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131 - 140 of 1045 results for: all courses

ARTHIST 208: Hagia Sophia (ARTHIST 408, CLASSICS 173, CLASSICS 273)

This seminar uncovers the aesthetic principles and spiritual operations at work in Hagia Sophia, the church dedicated to Holy Wisdom in Constantinople. Rather than a static and inert structure, the Great Church emerges as a material body that comes to life when the morning or evening light resurrects the glitter of its gold mosaics and when the singing of human voices activates the reverberant and enveloping sound of its vast interior. Drawing on art and architectural history, liturgy, musicology, and acoustics, this course explores the Byzantine paradigm of animation arguing that it is manifested in the visual and sonic mirroring, in the chiastic structure of the psalmody, and in the prosody of the sung poetry. Together these elements orchestrate a multi-sensory experience that has the potential to destabilize the divide between real and oneiric, placing the faithful in a space in between terrestrial and celestial. A short film on aesthetics and samples of Byzantine chant digitally imprinted with the acoustics of Hagia Sophia are developed as integral segments of this research; they offer a chance for the student to transcend the limits of textual analysis and experience the temporal dimension of this process of animation of the inert.
Last offered: Winter 2020 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 218A: Michelangelo: Gateway to Early Modern Italy (ARTHIST 418A, ITALIAN 237, ITALIAN 337)

Revered as one of the greatest artists in history, Michelangelo Buonarroti's extraordinarily long and prodigious existence (1475-1564) spanned the Renaissance and the Reformation in Italy. The celebrity artist left behind not only sculptures, paintings, drawings, and architectural designs, but also an abundantly rich and heterogeneous collection of artifacts, including direct and indirect correspondence (approximately 1400 letters), an eclectic assortment of personal notes, documents and contracts, and 302 poems and 41 poetic fragments. This course will explore the life and production of Michelangelo in relation to those of his contemporaries. Using the biography of the artist as a thread, this interdisciplinary course will draw on a range of critical methodologies and approaches to investigate the civilization and culture of Italy in the fifteenth and sixteenth centuries. Course themes will follow key tensions that defined the period and that found expression in Michelangelo: physical-spiritual, classical-Christian, tradition-innovation, individual-collective.
Last offered: Spring 2020 | UG Reqs: WAY-A-II

ARTHIST 224N: The Popular Culture of Abstract Art

Is abstract art inherently elitist? Or gendered? How does it differ from (mere) decoration? Is there a chasm that necessarily separates abstract and popular art? Can you think of examples in which those categories might overlap?  This course is designed to deconstruct the boundaries that tend to make abstract art seem remote and difficult to understand, while pop(ular) art typically seems fun and accessible.  How can we complicate these clichés to construct a more compelling narrative of modern art?n nSeminar participants will have many opportunities to see and study original works at Stanford's Cantor Arts Center and the Anderson Collection, as well as a trip to SFMOMA. Artists studied include Georges Braque, Constantin Brancusi, Marcel Duchamp, Piet Mondrian, Andy Warhol, Roy Lichtenstein, and Jackson Pollock.
Last offered: Winter 2019 | UG Reqs: WAY-A-II

ARTHIST 238C: Art and the Market (FRENCH 238)

This course examines the relationship between art and the market, from the château-builders of the French Renaissance to avant-garde painters in the nineteenth-century Salon des Refusés. Using examples drawn from France, this course explores the relationship between artists and patrons, the changing status of artists in society, patterns of shifting taste, and the effects of museums on making and collecting art. Students will read a mixture of historical texts about art and artists, fictional works depicting the process of artistic creation, and theoretical analyses of the politics embedded in artworks. They will engage in sustained analysis of individual artworks, as well as the market structures in which such artworks were produced and bought. The course will be taught in English, with the option of readings in French for departmental majors.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-SI, WAY-A-II
Instructors: Pesic, A. (PI)

ARTHIST 242B: Megacities (ANTHRO 42, LIFE 142, URBANST 142)

