, authenticity and connection? Will meet Wednesday evenings from 7-9pm 

Terms: Aut, Win | Units: 2 | UG Reqs: WAY-CE | Grading: Letter or Credit/No Credit

Instructors: Klein, D. (PI)

TAPS 101:  Theater History (TAPS 201)

A survey of the history of theatre and dance from the ancient Greeks to the modern world. While primarily intended to help TAPS graduate students prepare for their Comprehensive Exam, this course may also be taken by undergraduates or non-TAPS graduate students in order to gain a broad understanding of some of the seminal plays, dances, theories, and performance practices of the past 2500 years.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

Instructors: Smith, M. (PI)

TAPS 111:  The American Dramatic Musical

The class offers an overview of the musical as an American genre, but will focus primarily on the evolution of the dramatic musical over the past 50 years, especially the work of Stephen Sondheim, Jeanine Tesori, Lin-Manuel Miranda, and similar artists. The class will culminate in participation in the creation of TheatreWorks' production of the musical Jane Austen's Emma, including discussions at rehearsals and previews with its author-composer Paul Gordon (Tony Award nominee for Jane Eyre) and its professional actors and designers. Final project rather than final exam. Some classes will be held off-campus during class hours. Taught by visiting lecturer Robert Kelley, Artistic Director, TheatreWorks Silicon Valley.

Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit

TAPS 125:  Acting Shakespeare

This course explores the unique demands of playing Shakespeare on the stage. Through deep exploration of language and performance techniques in sonnets, speeches and scenes, the student will learn how to bring Shakespeare's passions to life through research, analysis, and a dynamic use of voice, body and imagination. This course is designed to increase the actor's physical, vocal, emotional, and intellectual responsiveness to the demands, challenges and joys of playing Shakespeare. 

Terms: Aut | Units: 3 | Repeatable for credit | Grading: Satisfactory/No Credit

Instructors: Callender, L. (PI)

URBANST 104:  Civic Dreams, Human Spaces: Urban Design with People 

Human-centered design of cities and public spaces. Explore the principles underlying vibrant spaces, utilize creative tools and techniques to strengthen the social fabric of communities and enhance benefits to the public, and find new sources of inspiration to inform the urban design process. Take part in real-world design projects in the city of San Francisco and/or other Bay Area communities, while decoding public spaces from multiple perspectives: as sites of recreation, interaction, and political contention; as physical infrastructure that municipalities or grassroots citizen efforts seek to build and maintain for the common good; as places of historical memory, identity, and personal storytelling; and as opportunities for cutting-edge civic innovation. Participants will practice ethical design, utilizing frameworks that are inclusive (for many) and participatory (by many), and that benefit human beings and their diverse communities. Limited enrollment, admission by application. Find out more and apply at dschool.stanford.edu

Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)