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131 - 140 of 205 results for: ARTHIST

ARTHIST 385: Arts of China in the Early Modern World, 1550-1800 (ARTHIST 185)

The dynamic period of late Ming and early Qing dynasty China, roughly 1500-1800 CE, was marked by political crisis and conquest, but also by China's participation in global systems of trade and knowledge exchanges involving porcelain, illustrated books, garden designs and systems of perspectival representation. Topics will include Innovations in urban centers of painting and print culture, politically inflected painting, and cultural syncretism in court painting and garden design.
Last offered: Spring 2021

ARTHIST 388B: From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art (ARTHIST 188B)

Chinese artistic developments in an era of revolution and modernization, from Shanghai Modern and New National Painting though the politicized art of the Cultural Revolution and post-Mao era re-entry into international arenas.
Terms: Spr | Units: 4
Instructors: Vinograd, R. (PI)

ARTHIST 401: World War Two: Place, Loss, History (GERMAN 343)

A consideration of how the Second World War still goes on today in the form of haunted absences and vivid representations. Studying literature and art in detail, the seminar will center on some of the places where those absences and representations gather: Portbou, Pearl Harbor, Auschwitz, Guadalcanal, London, Berlin, Hamburg, Rome, Omaha Beach, Peleliu, Monte Cassino, Hollywood. Writers and artists include: James Jones, Georges Didi-Huberman, Walter Benjamin, Eduardo Cadava, W.G. Sebald, Rachel Whiteread, Ingeborg Bachman, Wis¿awa Szymborska, Eugene Sledge, Hans Erich Nossack, Jorie Graham, Gerhard Richter, Dani Karavan, Tom Lea, W. Eugene Smith, Val Lewton, and Terrence Malick.
Last offered: Winter 2021

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, CLASSICS 113, CLASSICS 313, MUSIC 205, MUSIC 405)

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

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)
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