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91 - 100 of 238 results for: ARTHIST

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

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.
Last offered: Winter 2015 | UG Reqs: WAY-A-II, WAY-EDP

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

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)
Last offered: Winter 2016 | UG Reqs: GER:DB-Hum

ARTHIST 208B: The Art of Medieval Spain: Muslims, Christians, Jews (ARTHIST 408B)

The seminar explores the hybrid character of the art of Medieval Spain between the sixth and the fifteenth centuries. Rather than strictly chronological, our exploration of the artistic production of Muslims, Jews, and Christians is structured around major topics such as imperial power, pilgrimage, word and image. The readings juxtapose historical studies of specifically Spanish sites and objects with theoretical approaches tied to the broader themes.
Terms: Win | Units: 5 | UG Reqs: WAY-EDP

ARTHIST 208C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 408C, 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.
Last offered: Spring 2014 | UG Reqs: WAY-A-II | Repeatable 3 times (up to 9 units total)

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.
Last offered: Spring 2013

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

By the seventh century three large political entities formed in the Mediterranean the Umayyads, the Carolingians, and the Byzantines each competed for legitimacy; all three emerged from the ashes of Late Antique culture, yet each tried to carve out an identity out of this common foundation. In this parting of the ways, the three empires took among others the issue of what constitutes an image and what role it plays in devotion. Eik'n, imago, ura became the basis on which to built differences and accuse the other political players of idolatry. This course explores medieval image theory, especially the phenomena of iconoclasm, iconophobia, and aniconism. The discussions focus on monuments in the Mediterranean as well as objects in the Cantor collection and facsimiles of manuscripts at the Bowes Art Library.
Terms: Spr | Units: 5

ARTHIST 210: Giotto (ARTHIST 410B)

Often hailed as ¿the father of western painting,¿ Giotto was seen as a revolutionary figure even in his own day. We will begin with Giotto¿s critical reception, his artistic predecessors and contemporaries, and his work for patrons ranging from the Franciscan order to the king of Naples. We will most closely examine Giotto¿s masterpiece, the frescoes of the Arena Chapel in Padua, and consider topics including Giotto¿s figural realism, the layered readings of the program, its use of visual rhetoric, and issues of gender, sexuality, and ethnicity.
Last offered: Autumn 2015

ARTHIST 211: The California Missions: Art History and Reconciliation (CSRE 111, NATIVEAM 211)

Sites of the spirit and devotion, sites of genocide, foreboding actors in Alfred Hitchcock's Vertigo, the subject of fourth-grade school projects, the Spanish Missions of Alta California are complex sites of inquiry, their meanings and associations different for each visitor. This seminar examines the art and architecture of the California Missions built between 1769 and 1823. Constructed with local materials and decorated with reredos, paintings and sculptures from Mexico and Spain, the Missions are at once humble spaces and flagships of a belated global baroque. They were also the laboratories of indigenous artists and artisans. This course seeks to understand how Mission art was meant to function, how and why it was made, what its materials were, while asking what the larger role of art was in a global system of missions. Can the study of this art lead to the reconciliation of populations in North America and within the field of art history? The Missions require a specific reexamination of the relationship between European and colonial forms, not as objects of curiosity or diffusion but as viable and globally informed agents.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Kinew, S. (PI)

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.
Last offered: Spring 2015 | UG Reqs: GER:DB-Hum

ARTHIST 213: Renaissance Print Culture: Art in the Cantor Arts Center

The seminar takes place in the Cantor Arts Center and provides a unique opportunity to study original works of art from the museum's storage. Beginning in the fifteenth century new techniques of reproduction changed the pictorial culture of Europe. Some engravings called attention to the engraver's virtuosity, and the private nature of the medium was explored for erotic imagery. By the sixteenth century printed images were used for political and religious propaganda during the societal upheavals.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 10 units total)
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