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101 - 110 of 187 results for: ARTHIST

ARTHIST 200M: The Artist in Ancient Greek Society (ARTHIST 400M)

An exploration of the low status of artists in a culture that valued their work but not the men themselves. Potters were especially scorned but even sculptors of gold and ivory statues were seen as "mechanics" (Herodotus), with soft bodies and soft minds (Xenophon), "indifferent to higher things" (Plutarch). Topics include case studies of individual artists, their importance to the polis, their workshops, wages and occupational hazards and the impact of social isolation on the quality of their work.
Terms: not given this year | Units: 4-5 | Grading: Letter (ABCD/NP)

ARTHIST 205: Cairo and Istanbul: Urban Space, Memory, Protest

In the aftermath of the Arab Spring, the city of Cairo has become a theater of social and political upheaval. In Istanbul, the Gezi protests in spring and summer 2013 drew attention to the contested public space. These events are the result of longstanding developments in the urban and social fabric. This seminar introduces students to the architectural and urban history of Istanbul and Cairo, with the current transformations as a central point of reference. Readings will focus on the tension between historical center and recent urban development, the social problems arising from the segregation, and reactions of scholars, architects, and artists to these issues.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit
Instructors: Blessing, P. (PI)

ARTHIST 205A: Islamic Painting: Landscape, Body, Power

This seminar focuses on the production of paintings, mostly but not exclusively miniatures in books, in the Islamic world. A particular focus lies on the Muslim Empires of the sixteenth to eighteenth centuries, namely the Ottoman, Safavid, and Mughal realms, together stretching from the Balkans to India. During this period, illustrated books were popular objects of high-level patronage, and numerous examples have survived that allow a detailed study of the implications of these images. Themes discussed include: figural representation in Islam, patronage and court culture; gender and the body; illustrations of literature and history; images of Sufis ceremonies; portraiture; images of animals and nature; the impact of European prints and paintings; space and landscape. A field-trip to the Museum of Asian Art in San Francisco to view Mughal paintings from India is planned.
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

ARTHIST 206H: Women and the Book: Scribes, Artists, and Readers from Late Antiquity through the Fourteenth Century (FEMGEN 216, HISTORY 216, HISTORY 316)

This course examines the cultural worlds of medieval women through particular attention to the books that they owned, commissioned, and created. Beginning with the earliest Christian centuries, the course proceeds chronologically, charting women¿s book ownership, scribal and artistic activity, and patronage from Late Antiquity through the fourteenth century. In addition to examining specific manuscripts (in facsimile, or digitally), we will consider ancillary questions to do with women¿s authorship, education and literacy, reading patterns, devotional practices, and visual traditions and representation.
Terms: Win | Units: 4-5 | Grading: Letter (ABCD/NP)

ARTHIST 208: Hagia Sophia (CLASSICS 173)

By employing a methodology based in psychoacoustics, semiotics, and phenomenology, this course explores the relationship among sound, water, marble, meaning, and religious experience in the sixth-century church of HagianSophia built by emperor Justinian in Constantinople. We will read medieval sources describing the interior and ritual, make short movies exploring the shimmer of marble in buildings on campus, and study the acoustics of domed buildings through computer auralization done at Stanford's CCRMA (Center for Computer Research in Music and Acoustics)
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

ARTHIST 209: Art and Religious Experience in Byzantium and Islam (ARTHIST 309, CLASSICS 174)

This course presents a comparative study of Christian and Islamic paradigms (sixth to the thirteenth centuries) in the construction of religious experience through the material fabric of the building, the interior decor, objects, and rituals. We will read medieval ekphrastic texts and poetry, which stirred the viewer/participant to experience the building/object as animate. Among the sites we will study are: Hagia Sophia, the Ka'ba, the Dome of teh Rock, the Mosque at Damascus and at Cordoba. We will read Byzantine and Arabic writers such as Paul the Silentiary, Patriarch Germanos, Maximus Confessor, Shahrawardi, and Ibn Arabi.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 209C: Iconoclasm (ARTHIST 409, CLASSICS 158, CLASSICS 258, REES 409)

Iconoclasm, iconophobia, and aniconism as markers of cultural transformation of the Mediterranean in the 7th-9th centuries. The identity crisis in the region as the Arabs established the Umayyad caliphate, conquering the Holy Land, Egypt, and Spain. The West consolidated around the Carolingians versus the East split between the Byzantines and the Arabs. How each of these three empires emerged from the ashes of late antique culture and carved an identity out of a common cultural foundation. The course will take place in the seminar room of the Art and Architectural Library located in the Cummings Art Building.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 212: Renaissance Florence, 1440-1540

Notions of cultural superiority in light of changes in Florentine society as it went from being a republic to a duchy ruled by the Medici. Artists and architects such as Donatello, Brunelleschi, Botticelli, Michelangelo, and Pontormo praised as having revived the arts and returned them to a level of ancient splendor. The role of the sacred in daily life and uses of the pagan past for poetic and scholarly expressions and as vehicles for contemporary experience.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit
Instructors: Hansen, M. (PI)

ARTHIST 214: From the Pantheon to the Capitol: Architecture, Cosmology, Mathematics and Illusion (SIW 214)

This course traces the history of the dome over two millenia, from temples to the gods to Temples of the State, and from cosmic archetype to architectural fetish. The narrative interweaves the themes of the dome as image of the Cosmos, religious icon, national landmark, and political monument. It examines the dome not only as a venue for structural innovation, but also metaphysical geometry and transcendent illusionism.nIndividual case studies will familiarise you with major architects from Hadrian to Richard Rogers and historical milestones from the Dome of the Rock to the Capitol in Washington DC.
Terms: Win | Units: 5 | Repeatable for credit | Grading: Letter or Credit/No Credit
Instructors: Barry, F. (PI)

ARTHIST 217B: Architectural Theory from Antiquity to Le Corbusier (ARTHIST 417B)

This seminar focuses on themes and theories in architectural design from antiquity until the early twentieth century. Modern and contemporary architecture has often claimed its modernity through the incorporation of theory, but this seminar examines selections from key texts that have also moulded architectural and urbanistic thought in the ancient, medieval, and early modern eras in combination with analytical comparisons of built architecture.
Terms: Aut | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Barry, F. (PI)
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