printer friendly pageARTHIST 98: Introduction to Comparative Studies in Race and Ethnicity (CSRE 100, EDUC 166C, ENGLISH 172D, FILMEDIA 98, PSYCH 155, SOC 146, TAPS 165)
Race and ethnicity are often taken for granted as naturally occurring, self-evident phenomena that must be navigated or overcome to understand and eradicate the (re)production of societal hierarchies across historical, geopolitical, and institutional contexts. In contrast, this transdisciplinary course seeks to track and trouble the historical and contemporary creation, dissolution, experiences, and stakes of various ethnoracial borders not just in the US but around the world. We will engage with a range of materials - written texts, films, visual and performance art - to study race and ethnicity through comparative and relational frameworks. Key topics include: empire, neo/colonialism, capital/ism, im/migration, diaspora, caste, liberation, abolition, indigeneity, incarceration, borders, ethnonationalism, solidarity, and resistance. Please note that lectures will be held on Mondays and Wednesdays from 3:30pm to 4:50pm, and a weekly film screening will take place on Fridays from 1:30pm to 4:20pm.
Terms: Spr
| Units: 5
| UG Reqs: WAY-EDP, GER:DB-SocSci, GER:EC-AmerCul, WAY-SI
| Repeatable
2 times
(up to 10 units total)
Instructors:
Iyer, U. (PI)
;
Singh, A. (PI)
;
Adeline McCabe, S. (TA)
...
more instructors for ARTHIST 98 »
Instructors:
Iyer, U. (PI)
;
Singh, A. (PI)
;
Adeline McCabe, S. (TA)
;
Jaarte, M. (TA)
;
Martinez Reyes, C. (TA)
;
Singh, A. (TA)
;
Sterling, K. (TA)
ARTHIST 107: Beauty and the Beast: A History of West African Fashion and Sustainability (AFRICAAM 107, DLCL 101)
The focus of this course is to examine the life cycle of African textiles and fashion industry and how these relate to fashion sustainability. We will explore the degree to which West African cultural practices and sartorial choices are inherently underpinned by sustainability principles, especially among women. The history of textiles in Africa also connects them to a transnational process dating from the pre-colonial and colonial periods from the 15th to the early 20th centuries, where Dutch, Danish, French and English merchants were responsible for introducing fabrics and styles from Indonesia, China, and India into the West African economy. The course will focus especially on the history of African print cloths popularized by Vlisco, a Dutch company first established in 1848 whose products have dominated the high-end textile economy since then but which is also being challenged by impressive knock-off versions of their patterns from China. African print cloth motifs have also appea
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The focus of this course is to examine the life cycle of African textiles and fashion industry and how these relate to fashion sustainability. We will explore the degree to which West African cultural practices and sartorial choices are inherently underpinned by sustainability principles, especially among women. The history of textiles in Africa also connects them to a transnational process dating from the pre-colonial and colonial periods from the 15th to the early 20th centuries, where Dutch, Danish, French and English merchants were responsible for introducing fabrics and styles from Indonesia, China, and India into the West African economy. The course will focus especially on the history of African print cloths popularized by Vlisco, a Dutch company first established in 1848 whose products have dominated the high-end textile economy since then but which is also being challenged by impressive knock-off versions of their patterns from China. African print cloth motifs have also appeared in the collections of some of the most upscale European fashion houses such as Dior, Balenciaga, Louis Vuitton, and Stella McCartney, among various others. The course will also focus on questions of sustainability, centering especially on the secondhand clothes markets in Accra, Lome, and Lagos. The global fashion industry is second only to the oil industry in terms of environmental pollution, and it is the secondhand clothes industry that shows the effects of this pollution most dramatically. We will follow the provenance of these clothes from Canada, the US, the UK, Australia, and China, how they are shipped to Accra and other places in West Africa, and the problems of waste disposal that they generate. This will then be tied to larger questions relating to global fashion sustainability in the Global North, where the rhetoric of environmental awareness increasingly demanded by customers and clients often conceals the long-held practice of dumping unused clothes in various locations in the Global South.
