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91 - 100 of 162 results for: ARTHIST

ARTHIST 387A: The Japanese Tea Ceremony: The History, Aesthetics, and Politics Behind a National Pastime (ARTHIST 287A, JAPANGEN 287A)

The Japanese tea ceremony, the ultimate premodern multimedia phenomenon, integrates architecture, garden design, ceramics, painting, calligraphy, and other treasured objects into a choreographed ritual wherein host, objects, and guests perform designated roles on a tiny stage sometimes only six feet square.. In addition to its much-touted aesthetic and philosophical aspects, the practice of tea includes inevitable political and rhetorical dimensions. This course traces the evolution of tea practice from its inception within the milieu of courtier diversions, Zen monasteries, and warrior villas, through its various permutations into the 20th century, where it was manipulated by the emerging industrialist class for different-but ultimately similar-ends.
Terms: Spr | Units: 5
Instructors: Takeuchi, M. (PI)

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

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: Spr | Units: 4-5
Instructors: Maxmin, J. (PI)

ARTHIST 405: Art, Ekphrasis, and Music in Byzantium and Islam (CLASSART 305)

Focus is on the interrelation of art, architecture, verbal description, poetry, and music, including the singing of psalms and recitation of the Qur'an. How ekphrasis, the style of writing vividly intended to transform the listeners into spectators, structures the perception of and response to artistic production be it an art object, building, or a musical performance. The role of ekphrasis in animating the inanimate and the importance of breath and spirit, which become manifest in visual, acoustic, olfactory, and gustatory terms. Religious and courtly settings: Hagia Sophia, the Great Palace of Constantinople, the Dome of the Rock, the palaces of Baghdad and Samarra, the mosque at Cordoba, Medinat al-Zahra and the Alhambra. Greek and Arabic writers on ekphrasis in translation, juxtaposing the medieval material to the ancient theories of ekphrasis and modern scholarship.
Terms: Aut | Units: 5

ARTHIST 405A: Graduate Pedagogy Course

This course is designed for graduate students in Art History and Film Studies preparing to work as teaching assistants in the Department of Art and Art History. The seminar will focus on a range of theoretical and practical concerns pertaining to the successful conceptualization, organization, and execution of class lectures and discussion sections. Students will be exposed to a variety of perspectives and strategies related to quality teaching at the college level.
Terms: Spr | Units: 2
Instructors: Levi, P. (PI)

ARTHIST 408C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, CLASSART 108, CLASSART 208, MUSIC 208C, MUSIC 408C, REES 208C, REES 408C, RELIGST 208C, RELIGST 308C)

Onassis Seminar "Icons of Sound: Architecture, Acoustics and Ritual in Byzantium". This year-long seminar explores the creation and operations of sacred space in Byzantium by focusing on the intersection of architecture, acoustics, music, and ritual. Through the support of the Onassis Foundation (USA), nine leading scholars in the field share their research and conduct the discussion of their pre-circulated papers. The goal is to develop a new interpretive framework for the study of religious experience and assemble the research tools needed for work in this interdisciplinary field.
Terms: Aut, Win, Spr | Units: 1-3 | Repeatable 3 times (up to 9 units total)

ARTHIST 411: Animation, Performance, Presence in Medieval Art (CLASSART 311)

This course will explore concepts of animacy, performance, and presence in the art of Byzantium, focusing on the concept of image understood as the living bodies of the saints, the space of Hagia Sophia and its Eucharist ritual, the polymorphism of the mixed-media icon, and the interaction with these objects in prayer and recitation of epigrams.
Terms: Aut, Spr | Units: 5 | Repeatable 2 times (up to 10 units total)

ARTHIST 423: The Material Imagination

This seminar deals with the materials that artists have chosen in art and construction from antiquity to the early modern era. The particular focus is upon pre-modern perceptions of the inherent properties of materials, from amber and ivory to marble and granite, as well as the diverse ways in which societies have associated particular substances with social and cultural values. Particular emphasis is laid upon the architectural use of materials.
Terms: Win | Units: 5
Instructors: Barry, F. (PI)

ARTHIST 432: Rethinking American Art

A re-examination of American art of the 18th and 19th centuries, focusing on works in the collection of the de Young Museum, San Francisco. The class will meet weekly at the de Young, where we will be joined by Professor Margaretta Lovell and students from the University of California, Berkeley. Each student will pursue an in-depth study of a single work in the Museum's superb American collections, using documents of social and cultural history. We will pay particular attention to recent scholarship, questions of genre (landscape, portrait, still life and images of everyday life), and the "biography of objects" (the way works of art shift in context and interpretation over time).nnGraduate seminar open to advanced undergraduates with the instructor¿s approval.
Terms: Aut | Units: 5

ARTHIST 440A: The Art Market

This seminar is designed to examine aspects of the art market in the current moment and since the mid 19th century. Participants will have an opportunity to engage with problems and perspectives that, until recently, have generally been overlooked or marginalized in narratives of the history of art. Each week, students will write a response to the readings to be shared in advance of the class meeting, and each week, discussion will be initiated by a different student. In individual research projects culminating in a seminar paper, students will be encouraged to focus on how the art market may have impacted the production, reception, and/or circulation of a work or works by a particular artist. 
Terms: Spr | Units: 5
Instructors: Troy, N. (PI)

ARTHIST 453: Reading Walter Benjamin

Few cultural critics are so often cited by scholars in the humanities as Walter Benjamin. The impact of his writings has been decisive to some of the most influential art historians of recent memory, although usually based on a small number of texts (the Kunstwerk essay, the writings on photography, the flâneur, and cinema). Literary historians have turned to somewhat different studies with great profit, notably his writings on Baudelaire, translation, and German tragic drama. The publication of Benjamin¿s entire oeuvre in English has made his work more accessible to a broad range of scholars with diverse interests; one direction emerging from this familiarity is a deeper awareness of his commitment to materialist history. With the palpable collapse of ¿social art history¿ amongst younger art historians, dispersed ambitions of where ¿visual studies¿ might lead, and the return to aesthetic meditations derived from protracted analyses of single works, it may be the time to re-read Benjamin with an eye towards understanding his ambitions for a ¿materialist history.¿ That is the objective of this seminar : we will read deeply in Benjamin¿s writings, configure some ideas of what history meant to him, and attempt to export some of those practices to our current art-historical projects.
Terms: Spr | Units: 5
Instructors: Marrinan, M. (PI)
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