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981 - 990 of 1219 results for: all courses

OSPCPTWN 28: Reimagining Histories of Africa: A Workshop

This class explores, through analysis and practice, the ways in which histories of Africa (with a special focus on Cape Town and South Africa more generally) can be told, narrated, captured, produced, and experienced through means other than what might be called traditional "scholarly" or "academic" historical narratives. While professional historians have long-established methodologies for writing about the past, history is continuously explored by people removed from the academy and uninterested in engaging with many of the historiographical and methodological issues that concern scholars. Put another way, many people think about, relate to, and recreate the past in ways that lack footnotes, citations, and sometimes even words. The course has two main components. First, we will consider how aspects of African history have been treated by non-academics from various walks of life, including artists, writers, archivists, photographers, and engaged citizens. In this aspect of the class, more »
This class explores, through analysis and practice, the ways in which histories of Africa (with a special focus on Cape Town and South Africa more generally) can be told, narrated, captured, produced, and experienced through means other than what might be called traditional "scholarly" or "academic" historical narratives. While professional historians have long-established methodologies for writing about the past, history is continuously explored by people removed from the academy and uninterested in engaging with many of the historiographical and methodological issues that concern scholars. Put another way, many people think about, relate to, and recreate the past in ways that lack footnotes, citations, and sometimes even words. The course has two main components. First, we will consider how aspects of African history have been treated by non-academics from various walks of life, including artists, writers, archivists, photographers, and engaged citizens. In this aspect of the class, Cape Town will be our laboratory; we will take multiple field trips to museums, historical sites, archives, and other relevant exhibitions. If possible, we will schedule meetings with people working to bring the past to life, either through museum work, archival projects, or artistic expression. Approaches will include graphic histories, creative non-fiction, oral histories, art installations, performance and reenactments, and sites of memory, such as museums. Much of our class discussion will be structured around experiencing, critiquing, and understanding the methods used to produce these reflections on the past. We will assess, through weekly exposure to examples, what works, how it works, what doesn't work, and why. But the course is also essentially a creative and research-oriented endeavor. Our analysis of others' works of exhibitions, art, and documentary is undertaken in the service of thinking about students' own projects. Run essentially as a workshop, the latter part of the course will help students develop and create their own reflections on aspects of African history, memory, or the past. Throughout the course, students will start to develop both a subject and a method to capture a historical experience, event, or episode in a way that allows them to express effectively its import ? emotional, political, personal, or otherwise ? for the present. Along the way, students will be expected to help lead discussions, produce short assignments, and make presentations on the development of their project. The main goal of the class, though, will be the production of a final project ? an innovative work of history, a personal and engaging reflection on the past.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II
Instructors: Daughton, J. (PI)

OSPCPTWN 35: In and Out of the Margins: The Plays of Athol Fugard

This seminarfocuseson the plays of Athol Fugard, the most well-known, influential, and accomplished of South African playwrights. His innovative dramatic style (drawing orignally on improvisation, Brecht, and Greek tragedy,before shifting into realistic situations and dialogue);his apartheid-challenging collaborations with black South African theater artists (especially Zekes Mokei, John Kani, and Winston N'Tshona);and his extraordinarily long career (over the past sevendecades) makehis work of particular interest to students of history, theater, and politics. Through Fugard's plays, students confront signifcant issues in apartheid and post-apartheid South Africa. Set in the confines of the theater, these confrontations paradoxically generate a fuller engagement with the issues than we often get from accounts in the disciplines of history orpolitcal science. As Picasso once said, "Art is the lie that tells the truth," and Fugard's theater tries to do that. In studying his plays, students will learn a different kind of truth about social and historical realities that have faced South Africans over the past six decades.
Last offered: Spring 2023 | UG Reqs: WAY-A-II

OSPCPTWN 55: Arts of Change

How might we understand the creative arts in South Africa in terms of their variety and impact? What social issues do they reflect? What impact might they yet have? Students will have the opportunity for a related practicum. Course must be taken for a minimum of 3 units to satisfy a Ways requirement.
Last offered: Summer 2023 | UG Reqs: GER:DB-Hum, WAY-A-II

OSPCPTWN 78: Postcolonial Modernist Art Movements in Africa

Introduction to the complexities and contradictions of 'modernity' and 'modernism(s)' in postcolonial Africa. With a focus on ideology-driven interdisciplinary artistic movements in Senegal, Nigeria, Sudan, Congo, Egypt, Ethiopia and South Africa, examine various schools of thought that were part of modern consciousness that characterised the independence decades. Role that art centres, workshops, collectives and mission schools played in histories of European expansion and colonialism. Debates regarding notions of 'appropriation,' 'natural synthesis' and 'assimilation' interpreted in the context of postcolonial theory. Different modes of production and methodological approaches.
Last offered: Summer 2019 | UG Reqs: WAY-A-II, WAY-EDP

OSPFLOR 11: Film, Food and the Italian Identity

Food in Italian cinema staged as an allegory of Italy's social, political and cultural milieu. Intersections between food, history and culture as they are reflected in and shaped by Italian cinema from the early 1900s until today. Topics include: farmer's tradition during Fascism; lack of food during WWII and its aftermath; the Economic Miracle; food and the Americanization of Italy; La Dolce Vita; the Italian family; ethnicity, globalization and the re-discovery of regional culinary identity in contemporary Italy. Impact of cinema in both reflecting and defining the relationship between food and culture.
Last offered: Spring 2023 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II

