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Course Criteria
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4.00 Credits
(Same as ARTHIST 192.) Form, space, media, medium, and visual expression in African art. Rock art to contemporary art production. Majors works and art expression in terms of function and historical context. 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 193A.) Visual culture from 1505 to 1889 and its relation to current debates on cultural identity, hybridity, syncretism, and creolization. Painting, travel books, and printmaking by artists including De Bry, Belisario, Rugendas, Debret, and Landaluce. Visual analysis of works at the Yale Center for the British Art and Stanford's Green Library. 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 195.) African cultural expression in the Americas. How politics, religion, and culture influence the art of the Black Atlantic. Focus is on the period when cultures were brought from Africa to the Americas through the slave trade and came into contact and conflict with western colonial powers. 4 units, not given this year
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5.00 Credits
New monumental imperial buildings created beginning in the tetrarchic period in Europe and the Middle East such as the basilica of Maxentius, Diolcetian's residence in Split, Constantine's palace inTrier, and Galerius' residences at Salonica and Gamzigrad. Decoration of these buildings with marble revetment, mosaics, and sculptures and statues, often innovative by their ideological references to classical models. Tradition and innovation, rhetoric and function. 5 units, Aut (Brenk, B)
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5.00 Credits
Iconoclasm, iconophobia, and aniconism as markers of cultural transformation of the Mediterranean in the 7th-9th centuries. The identity crisis in the region as the Arabs established the Umayyad caliphate, conquering the Holy Land, Egypt, and Spain. The West consolidated around the Carolingians versus the East split between the Byzantines and the Arabs. How each of these three empires emerged from the ashes of late antique culture and carved an identity out of a common cultural foundation. 5 units, Spr (Pentcheva, B)
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5.00 Credits
How medieval objects were experienced through sight, touch, sound, smell, and taste; how this multisensory richness has been reduced to visual studies of medieval art. Focus is on the Byzantine icon to restore its synaesthetic power; how its performance is tied to culturally-specific modes of seeing. Byzantine liturgy, prayer, epigrams, and literary genres of description such as ekphrasis. 5 units, not given this year
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5.00 Credits
Questions of the bella maniera, anti-classicism, and center and periphery in mannerist art in light of developments in scholarship from the 70s to the present. Authors include Arasse, Cropper, Cole, Nova, Summers, and Vickers. 5 units, not given this year
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5.00 Credits
Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art. 5 units, Aut (Hansen, M)
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5.00 Credits
Questions of gender, visuality, and power in two major realist painters of the 17th and 19th centuries. How Vermeer and Eakins confronted and sometimes evaded the central historical issues of their day: modernization, class, sexuality, nationality, and the status of the artist. 5 units, Win (Wolf, B)
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5.00 Credits
The relationship between visuality and modernity; the privileged role played by seeing. Sources include paintings and literary texts organized around questions of perception. Topics include: visuality and the public sphere; landscape and depoliticized speech; genre and hegemony; race and identity; post-liberal and postmodern culture. 5 units, not given this year
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