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Course Criteria
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3.00 Credits
Brownlee. A study of the European and American city in the eighteenth, nineteenth, and twentieth centuries. Emphasis will be placed on the history of architecture and urban design, but political, sociological, and economic factors will also receive attention. The class will consider the development of London, St. Petersburg, Washington, Boston, Paris, Vienna and Philadelphia.
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3.00 Credits
Staff. The death of the revolutionary hero, the search for spiritual meaning, the "rape" of the countryside by industrialization, the anxious masculinity of romanticism, abolition and its aftermath, the quest for a national identity: these are only some of the themes that will be addressed through the art of this early modern period, as they emerged in the art of painters working in France, England and Germany. Among other things, we will analyze Jacques-Louis David's "martyr portraits" of the French Revolution; the romantic "anti-heroes" of Delacroix; Friedrich's nationalist landscapes; the fantastic visions of J.M.W. Turner and William Blake; Gericault;s representations of madness; and the politicized "realism" of Gustave Courbet, the painter who would so profoundly influence the later generation of Impressionists.
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3.00 Credits
Dombrowski. French Impressionism is the centerpiece of this course, which will explore paintings, and some sculptures, produced between 1848 and 1906. We consider French, Dutch, and Scandanavian artists who painted and exhibited in Paris during these years, exploring not only their historical stature and reputation, but their contemporary relevance. We will reflect on such myths of modernism as the "misogyny"of Degas; the "obsessiveness" of Cezanne; the "primitivism" of Gauguin; and, of course, the "madness" of Van Gogh. All art is considered within the context of the social, economic and political changes that were taking place in Paris--the capital of the nineteenth--century.
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3.00 Credits
Poggi. The art of the Twentieth century is characterized by a radical break with all preceding art. Or is it In this course, we will study the art produced in Europe and the United States between 1900 and 1945. We will examine its innovations-in style, materials, subject matter, and philosophy--and its continuing relation to artistic traditions.
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3.00 Credits
Poggi. Many people experience the art of our time as bewildering, shocking, too ordinary (my kid could do that), too intellectual (elitist), or simply not as art. Yet what makes this art engaging is that it raises the question of what art is or can be, employs a range of new materials and technologies, and addresses previously excluded audiences. It invades non-art spaces, blurs the boundaries between text and image, document and performance, asks questions about institutional frames (the museum, gallery, and art journal), and generates new forms of criticism. Much of the "canon" of what counts as important is still in flux, especially for the last twenty years. And the stage is no longer centered only on the United States and Europe, but is becoming increasingly global. The course will introduce students to the major movements and artists of the post-war period, with emphasis on social and historical context, critical debates, new media, and the changing role of the spectator/participant.
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3.00 Credits
Butterfield.
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3.00 Credits
Beckman. This course will allow us to study the changing shape of the road movie genre from Bonnie and Clyde (1967) to the French feminist revenge narrative, Baise-moi (Rape me), (2000). In addition to considering the possibilities and limits of genre as a category of analysis, we will grapple with a number of questions that will persist throughout the course: What is the relationship between cinema and the automobile Is the road trip a particularly American fantasy, and if so, what does it mean when non-U.S. filmmakers adopt the road-movie genre Is the road movie a "masculine" genre What role do urban and rural spaces play in the development of the genre What happens to race/gender/sexuality/national identity in the road movie What kinds of borders does this genre dream of crossing Do the radical fantasies of characters within the road movie genre necessarily translate into films with radical politics
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3.00 Credits
Beckman. This course will introduce students to the work of mainstream and experimental women filmmakers from around the world. As we examine films from the nineteenth, twentieth and twenty-first centuries, we will consider how a counter- history of women's cinema alters more conventional versions of the medium's history, whether gender is a useful category of analysis for film studies, how women filmmakers have responded to each others' work, and how other markers of identity like race and class complicate utopian narratives of "sisters in cinema."
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3.00 Credits
Butterfield. A history of world photography from 1839 to the present and its relation to cultural contexts as well as to various theories of the functions of images. Topics discussed in considering the nineteenth century will be the relationship between photography and painting, the effect of photography on portraiture, photography in the service of exploration, and photography as practiced by anthropologists; and in considering the twentieth century, photography and abstraction, photography as a "fine art", photography and the critique of art history, and photography and censorship. Lecture/discussion, with two examinations and three papers.
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