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Course Criteria
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3.00 Credits
Study of the High Renaissance, with emphasis on its leading masters (e.g., Leonardo, Raphael, Bramante, Michelangelo, and Titian). Includes a study of mannerism, the stylish art produced after the first quarter of the 16th century.
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3.00 Credits
This seminar explores various conceptions of love from the classical era to our postmodern age. Ranging from eros to philia to agape, we will examine literary, philosophical, and artistic expressions of love in painting, cinema, literature, psychoanalysis, philosophy, religion, and culture.
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3.00 Credits
This class will explore painting in France from approximately 1865 to 1900. Mixing lectures and classroom discussion, we will focus on individual artists including Claude Monet, Edgar Degas, Mary Cassatt, Georges Seurat, Vincent van Gogh, and Paul Czanne. We will also consider and discuss a set of critical issues surrounding these painters, including the politics of gender and class within the changing urban setting of Paris.
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3.00 Credits
This course introduces the major developments, key figures and significant works of late Modernism. Covering a period from roughly 1945-Present, we will trace modernism's unfolding in the avant-garde practices of the 2nd half of the 20th century. Beginning with the shift from Paris to New York as the cultural center of the avant-garde, the rise of Abstract Expressionism & its divided legacies.
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3.00 Credits
This course examines Chinese painting from ancient times to the early twentieth century. Issues of examination include themes, styles, and functions of Chinese painting; the interrelationship between paintings and the intended viewers; regionalism; images and words; foreign elements in Chinese painting.
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3.00 Credits
This course explores a series of issues that are critically important for the medieval art of both China and northern Europe. Topics include materials and techniques; public and private art: commerce, technology and prints; art and motion; archaeology; paradise and hell; maps and space; the gaze; erotica; patronage; and multiculturalism.
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4.00 Credits
This course introduces students to cinema as a global enterprise. It explores the relationship between nations, identities, races, concepts, and genres. It inquires into the question of globalization as it relates to the motion picture audience, corporations, and the commerce of ideas.
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3.00 Credits
Inaugurated against the calamitous backdrop of the First World War, "Dada," the artist Francis Picabia claimed, "smells of nothing, it is nothing, nothing, nothing." This seminar will examine the aesthetics of shock and nihilism (literally, 'nothingness'), developed by Dada in six cities: Zurich, Berlin, Colgne, Hannover, New York, and Paris.
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4.00 Credits
This class surveys major developments in European cinema fromt he late 1940s to the late 1960s. Our study will include such movements as Italian Neorealism, German Rubble Films, French New Wave, and Soviet cinema in the Thaw. Particular attention will be paid to such issues as cinema and post-war reconstruction, memory and nation, and body and space.
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3.00 Credits
In this course we will examine literal and symbolic representations of the human body in order to explore the relations between the visuality of medicine, corporeality, subjectivity, and healing.
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