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Join us in our quest to understand the recent developments in Turkey and their impact on its people through cinematic production. Set against the backdrop of Turkey's cultural, political and social transformation in the last decade, the movies in this series tell the uneasy stories of individuals whose lives are affected by this disruptive change. By examining the link between individual troubles and public issues, the films confront issues such as globalization, gender and racial hierarchy, neo-liberal urban transformation, male domination, state oppression, and women's oppression in Turkey. Each screening will be followed by a discussion lead by invited scholars of Turkey or film directors. At each screening we will look closely at a film and discuss how the directors and script writers responded to larger scale cultural and social dynamics to present them as personal stories. All screenings are free and open to the public. All attendees are encouraged to participate in the post-screening discussions. All films are in Turkish with English subtitles.
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What are its most important qualities?

Courses offered by the Department of Comparative Literature are listed under the subject code   .

When you want to refute or counter the cons you may start with:

Theodor W. Adorno (1903-1969) was one of the most influential German thinkers of the 20th century. This seminar aims to introduce students to Adorno's varied oeuvre, from his contributions to the critique of culture, his theory of history, his re-thinking of Hegelianism and Marxism, to his contributions to aesthetics. We will also consider Adorno's various intellectual forebears, collaborators and interlocutors (Hegel, Marx, Lukács, Horkheimer, Habermas). All texts and discussions are in English. Undergraduates welcome.
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If you want to mark your total disagreement:

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.
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4) Use facts, statistics, quotes and examples to convince your readers of your argument
The department offers a Doctor of Philosophy and a Ph.D. minor in Comparative Literature.

Lecturers: Petra Dierkes-Thrun, Burcu Karahan

Before starting graduate work at Stanford, students should have completed an undergraduate program with a strong background in one literature and some work in a second literature studied in the original language. Since the program demands an advanced knowledge of two non-native languages and a reading knowledge of a third non-native language, students should at the time of application have an advanced enough knowledge of one of the three to take graduate-level courses in that language when they enter the program. They should be making enough progress in the study of a second language to enable them to take graduate courses in that language not later than the beginning of the second year, and earlier if possible. Language courses at the 100- or 200- level may be taken with approval from the Director of the department or the Chair of Graduate Studies. Applicants are expected to take an intensive course in the third language before entrance.

A total of 65 units must be completed for this option, including the following requirements:

Adjunct Professor: Timothy J. Reiss (Autumn, Winter)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE:This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.
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Students completing the JMP receive a B.A.S. (Bachelor of Arts and Science).

COMPLIT 37Q. Zionism and the Novel. 3 Units.

The principal conditions for continued registration of a graduate student are the timely and satisfactory completion of the university, department, and program requirements for the degree, and fulfillment of minimum progress requirements. Failure to meet these requirements results in corrective measures that may include a written warning, academic probation, and/or the possible release from the program.