Terms: Spr
| Units: 3
Instructors:
Toleque, G. (PI)
ARTHIST 115: The Italian Renaissance, or the Art of Success (ARTHIST 315, ITALIAN 115A, ITALIAN 315A)
How come that, even if you have never set foot in Italy, you have heard of Leonardo, Michelangelo, and Raphael? What made them so incredibly famous, back then as well as today? This course examines the shooting of those, and other, artists to fame. It provides in-depth analyses of their innovative drawing practices and the making of masterpieces, taking you through a virtual journey across some of the greatest European and American collections. At the same time, this course also offers a study of the mechanics of success, how opportunities are created and reputations managed, and what role art plays in the construction of class and in today's national politics.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II
ARTHIST 116: The American Civil War: A Ghost Story (AMSTUD 116A)
How does the past persist? How does it haunt us, making us who we are? What is it like to visit the sites of violence, the places of despair, and to find in them a source of contemplation, of perspective, and ultimately of a deepened faith in what is possible; to become, in short, a graver, deeper person? Considering the poetry, photography, and painting of the American Civil War--thinking of the work of Walt Whitman, Frederick Douglass, Emily Dickinson, Abraham Lincoln, and many others--this course explores an urgent question: what is our ethical relation to the American past?
Terms: Spr
| Units: 4
ARTHIST 120: Superhero Theory (AMSTUD 120B, ARTHIST 320, FILMEDIA 120, FILMEDIA 320)
With their fantastic powers, mutable bodies, multiple identities, complicated histories, and visual dynamism, the American superhero has been a rich vehicle for fantasies (and anxieties) for 80+ years across multiple media: comics, film, animation, TV, games, toys, apparel. This course centers upon the body of the superhero as it incarnates allegories of race, queerness, hybridity, sexuality, gendered stereotypes/fluidity, politics, vigilantism, masculinity, and monstrosity. They also embody a technological history that encompasses industrial, atomic, electronic, bio-genetic, and digital.
Terms: Spr
| Units: 3-5
| UG Reqs: WAY-A-II
Instructors:
Bukatman, S. (PI)
;
Hobbs, C. (TA)
ARTHIST 139: Chinese Buddhist Painting: Visions and Practices (ARTHIST 339)
This course explores how Chinese Buddhist art adapts to changes in the religious visions, imagination, and practices of Buddhism in China. It focuses primarily on Buddhist paintings but will occasionally include other types of artistic devices, such as space for display, architectural design, and sculpture, to reach a better understanding of the viewing and the religious experiences. Striving beyond the discussion of style and iconography, we will broaden our pursuits by incorporating various issues such as the domestication of a foreign religion, the relationship between Buddhist literature and images, fusion with popular literature, social connections among eminent monks, scholars and artists, and political use of Buddhist images.
Terms: Spr
| Units: 5
| UG Reqs: WAY-A-II
Instructors:
Vinograd, R. (PI)
;
Nguyen-Hoang, Q. (TA)
ARTHIST 152: The American West (AMSTUD 124A, ENGLISH 124, HISTORY 151, POLISCI 124A)
The American West is characterized by frontier mythology, vast distances, marked aridity, and unique political and economic characteristics. This course integrates several disciplinary perspectives into a comprehensive examination of Western North America: its history, physical geography, climate, literature, art, film, institutions, politics, demography, economy, and continuing policy challenges. Students examine themes fundamental to understanding the region: time, space, water, peoples, and boom and bust cycles.
Terms: Spr
| Units: 5
| UG Reqs: GER:EC-AmerCul, GER:DB-Hum, WAY-SI, WAY-A-II
Instructors:
Cain, B. (PI)
;
Fishkin, S. (PI)
;
Freyberg, D. (PI)
...
more instructors for ARTHIST 152 »
Instructors:
Cain, B. (PI)
;
Fishkin, S. (PI)
;
Freyberg, D. (PI)
;
Kennedy, D. (PI)
;
Nemerov, L. (TA)
;
Ramaswamy, A. (TA)
;
Rosenfeld, L. (TA)
;
Winn, E. (TA)
ARTHIST 199: Close Cinematic Analysis: Being John Wayne (ASNAMST 108, FEMGEN 104, FILMEDIA 101, FILMEDIA 301, TAPS 101F)
This course engages in close analysis of different cinematic themes, genres, and artists. Specific topics may vary by term/year/instructor. This term's topic: John Wayne. John Wayne's imposing corporeality and easy comportment combined to create an enduring, complex, icon of masculinity, of the American West, and of America itself. This seminar will concentrate on the films that contributed most strongly to the establishment of, maturation of, and even deconstruction of, the iconography and mythology of the "John Wayne" character. This concentration will also bring into view the western and war film as genres; the crisis of (and performance of) masculinity in postwar culture; gender and sexuality in American national identity; the relation between individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War. Most courses on film are built around directors, genres, nations, or periods. A course on the films of John Wayne proposes that the
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This course engages in close analysis of different cinematic themes, genres, and artists. Specific topics may vary by term/year/instructor. This term's topic: John Wayne. John Wayne's imposing corporeality and easy comportment combined to create an enduring, complex, icon of masculinity, of the American West, and of America itself. This seminar will concentrate on the films that contributed most strongly to the establishment of, maturation of, and even deconstruction of, the iconography and mythology of the "John Wayne" character. This concentration will also bring into view the western and war film as genres; the crisis of (and performance of) masculinity in postwar culture; gender and sexuality in American national identity; the relation between individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War. Most courses on film are built around directors, genres, nations, or periods. A course on the films of John Wayne proposes that the body of films in which Wayne starred over 35 years demonstrate not only a coherence and consistency, but also a variety, that merits closer examination. Stars frequently exerted control over their materials (especially when they went on, as Wayne did, to head their own production companies), but this an aspect of filmmaking that has received little attention in the classroom. Wayne's work in this period occurs primarily in two genres: the western and the war film (with the cavalry films neatly straddling both of these). Many of his best films were directed by two of the foremost directors in the American pantheon - John Ford and Howard Hawks: the chance to review their work with Wayne also serves as an occasion to explore the ways in which each differs from (and even comments upon) the other. Perhaps the most common criticism leveled against John Wayne as an actor was (and continues to be) that he was simply "being John Wayne." This course proposes that first, this is no small thing, and second, it is also not really true.