OSPFLOR 25F: Sculpting the Renaissance: Aesthetics, Materials & Innovation

The course aims to present a history of Florentine sculpture between the fifteenth and sixteenth centuries, with a focus on materiality, the symbolic value of mediums, as well as the commissioning and execution of each work of art. The classes will be inspired by current methodologies, linked to a tradition interested in the objecthood of artistic creation and the relationship between stylistic choices and the limitations of technologies. The collections of the Florentine museums and the city's extraordinary heritage, will allow direct contact with the works we will discuss in class. Proximity will also make it possible to gain knowledge about places of production and procurement of materials (the Carrara quarries, the ancient casting places, for example). This approach will not only problematize fundamental issues pertaining to the very concept of the "artisticness" of an artifact, but-in following a chronological span-will reflect on the periodization of formal languages characterizi more »
The course aims to present a history of Florentine sculpture between the fifteenth and sixteenth centuries, with a focus on materiality, the symbolic value of mediums, as well as the commissioning and execution of each work of art. The classes will be inspired by current methodologies, linked to a tradition interested in the objecthood of artistic creation and the relationship between stylistic choices and the limitations of technologies. The collections of the Florentine museums and the city's extraordinary heritage, will allow direct contact with the works we will discuss in class. Proximity will also make it possible to gain knowledge about places of production and procurement of materials (the Carrara quarries, the ancient casting places, for example). This approach will not only problematize fundamental issues pertaining to the very concept of the "artisticness" of an artifact, but-in following a chronological span-will reflect on the periodization of formal languages characterizing the early modern era, at the same time confronting topics relevant to the current historiographical debate. Such investigations, in addition to offering an updated and problematic look at some of the most iconic figurative texts for the art-historical discussion about early modern period (from Donatello's David to Michelangelo's, via masterpieces by artists such as Luca della Robbia, Benvenuto Cellini and Giambologna), will provide students with useful paraphernalia for confronting canonized and, so to speak, sacralized figurative testimonies, putting into context the drives and motives, the conditioning and expectations behind their very creation.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II
Instructors: Mozzati, T. (PI)

OSPFLOR 27F: Renaissance Facades: Architecture in the Age of Representation

The art of the Italian Renaissance is one that engaged broadly with questions of representation, in both practice and theory, with long-lasting consequences for the visual culture of the Western world. If such a phenomenon might be especially evident in the figural arts, it is perhaps even more important for the more abstract language of architecture. Indeed, the Italian architecture of the fifteenth and sixteenth century formulated the vocabulary and rules of a new idiom, that of classicism, which soon became predominant in all of Europe before migrating to the New World. How does one decipher such a popular albeit cryptic language? What are the principles that regulate this method of composition? And what are the cultural conflicts and political messages that lie behind the apparent normativity of this style?
Terms: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Donetti, D. (PI)

OSPFLOR 29: The People Amid the Monuments

From both chronological and thematic approaches, examine the efforts of English-speaking writers (and, latterly, film-makers) to get to grips with Italy and the Italians. Beginning in the England of Queen Elizabeth and ending at the present day, cover a variety of themes such as Italy's historical role as a haven for the LGBT community and the modern interest in neglected southern Italy. Illustrative multimedia content with visits to sites of relevance in Florence.
Last offered: Spring 2021 | UG Reqs: WAY-A-II, WAY-EDP

OSPFLOR 30F: Italy through the Eye of the Camera

This course is ambitious in its aim and scope. It has two main objectives. One, to analyze and discuss Italian cinema and its history; two, to develop your skills in cinematic formal analysis and in film theory. We will start with the cinema in the Fascist years (1922-1945), we will then focus on the revolutionary and heavily politicized practice by the Neorealists (Zavattini, Rossellini, De Sica), in the aftermath of WWII (1945-1949). We will turn to the great Italian auteurs such as Federico Fellini; Michelangelo Antonioni, and Bernardo Bertolucci. Further, we will analyze the so called "comedy Italian style," the "spaghetti westerns" as well as the politically committed films of the 1980s and 90s. Finally, we will explore the "new Italian cinema," with its many and sometimes contradictory forms. Studying and enjoying Italian cinema will help us to uncover the socio-political, economic and cultural developments in Italian life during the 20th and 21st century (the family, otherness, gender roles, politics, etc.).
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II
Instructors: Campani, E. (PI)

OSPFLOR 33: The Body of Love: Romance, Love and Sex in Italian Cinema

What is Love? This course will look at the many ways in which cinema has represented and thematized the seemingly universal concept of love. We will begin by watching Casablanca (M. Curtiz, 1942) and Pretty Woman (G. Marshall, 1990), two Hollywood classics in matters of romance. Their analysis will help us set the stage for a few critical and theoretical considerations right at the outset of our course. It will also give us the opportunity to discuss the "love" genres of classical Hollywood, which have laid the foundations for much "love cinema" to come.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II
Instructors: Campani, E. (PI)
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