This class will examine a variety of ways that the city has been represented and understood in anthropology, architecture, literature, film, and journalism in order to better understand how everyday life and experience has been read in conjunction with urban forms. Issues covered will include the co-constitution of space and identities; consumption, spectacle, and economic disparity; transportation and health; colonialism and post-colonialism. Assignments will include writing and drawing projects based on close observation and reading.
Terms: Sum | Units: 5 | UG Reqs: WAY-A-II
Instructors: Jain, S. (PI)

ARTHIST 245: Art, Business & the Law (SIW 245)

This course examines art at the intersection of business and the law from a number of different angles, focusing on how the issues raised by particular case studies, whether legal, ethical and/or financial, impact our understanding of how works of art circulate, are received, evaluated and acquire different meanings in given social contexts. Topics include the design, construction and contested signification of selected war memorials; the rights involved in the display and desecration of the American flag; censorship of sexually charged images; how the value of art is appraised; institutional critique and the art museum, among others.
Terms: Sum | Units: 4 | UG Reqs: WAY-A-II
Instructors: Troy, N. (PI)

ARTHIST 252A: Art and Power: From Royal Spectacle to Revolutionary Ritual (FRENCH 252)

From the Palace of Versailles to grand operas to Jacques-Louis David's portraits of revolutionary martyrs, rarely have the arts been so powerfully mobilized by the State as in early modern France. This course examines how the arts were used from Louis XIV to the Revolution in order to broadcast political authority across Europe. We will also consider the resistance to such attempts to elicit shock-and-awe through artistic patronage. By studying music, architecture, garden design, the visual arts, and theater together, students will gain a new perspective on works of art in their political contexts. But we will also examine the libelous pamphlets and satirical cartoons that turned the monarchy¿s grandeur against itself, ending the course with an examination of the new artistic regime of the French Revolution. The course will be taught in English with the option of French readings for departmental majors.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-SI

ARTHIST 264B: Starstuff: Space and the American Imagination (AMSTUD 143X, 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
Instructors: Kessler, E. (PI)

ARTHIST 265A: Word and Image (ARTHIST 465A, COMPLIT 225, ITALIAN 265, ITALIAN 365)

What impact do images have on our reading of a text? How do words influence our understanding of images or our reading of pictures? What makes a visual interpretation of written words or a verbal rendering of an image successful? These questions will guide our investigation of the manifold connections between words and images in this course on intermediality and the relations and interrelations between writing and art from classical antiquity to the present. Readings and discussions will include such topics as the life and afterlife in word and image of Ovid's "Metamorphoses," Dante's "Divine Comedy," Ludovico Ariosto's "Orlando Furioso," and John Milton's "Paradise Lost;" the writings and creative production of poet-artists Michelangelo Buonarroti, William Blake, and Dante Gabriel Rossetti; innovations in and correspondences between literature and art in the modern period, from symbolism in the nineteenth century through the flourishing of European avant-garde movements in the twentieth century.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Prodan, S. (PI)

ARTHIST 293A: Latin American Art and Literature: 100 Years of Modernisms (ILAC 126)

This course will explore some of the most important Latin American artists and artistic movements of the last century. We will appreciate and discuss artworks across different media like painting, sculpture, performance, or installations coupled with different literary texts. The artistic movements may include: Antropofagia (Brazil), Mexican Muralism, Tropicalia (Brazil), and Latin American Pop Art. Some of the artists that we will focus on are: Xul Solar (Argentina), Frida Kahlo (Mexico), Cecilia Vicuña (Chile), Adán Vallecillo (Honduras), Allora & Calzadilla (US/Cuba), and Tania Bruguera (Cuba). We will discuss their visual artworks alongside short stories by Jorge Luis Borges, Leonora Carrington, Julio Cortázar, Clarice Lispector, and Ted Chiang. Some guiding questions will be: What is art? What is Latin America? And what we talk about when we talk about Latin American art? Discussions and assignments in Spanish.
Terms: Sum | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Soler, C. (PI)
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