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NATIVEAM 211: The California Missions: Art History and Reconciliation (ARTHIST 211, CSRE 111)

Sites of the spirit and devotion, sites of genocide, foreboding actors in Alfred Hitchcock's Vertigo, the subject of fourth-grade school projects, the Spanish Missions of Alta California are complex sites of inquiry, their meanings and associations different for each visitor. This seminar examines the art and architecture of the California Missions built between 1769 and 1823. Constructed with local materials and decorated with reredos, paintings and sculptures from Mexico and Spain, the Missions are at once humble spaces and flagships of a belated global baroque. They were also the laboratories of indigenous artists and artisans. This course seeks to understand how Mission art was meant to function, how and why it was made, what its materials were, while asking what the larger role of art was in a global system of missions. Can the study of this art lead to the reconciliation of populations in North America and within the field of art history? The Missions require a specific reexamination of the relationship between European and colonial forms, not as objects of curiosity or diffusion but as viable and globally informed agents.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-ED

OBGYN 81Q: Perspectives on the Abortion Experience in Western Fiction

Explores the role of media in delivering abortion-related messages as well as the broader questions of how abortion and related issues are fundamentally integrated into the social fabric of US and global societies. Abortion remains one of the most controversial and polarizing challenges of our time. Yet, it has been a clinical, social, political, and cultural fact in a broad swath of societies for centuries. As is common for such lightning rod issues, the topic of abortion has featured prominently in novels and films. Each treatment provides a unique perspective on at least one aspect of abortion, whether it be clinical, social, political or cultural. How abortion is portrayed in novels and films provides the student of history, anthropology, and biology with insights into the author's or director's perspectives, and into societal attitudes and mores.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II

ORALCOMM 123: Crafting Concept Albums: Big Tales, Small Grooves, and the Art of Musical Narrative

Cultures all around the world tell the stories of their history, beliefs, and identities through song. The Greeks set their epic tales of love, life, and death to music, Renaissance composers followed suit, and popular music artists do the same today. In this hybrid workshop-seminar, students will explore musical narratives by analyzing seminal concept albums and then producing their own single-story album through written lyrics. Students will examine how artists use craft elements such as setting, characters, and plot, cover art, and musical form and instrumentation, then apply that learning in their own productions. Creating music, beats, soundscapes, and artwork will be encouraged, but the final project need only be a cycle of recorded, spoken song lyrics. We¿ll focus in particular on narratives of race, class, gender, and sexuality and their social implications as we examine works from artists across musical genres¿from classic and punk rock artists such as Pink Floyd, David Bowie, more »
Cultures all around the world tell the stories of their history, beliefs, and identities through song. The Greeks set their epic tales of love, life, and death to music, Renaissance composers followed suit, and popular music artists do the same today. In this hybrid workshop-seminar, students will explore musical narratives by analyzing seminal concept albums and then producing their own single-story album through written lyrics. Students will examine how artists use craft elements such as setting, characters, and plot, cover art, and musical form and instrumentation, then apply that learning in their own productions. Creating music, beats, soundscapes, and artwork will be encouraged, but the final project need only be a cycle of recorded, spoken song lyrics. We¿ll focus in particular on narratives of race, class, gender, and sexuality and their social implications as we examine works from artists across musical genres¿from classic and punk rock artists such as Pink Floyd, David Bowie, and Green Day; to hip-hop, pop, and EDM performers such as Beyoncé, Lupe Fiasco, Janelle Monáe, Daft Punk, and Kendrick Lamar. Students will work in groups to choose genre, develop a sense of place and time, select narrative structures, and craft lyrics. No prior experience in music or creative writing is required.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Naiman, T. (PI)

OSPBER 17: Split Images: A Century of Cinema

20th-century German culture through film. The silent era, Weimar, and the instrumentalization of film in the Third Reich. The postwar era: ideological and aesthetic codes of DEFA, new German cinema, and post-Wende filmmaking including Run Lola Run and Goodbye Lenin. Aesthetic aspects of the films including image composition, camera and editing techniques, and relation between sound and image.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
Instructors: Kramer, K. (PI)

OSPBER 28: German Opera

This course is designed to provide an introduction to opera in general and German opera in particular. The syllabus is linked specifically to productions of German operas currently being presented at Berlin's opera houses. During class we will prepare ourselves for the various performances by discussing each work in detail, looking at the libretto, analyzing the relationship between music and text, listening to recordings, and reading secondary literature. We will also share our post-performance impressions. The principal aim of the course is informed appreciation of the genre of opera.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Hinton, S. (PI)

OSPBER 60: Cityscape as History: Architecture and Urban Design in Berlin

Diversity of Berlin's architecture and urban design resulting from its historical background. Architect Ludwig Mies van der Rohe and his artistic ancestors. Role of the cultural exchange between Germany and the U.S. Changing nature of the city from the 19th century to the present.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Pabsch, M. (PI)

OSPBER 66: Theory from the Bleachers: Reading German Sports and Culture

German culture past and present through the lens of sports. Intellectual, societal, and historical-political contexts. Comparisons to Britain, France, and the U.S. The concepts of Körperkultur, Leistung, Show, Verein, and Haltung. Fair play, the relation of team and individual, production and deconstruction of sports heroes and heroines, and sports nationalism. Sources include sports narrations and images, attendance at sports events, and English and German texts. Will be taught in German if there are enough students with sufficient knowledge of German.
Terms: Win | Units: 3 | UG Reqs: GER:DB-SocSci, WAY-A-II

OSPBER 101A: Contemporary Theater

Texts of plays supplemented by theoretical texts or reviews. Weekly theater visits and discussions with actors, directors, or other theater professionals. In German. Prerequisite: completion of GERLANG 3 or equivalent.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

OSPCPTWN 16: Sites of Memory

ey sites of memory in post-apartheid South Africa, in both Cape Town and Johannesburg, that are representative of a diverse range of memorialisation in contemporary South Africa. Consideration of the relevant historical context, contemporary conflicting interpretations and contemporary identity contestations. What is the historical context of the site? By whom is the site remembered and memorialised? How is the site memorialised? What are the diverse interpretations and contestations about the site in terms of contemporary identities and memorialisation in the new South Africa?
Terms: Win, Spr, Sum | Units: 3 | UG Reqs: 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-ED
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