Explores the interrelations of modernism and politics from 1880-1945, a period of rapid social and technological change that saw the rise of mass social movements, with political reaction on both left and right: from anarchism, to socialism, republicanism, and fascism; new media in the form of prints, photography and film reflect these changes, as do radical developments in painting and sculpture. Considers how artists expressed dissent from the status quo in response to a variety of social and cultural movements and political positions through a large range of media, styles, subjects, and exhibition venues addressed to a variety of audiences.
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Athens was one of the great cities of antiquity and the cradle of democracy, philosophy, and the theater. From lavishly decorated marble temples and statues on the Acropolis and public office buildings and inscriptions in the Agora or civic center to the houses of the living and the monuments to the dead, the city has left an exceptionally rich record of her material culture. These buildings and objects, together with an unusually large number of literary and historical texts, make it possible to paint a vivid picture of life in this ancient city. This course concentrates on the physical setting and monuments of Athens from the Archaic to the Roman periods, as revealed by both archaeology and texts, and how they functioned within the context of Athenian civic and religious life. We will examine the physical remains of the city and countryside to trace the development of one of the most important city-states in the Greek world and to understand Athens impact on western art and civilization.
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Experimental Art and its Ethics Since 1945 covers all major avant-garde movements of the post World War II era, and concentrates on the conceptual and theoretical impact they have had on the social, political, and cultural conditions of this period. In the aftermath of the atomic bomb and the Holocaust, the capacities of art to express the ethical dilemmas of humankind were questioned. Nevertheless, artists responded to those unprecedented events with coherent and powerful works, and again after September 11th 2001. We will examine the moral, ethical, political, and social exigencies of art, from the existential aftermath of World War II to identity politics, from HIV/AIDS, rape, incest and child abuse to pornography and scatology, from the stateÂs destruction of art to the dilemmas of the post-biological age of genetic engineering; and we shall accomplish this goal through the systematic study of the stylistic development, changes in media, and conceptual orientation of the avant-garde from 1945 to the present. The ethical dimension of this course will consider how the discipline of art confronts cultural concepts of good/bad and right/wrong, how principles of conduct governing aesthetics are carried out in art and its institutions, how standards of behavior, character, or the ideals of character are portrayed in art, and how all of the answers to these questions effect society and culture.
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The study of Chinese art including painting, sculpture, photography, video, performance, and installation art, and cinema from 1900 to the present. The course will emphasize the visual analysis of objects as well as their social and historical context. Topics include the function of calligraphy and painting under the pressure of imperialism and political crisis at the end of the Qing dynasty (1644Â1912), modernist art movements during the Republican period (1912Â1949), art production after the Communist revolution and during the Maoist era, new forms of art during the opening up of China to the outside world in the 1980s, and the growing influence of China art and cinema on the global stage.
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Painting and sculpture in Britain from Hogarth to the Pre-Raphaelites; developments in narrative painting, portraiture and history painting; funerary sculpture and the emergence of the public movement; the role of institutions and art collectors; writing on art from Hogarth and Reynolds to Hazlitt and Ruskin.
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Development of Cubism from its origins in Paris in 1907 to the movement's decline in the 1920's. Cubist aesthetics is contextualized in light of the cultural politics of the period. Topics may include tradition, primitivisim and anti-colonialism, anarchism and politics, approaches to collage, contemporary philosophy and science, and the role of gender in Cubist aesthetics.
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"The World in Venice and Venice in the World"
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This is a cross-disciplinary art history-economics seminar. It offers an analytical, applied, and historical exploration of cultural production and how reception, fashion, and price are related to local markets. Attention is not only paid to the behaviors of producer and dealers, but also to consumers. Theoretical issues will include how and why imagery is valued, the nature of "fancy" or what makes goods desirable and fashionable in a specific point in time. Empirical applications will also draw from studies that challenge the notion that art is exceptional. Historical studies will be examined showing how art markets have evolved from the 16th and 17th century Netherlands, to 18th century England, and 17th-19th century France. We will further reassess lesser known aspects of how dealers intervened personally in the large-scale production and export of Netherlandish paintings to Spain and the Americas (Brazil, Nueva Espana/Mexico), influenced artist's representational strategies based on local audience response(s), and even controlled workshop processes in timely, particular, and specific terms. Though critical discussions ranging from taste formation, consumer behavior to the role of dealers as cultural negotiants (not commonly part of any art historical discussion), one may find in this seminar many ingredients for a lively discussion and a creative exploration of visual culture in the early modern period.
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Museum theory and the operation of museums, especially art museums, and how the gap between theory and practice is negotiated in the real world setting. Issues involving collection practices, exhibition practices, and didactic techniques, as well as legal and ethical issues.