Terms: Spr
| Units: 3-5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Bukatman, S. (PI)
ARTHIST 204: Dialogues with the Dead (CLASSICS 127)
This seminar considers the dynamism and resilience of Greek art and culture. The dialogues in question are not with ancient shades in the underworld but with later artists who build on the creative vision (and blind spots) of the past to addressthe issues of their day.Roman philhellenes, Renaissance humanists and Neoclassical loyalists have received much attention. More remains to be explored in the work of modern and contemporary artists such as Romare Bearden, Robert Mapplethorpe, Lawrence Argent, Daniel Arsham, Yinka Shonibare and Xu Zhen.In the Cantor Center and the Rodin Garden, the artist's debts to antiquity run deep; freed from his shadow, Camille Claudel's bronzes reflect the sunlit surfaces of Greek sculpture. On Meyer Green, the capital puns of Xu Zhen reverberate from Shanghai to Athens, from archetypes in the Louvre to galleries around the world, where classical "icons" - subverted, inverted and recharged - engage contemporary eyes. Classical tragedy spoke to war-weary Gre
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This seminar considers the dynamism and resilience of Greek art and culture. The dialogues in question are not with ancient shades in the underworld but with later artists who build on the creative vision (and blind spots) of the past to addressthe issues of their day.Roman philhellenes, Renaissance humanists and Neoclassical loyalists have received much attention. More remains to be explored in the work of modern and contemporary artists such as Romare Bearden, Robert Mapplethorpe, Lawrence Argent, Daniel Arsham, Yinka Shonibare and Xu Zhen.In the Cantor Center and the Rodin Garden, the artist's debts to antiquity run deep; freed from his shadow, Camille Claudel's bronzes reflect the sunlit surfaces of Greek sculpture. On Meyer Green, the capital puns of Xu Zhen reverberate from Shanghai to Athens, from archetypes in the Louvre to galleries around the world, where classical "icons" - subverted, inverted and recharged - engage contemporary eyes. Classical tragedy spoke to war-weary Greeks in the 5th century. Today, Sophocles and Bryan Doerries' Theatre of War Productions help veterans to feel less alone as they return to civilian life bearing the wounds of war, visible and invisible. The vibrant and varied afterlife of Greek art is the subject of the seminar, but we will not ignore the sinister aspects of its legacy: the advertising industry's Botoxic embrace of "Greek perfection," the quest for fitness at any price and the persistence of white, western, ableist ideals of male and female beauty. Darker still is the lethal appropriation of classical art and architecture by genocidal tyrants and racists. These dialogues are deadly.
Terms: Spr
| Units: 5
| UG Reqs: WAY-A-II
Instructors:
Maxmin, J. (PI)
ARTHIST 217B: Architectural Design Theory (ARTHIST 417B)
This seminar focuses on the key themes, histories, and methods of architectural theory -- a form of architectural practice that establishes the aims and philosophies of architecture. Architectural theory is primarily written, but it also incorporates drawing, photography, film, and other media. nnOne of the distinctive features of modern and contemporary architecture is its pronounced use of theory to articulate its aims. One might argue that modern architecture is modern because of its incorporation of theory. This course focuses on those early-modern, modern, and late-modern writings that have been and remain entangled with contemporary architectural thought and design practice. nnRather than examine the development of modern architectural theory chronologically, it is explored architectural through thematic topics. These themes enable the student to understand how certain architectural theoretical concepts endure, are transformed, and can be furthered through his/her own explorations.nCEE 32B is a crosslisting of
ARTHIST 217B/417B.
Terms: Spr
| Units: 5
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