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Course Criteria
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2.00 Credits
PQ: Consent of instructor. Must be taken in sequence. This two-quarter course presents the major issues in linguistics of anthropological interest. Among topics discussed in the first half of the sequence are the formal structure of semiotic systems, the ethnographically crucial incorporation of linguistic forms into cultural systems, and the methods for empirical investigation of "functional" semiotic structure and history. The second half of the sequence takes up basic concepts in sociolinguistics and their critique . M. Silverstein. Autumn, Winter.
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3.00 Credits
PQ: Consent of instructor. This course is a critical examination of the uses of landscape and place in anthropological archaeology and allied disciplines. Landscapes have been treated as a basis for theoretical projects, as analytical frameworks, and as historical phenomena. Beginning from a consideration of situated histories, we discuss approaches to place-making, the formation of social geographies, the production of social memory, historical ecologies, and monumentality and commemoration. In every case, we pay close attention to the sources of historical knowledge and the methods by which these sources are used to construct knowledge claims about the past. M. Lycett. Not offered 2009 C10; will be offered 201 0 -11.
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3.00 Credits
Students must attend first class to confirm enrollment. For nonmajors, this course meets the general education requirement in the dramatic, musical, and visual arts. This course seeks to develop skills in perception, comprehension, and appreciation when dealing with a variety of visual art forms. It encourages the close analysis of visual materials, explores the range of questions and methods appropriate to the explication of a given work of art, and examines the intellectual structures basic to the systematic study of art. Most importantly, this course encourages the understanding of art as a visual language and aims to foster in students the ability to translate this understanding into verbal expression, both oral and written. Examples draw on local collections. Autumn, Winter, Spring.
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3.00 Credits
May be taken in sequence or individually. Students must attend first class to confirm enrollment. For nonmajors, any ARTH 14000 through 16999 course meets the general education requirement in the dramatic, musical, and visual arts. The major monuments and masterpieces of world painting, sculpture, and architecture are studied as examples of humankind's achievements in the visual arts. Individual objects are analyzed in detail and interpreted in light of society' s varied needs. While changes in form, style, and function are emphasized, an attempt is also made to understand the development of unique and continuous traditions of visual imagery throughout world civilization. Courses focus on broad regional and chronological categories.
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3.00 Credits
This course surveys sculpture, painting, and architecture from ancient Greece from the end of the Bronze Age to the Hellenistic period. In addition to close study of the major works, we pay particular attention to their cultural context. Key issues include nudity in art and life; the origins and development of narrative; art and politics; the status and role of the artist; and fakes, forgeries, and the difficulties of archaeological inference. Wherever possible, newly discovered artifacts are given special attention. R. Neer. Winter.
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3.00 Credits
This course offers an overview of the art and material culture in France, Germany, and the Netherlands ca. 1350 to 1570 through selected case studies. As a secondary goal for nonmajors, it is designed to introduce methods and issues in art history. We study the development of new artistic genres and media that include oil painting and printmaking; questions of style (realism, classicism) and social context (courts, cities, and countryside); the location and circulation of art (markets, sacred spaces, regionalism and internationalism, exchange with Italy); uses and conflicts over religious imagery; and the impact of the Protestant Reformation. R. Zorach. Winter.
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3.00 Credits
PQ: Consent of instructor. This survey class focuses on issues that are central or unique to the twentieth century (e.g., abstraction, traditional and new media, art and politics, mass produced design and culture). We consider different conceptions of modern art that emerged during this period (e.g., modernism, avant-garde, postmodernism) and the ways in which such understandings overlapped or differed, actively fostered exchange, and rejected or influenced one another. Artists include Pablo Picasso, Wassily Kandinsky, John Heartfield, Jackson Pollock, Andy Warhol, and Cindy Sherman. Visits to local collections, such as the Smart Museum and the Art Institute of Chicago, required. C. Mehring. Autumn.
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3.00 Credits
A survey of major figures and developments in visual arts and related fields since roughly 1945. Chronological in progression, this course nevertheless affords a wide view of consequential developments in and beyond major art centers and occurring across mediums and national borders. Our themes include Abstract Expressionism, Color Field Painting, Happenings, Neo-Dada, Pop Art, Op Art, Minimal Art, Process, Performance, Situationism, Conceptual Art, experimental film and video, Earth Art, and Neo-Geo. D. English. Winter.
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3.00 Credits
This course introduces the arts of China. We focus on the bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of the Buddha image, and the evolution of landscape and figure painting traditions. We also consider objects in contexts (from the archaeological sites from which they were unearthed to the material culture that surrounded them) to reconstruct the functions and the meanings of objects, as well as to better understand Chinese culture through the objects it produced. H. Wu. Winter.
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3.00 Credits
This course surveys the art and architecture of the Islamic world from 1100 to 1500. In that period, political fragmentation into multiple principalities challenged a deeply rooted ideology of unity of the Islamic world. The course of the various principalities competed not only in politics but also in the patronage of architectural projects and of arts (e.g., textiles, ceramics, woodwork, arts of the book). While focusing on the central Islamic lands, we consider regional traditions from Spain to India and the importance for the arts of contacts with China and the West. P. Berlekamp. Autumn.
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