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131 - 140 of 202 results for: ARTHIST

ARTHIST 402: Inherent Vice (ARTHIST 202)

Taught jointly by an art historian and a senior conservator, this research seminar focuses on selected objects (mostly) of modern and contemporary art many in Stanford collections -- that pose significant condition and/or conservation challenges for long term maintenance and display. Together we will examine the objects in the conservation lab and/or the gallery; students will then confer with appropriate museum staff, consult relevant curatorial and conservation files, research and debate potential treatments, and write up reports of their findings. Issues of aesthetics, ethics and other problems bearing on the material longevity of art will be explored together in class discussions as a foundation for thinking about the preservation and exhibition of works of art.
Last offered: Winter 2019

ARTHIST 405: Enchanted Images: Medieval Art and Its Sonic Dimension (ARTHIST 205)

Explores the relationship between chant and images in medieval art. Examples are sourced from both Byzantium and the Latin West including the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople, Ste. Foy at Conques, and Santiago de Compostela. We will explore how music sharpens the perception of the spatial, visual programs and liturgical objects.
Terms: Aut | Units: 5

ARTHIST 405A: Graduate Pedagogy

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: Aut | Units: 2

ARTHIST 406: The Alchemy of Art: Substance and Transformation in Artistic Practice (ARTHIST 206)

This seminar considers materiality and processes of material transformation as core elements of artistic practice and the history of making, largely from Sumer (3rd Millennium BCE) until the Early Modern period (18th Century in the West), but with several modern comparisons. Major points of focus will include pre-modern perceptions of the elemental properties of materials as matter, the reflexive relationship between materials and imagination, and the diverse ways in which societies have associated specific substances with social and cultural values. Humanistic perspectives on such issues are augmented by complementary insights from the physical sciences, and references are made to current ideas regarding material agency, affordances, and the imperfect separability of nature and culture. Indeed, a central question underlying all the readings is how to distinguish natural from synthetic: where does nature end and art begin, or maybe where does nature stop?
Last offered: Winter 2021

ARTHIST 406A: Persian Poetry: Text, Space, and Image (ARTHIST 206A, COMPLIT 126, COMPLIT 226)

This course traces the nexus of word and image across a millennium of Persian poetry. Our aim is to look at how texts have been represented through images and enacted in public performances, from the tenth century to the present. Topics will range from high to popular culture and include the visual representation of narrative in illuminated manuscripts, the function of calligraphy on sacred and profane buildings, the performance of poetry in mediaeval courts, the use of images in dramatic tellings of the national epic (Sh'hn'ma), and the practice of divination by books (f'l). What kinds of space are created in these different instances of text and image coming together? What does it mean for our understanding - and experience - of history if verses from the 13th or 14th century are inscribed on the interior of taxi cabs that navigate through the contemporary Iranian city? And how does an ancient text come alive in a performance that seeks to recreate the space of its origin? These are some of the questions that will be explored through an examination of primary sources (both texts and images) as well as theoretical analyses.
Terms: Spr | Units: 3-5
Instructors: Huber, M. (PI)

ARTHIST 407: The Resurrected Body: Animacy in Medieval Art (ARTHIST 207)

This course explores the relationship of spirit and matter in medieval art and architecture, more specifically how the changing appearance of objects and spaces evokes the presence of the metaphysical as glitter, reverberation, and shadow. We will engage objects and monuments across the Mediterranean, studying the way they were staged in order to produce the perception of liveliness. The phenomenology of liveliness will be tied to the development of the theology of resurrection of the body.
Last offered: Autumn 2019

ARTHIST 407B: The Art of Travel: Medieval Journeys to the Unknown (ARTHIST 207B)

In many ways, the reasons that medieval people traveled are not unlike our own: to see new sights, make new connections, and return home to regale others with their exploits. Of course, travel was also a more complicated affair, limited to those who could afford the time and money to leave home. Focusing on three famous medieval travelers ¿ the pilgrim Egeria, the businessman Benjamin of Tudela, and the invented traveler John Mandeville ¿ this course will explore the visual and cultural landscape of global travel in the premodern age.
Terms: Aut | Units: 3-5
Instructors: Oing, M. (PI)

ARTHIST 407D: Race and Ethnicity in Premodern Europe (ARTHIST 207D, HISTORY 215B, HISTORY 315B)

How do historians, art historians, and literary historians of premodern Europe shape their research and their teaching around questions of race? How do current debates on race theory shape our perception of the past and deepen historical inquiry? This graduate colloquium focuses on the most recent publications on race in medieval and early modern studies to reflect on such questions while examining the challenges that race studies put on historical definitions, research methodologies, as well as teaching institutions.
Last offered: Winter 2021

ARTHIST 407E: Sacred Play: The Material Culture of Christian Festivals (ARTHIST 207E)

The twentieth-century American poet and esotericist Robert Duncan once called for a return of the medieval calendar, citing its many feast days as an antidote to the modern 'weekend.' Indeed, the medieval Christian calendar was built on festivals, multimedia affairs that took place both within and outside of the purview of the Roman Catholic church, involving visual art, theatrical performances, and religious devotion. Festivals also played a vital role in the spread of Roman Catholicism across the world, especially in colonial contexts, where these spectacular events reveal tensions between colonizers and indigenous populations. This seminar examines the material culture of Catholic festivals from antiquity to the present, exploring how these elaborate events created spaces of both conformity and resistance.
Terms: Win | Units: 5
Instructors: Oing, M. (PI)

ARTHIST 408: Hagia Sophia (ARTHIST 208, 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.
Terms: Win | Units: 5
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