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101 - 110 of 188 results for: ARTHIST

ARTHIST 386: Theme and Style in Japanese Art (ARTHIST 186, JAPANGEN 186, JAPANGEN 286)

A mixture of lecture and discussion, this course presents a chronological introduction to some of the defining monuments in the history of Japanese visual culture from prehistory to the mid-19th century. This introductory class presumes no prior knowledge of art history or of Japan. We will emphasize certain overarching themes like religious life; notions of decorum appropriate to various classes (court, warrior, and commoner); the relationship between and among the arts, such as the visual and the verbal, or the symphonic assemblage arts as seen in the tea ceremony; pervasive cultural tropes like nostalgia, seasonality, or the sense of place; and broader issues such as censorship, patronage, gender issues, and the encounters between Japanese and foreign cultures.
Terms: Aut | Units: 4
Instructors: Takeuchi, M. (PI)

ARTHIST 389C: Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries (ARTHIST 189C)

Episodes of global artistic exchange from the 16th to 19th centuries involving commodities (porcelains and textiles), technologies (printmaking, perspective, and cartography), and imaginaries (Chinoiserie, East Asian Occidenteries, Orientalism, Japonisme). The role of enterprises, institutions, and power relations in artistic economies, from the Portuguese Empire, Jesuit mission networks and East India Companies to imperialist systems.
Terms: Spr | Units: 4
Instructors: Vinograd, R. (PI)

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 407C: Phenomenology and Aesthetics in Medieval Art (ARTHIST 207C)

This course explores the phenomenal aspects of the medieval image and space such as glitter, shadow, smoke, reverberation and how these presence effects were conceptualized in medieval culture as animation. Focus is on a select group of monuments as well as engagement with medieval objects at the Cantor Art Museum and the facsimiles of medieval manuscripts kept at the Art Library and Special Collections. Among the monuments we will study are the Alhambra in Spain, the Apocalypse MSS, the Cantigas of Alfonso X, the Byzantine Joshua Roll, the Homiles of the Monk Kokkinobaphos, the Ashburnhamensis Pentateuch, and the Rossano Gospels.
Terms: Win | Units: 5

ARTHIST 408C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, CLASSICS 175, 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.
| Repeatable 3 times (up to 9 units total)

ARTHIST 409: Iconoclasm (ARTHIST 209C, 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

ARTHIST 415: Baroque: 1900-2000

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.
Instructors: Hansen, M. (PI)

ARTHIST 416: Bernini

This seminar examines the career of Gianlorenzo Bernini (1598-1680), sculptor, architect, painter, stage designer and playwright, the premier artist of the popes. It will examine his cultural, political and religious milieu and lay particular emphasis on the theoretical relations between the arts that his oeuvre is seen to embody. In the process it will also review the genre of artistic biography, the historiography of the baroque and the myths of dynamism, theatricality, eroticism (and others) always associated with the period, and Bernini¿s work in particular.
Terms: Aut | Units: 5
Instructors: Barry, F. (PI)

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

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
Instructors: Barry, F. (PI)

ARTHIST 422: Reception and Literacy in Roman Art (CLASSICS 373)

(Formerly CLASSART 322.) Beyond a focus on artists and patrons: how Roman art was seen and understood by its contemporary viewers. Themes include memory, performance, gender, replication, and constructions of space. Goal is to draft a differentiated model of viewing and literacy, with attention to collective experience, hierarchy, access, and subversion.
Terms: Spr | Units: 5
Instructors: Trimble, J. (PI)
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