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Inspired by a major shift in recent times towards modern and contemporary art historical studies in African art, this seminar enters this discourse via the notion of international cultural exchange, and critical and cultural responses to assorted colonial projects. Through examinations of official (or "royal") arts, religious expressions, visual semiotics, propaganda, and postmodernism, this seminar strives to make sense of the modern and contemporary in African art beyond explanations that largely hinge on "mimicry" and/or technical/aesthetic failure. Rather, the approach here is one which allows for artistic and visual trajectories in Africa that encompass universal, cosmopolitan, as well as more unconventional, introspective viewpoints.
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This seminar will use the exhibit, ÂEscultura Social: A New Generation of Art from Mexico City (Nasher Museum, Spring 2008) as a point of departure for an investigation into recent theories and practices of politically and socially engaged art from the Americas. Given the topic of the exhibition and the explosion of urban demographics in Latin America in the last fifty years, we will focus on how artists have engaged the city as a special kind of social space, and how they have participated in and been influenced by urban visual culture more broadly. The seminar will be a mixture of close examination of the works included in the exhibit, visits by several artists included in the show, and research in contemporary art and visual culture from across the Americas.
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An exploration of the role of selected West African
Score: 5.9687524 Details | Listing | Web page
This class is designed to work towards an understanding of the many functions, principles, style variations, and techniques involved in the African dance genre. Dance and music are deeply embedded in the belief patterns of many African societies and what is revealed culturally provides a lens for performing several styles of African dance.
Score: 5.9687524 Details | Listing | Web page
An exploration of the role of selected West African
Score: 5.9687524 Details | Listing | Web page
This class is designed to work towards an understanding of the many functions, principles, style variations, and techniques involved in the African dance genre. Dance and music are deeply embedded in the belief patterns of many African societies and what is revealed culturally provides a lens for performing several styles of African dance.
Score: 5.9687524 Details | Listing | Web page
Examination of Korean language in social and cultural contexts from sociolinguistic and linguistic anthropological points of view. Focus on construction of cultural identities, social order and interpersonal relationships through everyday language use. Honorifics and language ideology, language and gender, regional and social variations, language contact and language policy in contemporary Korea. Sociolinguistics literature introducing conceptual frameworks and empirical research on specifics of language in use and synchronic and diachronic variations. Readings and class conducted in English
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This course considers the global Chinese city as an object of cultural representation, as well as an engine of cultural representation. We will look at a variety of literary and cinematic texts, with an emphasis on themes of modernization, alienation, nostalgia, migration, labor, and processes of commoditization. Through a detailed examination of cultural representations of ÂChinese cities including Beijing, Shanghai, Hong Kong, Taipei, and New York, we will attempt to rethink the very notion of Chineseness within an increasingly globalized world. Professor Carlos Rojas
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This course looks at the intersecting discourses of medicine, culture, politics, and identity in the modern period. Through a consideration of a variety of medical, political, and cultural texts from the West and Asia, we will examine how modern medical discoveries (particularly developments in germ theory, virology and genetics) have been transmuted into metaphorical discourses of society, culture, and identity. Topics will include the AIDS and SARS epidemics, discourses of genes and cultural memes, the transnational viral circulation of the Ringu/Ring series, as well as the various iterations of MathesonÂs I am Legend narrative. Professor Carlos Rojas
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Kundalini Yoga is the yoga of awareness. Awareness is a finite relationship with infinity. It is the active interaction of you as a finite individual identity with you as an infinite potential identity. Two of our three class sessions per week will be the practice of Kundalini Yoga & Meditation, with discussion of yogic lifestyle.
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Kundalini Yoga is the yoga of awareness. Awareness is a finite relationship with infinity. It is the active interaction of you as a finite individual identity with you as an infinite potential identity. Two of our three class sessions per week will be the practice of Kundalini Yoga & Meditation, with discussion of yogic lifestyle.
Score: 5.9687524 Details | Listing | Web page
Inquiry into sources of Âresonance in international cinema with emphasis on films from Asia and the Middle East. The object of the course is to attempt a description of aspects of film construction which conduce to intense experience for viewers. Readngs in indigenous aesthetics
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***Course time is 3:30-4:45 (not 2:50-4:45 as listed in ACES)***
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Broad survey of Asian dance theater performance
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Focus on Al-Qaeda, its roots, ideology, and its terrorism. Examination of Al-Qaeda¿s ideology, political culture, and development by exploring the origins and the narrative discourse of modern Islamic organizations dating back to the Salfi Movement of the nineteenth century. Presentation of the patterns and ramifications of Al-Qaeda¿s terrorist activities. Use critical thinking in order to differentiate Muslim proper narrative discourse from that of Al-Qaeda and its affiliated groups. Open only to students in the Focus Program.
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Issues of representing the Holocaust in Israel through various cultural media, such as literature, film, criticism, historiography, legal documents, and music. The limits of representation: the historical and ideological deployment of Holocaust representation in different cultural contexts.
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