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51 - 60 of 177 results for: ARTHIST

ARTHIST 207A: Bodies that Remain: Art and Death in the Middle Ages

This seminar investigates medieval attitudes towards dead bodies through the material culture of death, from the cult of relics, to tomb sculpture, to monumental architecture. The place of death in Jewish, Christian, and Muslim communities in medieval Europe will be analyzed by putting these works of art in conversation with texts dealing with death as both biological event and powerful symbol.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Oing, M. (PI)

ARTHIST 207D: Race and Ethnicity in Premodern Europe (ARTHIST 407D, 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.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 208: Hagia Sophia (ARTHIST 408, 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.
Last offered: Winter 2020 | UG Reqs: GER:DB-Hum, WAY-A-II

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

The seminar reveals the religious and ethnic hybridity of the art medieval Spain, where the lives, material cultures, and artistic practices of Muslims, Christians, and Jews were more intertwined than any other region of the medieval world. We work thematically rather than strictly chronologically in order to build a model of engagement with medieval art in which the movement of ideas and objects between the three major religions is in itself a focus of study.
Terms: Win | Units: 5 | UG Reqs: WAY-ED

ARTHIST 209C: Theories of the Image: Byzantium, Islam and the Latin West (ARTHIST 409, CLASSICS 158, CLASSICS 258, REES 409)

This seminar explores the role of images in the three major powers of the medieval Mediterranean: the Umayyads, the Carolingians, and the Byzantines. For each the definition of an image- sura, imago, or eikon respectively-became an important means of establishing religious identity and a fault-line between distinct cultural traditions. This course troubles the identification of image with figural representation and presents instead a performative paradigm where chant or recitation are treated as images. As such, students will be able to see the connections between medieval image theory and contemporary art practices such as installation.
Terms: Spr | Units: 5

ARTHIST 217: Architecture, Mysticism, and Myth (ARTHIST 417)

This course examines global origin myths for architecture, for example cosmic symbolism (e.g. the Mandala/dome), and the magic of technologies (e.g. the "petrification" of the wooden hut in permanent architecture). Examples range from Ethiopian rockcut churches, to the Parthenon, to the Ise Grand Shrine, to Fire Temples, and Navajo lodges. The course concludes with the modern mythology of industrialisation and the mechanised building.

ARTHIST 217B: Architectural Design Theory (ARTHIST 417B)

This seminar focuses on the key themes, histories, and methods of architectural theory -- a form of architectural practice that establishes the aims and philosophies of architecture.  Architectural theory is primarily written, but it also incorporates drawing, photography, film, and other media.  nnOne of the distinctive features of modern and contemporary architecture is its pronounced use of theory to articulate its aims. One might argue that modern architecture is modern because of its incorporation of theory. This course focuses on those early-modern, modern, and late-modern writings that have been and remain entangled with contemporary architectural thought and design practice.  nnRather than examine the development of modern architectural theory chronologically, it is explored architectural through thematic topics. These themes enable the student to understand how certain architectural theoretical concepts endure, are transformed, and can be furthered through his/her own explorations.nCEE 32B is a crosslisting of ARTHIST 217B/417B.
Last offered: Winter 2020

ARTHIST 218A: Michelangelo: Gateway to Early Modern Italy (ARTHIST 418A, ITALIAN 237, ITALIAN 337)

Revered as one of the greatest artists in history, Michelangelo Buonarroti's extraordinarily long and prodigious existence (1475-1564) spanned the Renaissance and the Reformation in Italy. The celebrity artist left behind not only sculptures, paintings, drawings, and architectural designs, but also an abundantly rich and heterogeneous collection of artifacts, including direct and indirect correspondence (approximately 1400 letters), an eclectic assortment of personal notes, documents and contracts, and 302 poems and 41 poetic fragments. This course will explore the life and production of Michelangelo in relation to those of his contemporaries. Using the biography of the artist as a thread, this interdisciplinary course will draw on a range of critical methodologies and approaches to investigate the civilization and culture of Italy in the fifteenth and sixteenth centuries. Course themes will follow key tensions that defined the period and that found expression in Michelangelo: physical-spiritual, classical-Christian, tradition-innovation, individual-collective.
Last offered: Spring 2020 | UG Reqs: WAY-A-II

ARTHIST 219: Caravaggio, Vermeer, and the Life of Paintings

Focusing on great paintings by seventeenth-century European painters--Caravaggio's Medusa, Vermeer's Girl with the Pearl Earring, Rembrandt's Self-Portraits, and many others--this seminar will consider how and why artists these artists strove to overcome the boundary between representation and the real and make the world "present" to the viewer. Reading authors such as George Steiner and Jacques Derrida, we will develop a definition of the word "presence" and consider the various critiques of it.nnNOTE: This seminar is for undergraduates only.
Last offered: Winter 2020

ARTHIST 221E: Peripheral Dreams: The Art and Literature of Miró, Dalí, and other Surrealists in Catalonia (ILAC 281E)

Why was Salvador Dalí fascinated with the architecture of Gaudí? Why did André Breton, Paul Éluard and Federico García Lorca visit Barcelona? Moreover, why did Catalonia become such an important cradle for Surrealism? Why is the (Catalan) landscape such a relevant presence in the work of Miró and Dalí? Through a critical analysis and discussion of selected works of art and literature, this seminar focuses and follows the trajectories of Miró and Dalí, from Barcelona to Paris to New York, and explores the role of their Catalan background as a potentially essential factor in their own contributions to Surrealism and the reception of their work. The course will provide the materials and guide the student to conduct research on a specific work(s) of art, architecture, literature or cinema either by Miró, Dalí or one of his peers in relation to their cultural, social and political context. The course is intended for graduate students in Iberian and Comparative Literature, Art History, Cultural Studies, and related fields. Taught in English by Jordi Falgàs i Casanovas.
Last offered: Autumn 2017
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