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191 - 200 of 258 results for: ARTHIST

ARTHIST 405A: Graduate Pedagogy Course

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: Spr | Units: 2

ARTHIST 405B: Iberian World Architecture (ARTHIST 205B)

The cities and buildings of the Iberian World of Spain, Portugal, and Ibero-America are a testament to the role architecture played during the centuries-long process of colonization: to its power since 1492 to disrupt and transform pre-existing material and cultural landscapes and thus facilitate the conquest of the New World and its peoples. In addition to their survival as symbols of power for many decolonized nations, now as then, the conspicuous archives of a conflicted history the particular nature of these constructions (the sheer perplexing quality of their decoration, for instance, encompassing at once pre-Columbian and Baroque motifs and techniques) demands we pay attention to their complexity, richness, and sophistication as well and in doing so, question canonical definitions of style, chronology, or authorship. Besides pairing recent scholarship with the examination of case studies, the seminar also makes extensive use of the work of George Kubler to help us understand what it means to encounter, study, and write about an architectural phenomenon of transoceanic cohesion within competing chronologies, and how that experience should transform us in return: it is no coincidence that after pondering the art and architecture of the Iberian World and its roots, Kubler published his groundbreaking The Shape of Time.
Terms: Aut | Units: 5

ARTHIST 406C: Nostos: The Survival of Antiquity in Medieval Art (ARTHIST 206C)

This seminar explores the processes of survival and activation of Greco-Roman art in the Middle Ages, including iconographic transformations, modalities of reuse, trajectories of return (nostos), and the poetics of embodiment. Focusing on specific case studies from Italy, Spain, France, and England, this course offers in-depth analyses of some of the most remarkable artworks of the Middle Ages in different media, paying special attention to sculpture. Reading assignments will give students the background to engage critically with the thought of scholars such as A. Warburg, E. Panofsky, S. Freud, W. Benjamin, G. Agamben, M. Schapiro, P. Nora, L. Steinberg, and others, with the aim of gaining a rich theoretical perspective on Nachleben der Antike (Afterlife of Antiquity) ¿ one of the central themes in the history of art from Vasari to the most recent Warburgian revival.
Terms: Spr | Units: 5

ARTHIST 407: The Resurrected Body: Animacy in Medieval Art

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: Spring 2016

ARTHIST 407B: Art and Ritual in Italy 1250-1420 (ARTHIST 207B)

This seminar explores the ritual contexts of the painting, sculpture, and architecture of late medieval Italy. Rituals structured almost every aspect of life in Italian towns. Elaborately choreographed rites of passage marked the great events of the life cycle, from pregnancy and childbirth to marriage to death. Each town¿s ritual calendar established the rhythms of the year. Major feast days were celebrated with all the pageantry of the late medieval Church. Crises ¿ whether famine or plague or the threat of war ¿ spawned their own ritual responses, often penitential processions of flagellants. The course considers the ways in which works of art register, respond to and participate in these rites. The last part of the course will focus on one of the most important and distinctive ritual spaces in late medieval Italy, the baptistery. Works to be studied include some by the greatest painters and sculptors of the era: the painters Duccio, Giotto, Simone Martini, Ambrogio Lorenzetti and Pietro Lorenzetti, and the sculptors Nicola Pisano and Giovanni Pisano.
Terms: Spr | Units: 4
Instructors: Derbes, A. (PI)

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

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

ARTHIST 408: Hagia Sophia (ARTHIST 208, 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

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

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.
Last offered: Winter 2017

ARTHIST 408C: Architecture, Acoustics and Ritual in Byzantium (ARTHIST 208C, 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 | Repeatable for credit

ARTHIST 409: Iconoclasm (ARTHIST 209C, 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.
Last offered: Spring 2017
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